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LIBRARY OF THE
WORLD'S BEST LITERATURE
ANCIENT AND MODERN
VOL. I.
CHARLES DUDLEY WARNER
EDITOR
HAMILTON WRIGHT MABIE
LUCIA GILBERT RUNKLE
GEORGE HENRY WARNER
ASSOCIATE EDITORS
Connoisseur Edition
PREFACE
he plan of this Work is simple, and yet it is novel. In its distinctive features it differs from any compilation that has yet been made. Its main purpose is to present to American households a mass of good reading. But it goes much beyond this. For in selecting this reading it draws upon all literatures of all time and of every race, and thus becomes a conspectus of the thought and intellectual evolution of man from the beginning. Another and scarcely less important purpose is the interpretation of this literature in essays by scholars and authors competent to speak with authority.
The plan of this work is simple, yet unique. It stands apart from any other compilation made until now. Its main goal is to provide American households with a wealth of enjoyable reading. However, it goes much further than that. In choosing this reading, it incorporates works from all literatures across time and cultures, creating a broad overview of human thought and intellectual development from the very beginning. Another equally important purpose is to offer interpretations of this literature through essays written by knowledgeable scholars and authors who can speak with authority.
The title, "A Library of the World's Best Literature," is strictly descriptive. It means that what is offered to the reader is taken from the best authors, and is fairly representative of the best literature and of all literatures. It may be important historically, or because at one time it expressed the thought and feeling of a nation, or because it has the character of universality, or because the readers of to-day will find it instructive, entertaining, or amusing. The Work aims to suit a great variety of tastes, and thus to commend itself as a household companion for any mood and any hour. There is no intention of presenting merely a mass of historical material, however important it is in its place, which is commonly of the sort that people recommend others to read and do not read themselves. It is not a library of reference only, but a library to be read. The selections do not represent the partialities and prejudices and cultivation of any one person, or of a group of editors even; but, under the necessary editorial supervision, the sober judgment of almost as many minds as have assisted in the preparation of these volumes. By this method, breadth of appreciation has been sought.
The title, "A Library of the World's Best Literature," is straightforward. It means that what’s offered to readers comes from the best authors and represents top literature from around the world. It might be historically significant, or it might have once captured the thoughts and feelings of a nation, or it could possess timeless qualities, or simply because today's readers will find it informative, entertaining, or amusing. The work aims to appeal to a wide range of tastes, making it a great companion for any mood or moment. There’s no aim to just present a collection of historical material, no matter how important it is in its own right, which is typically the kind of thing people recommend to others but often don’t read themselves. It isn’t just a reference library; it’s a library meant to be read. The selections don’t reflect the biases and preferences of one person or even a group of editors; instead, they are shaped under necessary editorial oversight, incorporating the thoughtful input of nearly as many minds as contributed to these volumes. This approach seeks to achieve a broad appreciation.
The arrangement is not chronological, but alphabetical, under the names of the authors, and, in some cases, of literatures and special subjects. Thus, in each volume a certain variety is secured, the heaviness or sameness of a mass of antique, classical, or mediaeval material is avoided, and the reader obtains a sense of the varieties and contrasts of different periods. But the work is not an encyclopaedia, or merely a dictionary of authors. Comprehensive information as to all writers of importance may be included in a supplementary reference volume; but the attempt to quote from all would destroy the Work for reading purposes, and reduce it to a herbarium of specimens.
The arrangement isn't chronological but alphabetical, organized by the authors' names and, in some cases, by specific literatures and subjects. This way, each volume offers some variety, avoiding the monotony of a large collection of ancient, classical, or medieval material, and giving the reader a sense of the differences and contrasts across various periods. However, this work isn't an encyclopedia or just a dictionary of authors. While a supplementary reference volume could provide comprehensive information about all important writers, trying to quote from everyone would turn the work into a collection of examples rather than something meant for reading.
In order to present a view of the entire literary field, and to make these volumes especially useful to persons who have not access to large libraries, as well as to treat certain literatures or subjects when the names of writers are unknown or would have no significance to the reader, it has been found necessary to make groups of certain nationalities, periods, and special topics. For instance, if the reader would like to know something of ancient and remote literatures which cannot well be treated under the alphabetical list of authors, he will find special essays by competent scholars on the Accadian-Babylonian literature, on the Egyptian, the Hindu, the Chinese, the Japanese, the Icelandic, the Celtic, and others, followed by selections many of which have been specially translated for this Work. In these literatures names of ascertained authors are given in the Index. The intention of the essays is to acquaint the reader with the spirit, purpose, and tendency of these writings, in order that he may have a comparative view of the continuity of thought and the value of tradition in the world. Some subjects, like the Arthurian Legends, the Nibelungen Lied, the Holy Grail, Provençal Poetry, the Chansons and Romances, and the Gesta Romanorum, receive a similar treatment. Single poems upon which the authors' title to fame mainly rests, familiar and dear hymns, and occasional and modern verse of value, are also grouped together under an appropriate heading, with reference in the Index whenever the poet is known.
To provide a comprehensive view of the entire literary landscape and to make these volumes particularly helpful for those who don't have access to large libraries, as well as to address certain literatures or topics when the names of writers are unfamiliar or irrelevant to the reader, it has become necessary to organize certain groups by nationality, period, and specific subjects. For example, if a reader is interested in ancient and distant literatures that can't be easily addressed in an alphabetical list of authors, they will find special essays by knowledgeable scholars on Accadian-Babylonian literature, Egyptian literature, Hindu literature, Chinese literature, Japanese literature, Icelandic literature, Celtic literature, and more, followed by selections, many of which have been specially translated for this Work. In these literatures, the names of confirmed authors are included in the Index. The purpose of these essays is to familiarize the reader with the essence, intent, and trends of these writings, enabling a comparative understanding of the continuity of thought and the significance of tradition in the world. Some topics, like the Arthurian Legends, the Nibelungen Lied, the Holy Grail, Provençal Poetry, the Chansons and Romances, and the Gesta Romanorum, are treated similarly. Individual poems that are key to an author’s reputation, well-known and cherished hymns, and significant modern poetry are also grouped together under appropriate headings, with references in the Index whenever the poet is known.
It will thus be evident to the reader that the Library is fairly comprehensive and representative, and that it has an educational value, while offering constant and varied entertainment. This comprehensive feature, which gives the Work distinction, is, however, supplemented by another of scarcely less importance; namely, the critical interpretive and biographical comments upon the authors and their writings and their place in literature, not by one mind, or by a small editorial staff, but by a great number of writers and scholars, specialists and literary critics, who are able to speak from knowledge and with authority. Thus the Library becomes in a way representative of the scholarship and wide judgment of our own time. But the essays have another value. They give information for the guidance of the reader. If he becomes interested in any selections here given, and would like a fuller knowledge of the author's works, he can turn to the essay and find brief observations and characterizations which will assist him in making his choice of books from a library.
It will be clear to the reader that the Library is quite extensive and representative, and it has educational value while providing continuous and diverse entertainment. This broad aspect, which sets the Work apart, is complemented by another equally important feature; namely, the critical interpretive and biographical commentary on the authors, their works, and their place in literature, provided not by one individual or a small editorial team, but by a wide range of writers and scholars, specialists, and literary critics, who speak with knowledge and authority. In this way, the Library reflects the scholarship and broad perspective of our time. Additionally, the essays offer another benefit. They provide information to guide the reader. If someone becomes interested in any selections included here and wants to know more about the author's works, they can refer to the essay and find brief insights and descriptions that will help them choose books from a library.
The selections are made for household and general reading; in the belief that the best literature contains enough that is pure and elevating and at the same time readable, to satisfy any taste that should be encouraged. Of course selection implies choice and exclusion. It is hoped that what is given will be generally approved; yet it may well happen that some readers will miss the names of authors whom they desire to read. But this Work, like every other, has its necessary limits; and in a general compilation the classic writings, and those productions that the world has set its seal on as among the best, must predominate over contemporary literature that is still on its trial. It should be said, however, that many writers of present note and popularity are omitted simply for lack of space. The editors are compelled to keep constantly in view the wider field. The general purpose is to give only literature; and where authors are cited who are generally known as philosophers, theologians, publicists, or scientists, it is because they have distinct literary quality, or because their influence upon literature itself has been so profound that the progress of the race could not be accounted for without them.
The selections are made for home and general reading, believing that the best literature has enough uplifting and pure content that's also easy to read, to suit any taste worth encouraging. Of course, selection involves making choices and exclusions. We hope that what we’ve included will be generally appreciated; however, some readers might notice the absence of authors they want to see. But this work, like any other, has its necessary limits; in a general compilation, classic writings and works recognized by the world as some of the best must take precedence over contemporary literature that is still being evaluated. It should be noted, though, that many currently popular writers are left out simply due to space constraints. The editors have to keep in mind the bigger picture. The main aim is to provide only literature; and when authors known primarily as philosophers, theologians, journalists, or scientists are included, it’s because they possess distinct literary quality or because their impact on literature has been so significant that we couldn’t fully understand societal progress without them.
These volumes contain not only or mainly the literature of the past, but they aim to give, within the limits imposed by such a view, an idea of contemporary achievement and tendencies in all civilized countries. In this view of the modern world the literary product of America and Great Britain occupies the largest space.
These volumes include not just the literature of the past, but they also aim to provide, within the limitations of this perspective, an insight into contemporary achievements and trends in all civilized countries. In this view of the modern world, the literary output of America and Great Britain takes up the most space.
It should be said that the plan of this Work could not have been carried out without the assistance of specialists in many departments of learning, and of writers of skill and insight, both in this country and in Europe. This assistance has been most cordially given, with a full recognition of the value of the enterprise and of the aid that the Library may give in encouraging and broadening literary tastes. Perhaps no better service could be rendered the American public at this period than the offer of an opportunity for a comprehensive study of the older and the greater literatures of other nations. By this comparison it can gain a just view of its own literature, and of its possible mission in the world of letters.
It should be noted that the plan for this work couldn't have been achieved without the help of experts in various fields, as well as skilled and insightful writers, both in this country and in Europe. This support has been given wholeheartedly, with a full understanding of the importance of the project and the role the Library can play in promoting and expanding literary interests. There might be no better service to offer the American public at this time than the chance for an in-depth study of the older and more significant literatures of other nations. Through this comparison, they can gain a proper perspective on their own literature and its potential role in the literary world.
THE ADVISORY COUNCIL
CRAWFORD H. TOY, A.M., LL.D.,
CRAWFORD H. TOY, A.M., LL.D.,
Professor of Hebrew,
Hebrew professor,
HARVARD UNIVERSITY, Cambridge, Mass.
Harvard University, Cambridge, MA
THOMAS R. LOUNSBURY, LL.D., L.H.D.,
THOMAS R. LOUNSBURY, LL.D., L.H.D.
Professor of English in the Sheffield Scientific School of
Professor of English in the Sheffield Scientific School of
YALE UNIVERSITY, New Haven, Conn.
Yale University, New Haven, CT
WILLIAM M. SLOANE, PH.D., L.H.D.,
WILLIAM M. SLOANE, PhD, LHD,
Professor of History and Political Science,
Professor of History and Political Science,
PRINCETON UNIVERSITY, Princeton, N.J.
Princeton University, Princeton, NJ
BRANDER MATTHEWS, A.M., LL.B.,
BRANDER MATTHEWS, M.A., J.D.,
Professor of Literature,
Lit Professor,
COLUMBIA UNIVERSITY, New York City.
Columbia University, NYC.
JAMES B. ANGELL, LL.D.,
JAMES B. ANGELL, LL.D.,
President of the
President of the
UNIVERSITY OF MICHIGAN, Ann Arbor, Mich.
UNIVERSITY OF MICHIGAN, Ann Arbor, MI
WILLARD FISKE, A.M., PH.D.,
WILLARD FISKE, M.A., Ph.D.,
Late Professor of the Germanic and Scandinavian Languages and Literatures,
Late Professor of Germanic and Scandinavian Languages and Literatures,
CORNELL UNIVERSITY, Ithaca, N.Y.
CORNELL UNIVERSITY, Ithaca, NY
EDWARD S. HOLDEN, A.M., LL.D.,
EDWARD S. HOLDEN, M.A., J.D.,
Director of the Lick Observatory, and Astronomer
Director of the Lick Observatory and Astronomer
UNIVERSITY OF CALIFORNIA, Berkeley, Cal.
UC Berkeley, California
ALCÉE FORTIER, LIT.D.,
ALCÉE FORTIER, Ph.D.,
Professor of the Romance Languages,
Romance Languages Professor,
TULANE UNIVERSITY, New Orleans, La.
Tulane University, New Orleans, LA
WILLIAM P. TRENT, M.A.,
WILLIAM P. TRENT, M.A.,
Dean of the Department of Arts and Sciences, and Professor of English and History,
Dean of the College of Arts and Sciences and Professor of English and History,
UNIVERSITY OF THE SOUTH, Sewanee, Tenn.
UNIVERSITY OF THE SOUTH, Sewanee, TN
PAUL SHOREY, PH.D.,
PAUL SHOREY, PH.D.
Professor of Greek and Latin Literature,
Professor of Greek and Latin Literature,
UNIVERSITY OF CHICAGO, Chicago, Ill.
University of Chicago, Chicago, IL
WILLIAM T. HARRIS, LL.D.,
WILLIAM T. HARRIS, Ph.D.,
United States Commissioner of Education,
U.S. Commissioner of Education,
BUREAU OF EDUCATION, Washington, D.C.
Department of Education, Washington, D.C.
MAURICE FRANCIS EGAN, A.M., LL.D.,
MAURICE FRANCIS EGAN, A.M., LL.D.,
Professor of Literature in the
Literature Professor in the
CATHOLIC UNIVERSITY OF AMERICA, Washington, D.C.
CATHOLIC UNIVERSITY OF AMERICA, Washington, D.C.
NOTE OF ACKNOWLEDGMENT
wing to the many changes in the assignment of topics and engaging of writers incident to so extended a publication as the Library of the World's Best Literature, the Editor finds it impossible, before the completion of the work, adequately to recognize the very great aid which he has received from a large number of persons. A full list of contributors will be given in one of the concluding volumes. He will expressly acknowledge also his debt to those who have assisted him editorially, or in other special ways, in the preparation of these volumes.
Due to the many changes in the assignment of topics and engagement of writers involved in such a large publication as the Library of the World's Best Literature, the Editor finds it impossible, before finishing the work, to fully recognize the immense help he has received from many individuals. A complete list of contributors will be provided in one of the final volumes. He will also specifically acknowledge his gratitude to those who have assisted him editorially or in other special ways during the preparation of these volumes.
Both Editor and Publishers have endeavored to give full credit to every author quoted, and to accompany every citation with ample notice of copyright ownership. At the close of the work it is their purpose to express in a more formal way their sense of obligation to the many publishers who have so courteously given permission for this use of their property, and whose rights of ownership it is intended thoroughly to protect.
Both the Editor and the Publishers have worked hard to give full credit to every author quoted and to include proper notices of copyright ownership with each citation. At the end of this work, they aim to formally express their gratitude to the many publishers who graciously gave permission for the use of their materials and whose ownership rights they intend to fully protect.
TABLE OF CONTENTS
VOL. I
ABÉLARD AND HÉLOISE (by Thomas Davidson) -- 1079-1142
__A_TAG_PLACEHOLDER_0__ (by Thomas Davidson) -- 1079-1142
EDMOND ABOUT -- 1828-1885
__A_TAG_PLACEHOLDER_0__ -- 1828-1885
The Capture ('The King of the Mountains')
__A_TAG_PLACEHOLDER_0__ ('King of the Mountains')
Hadgi-Stavros (same)
__A_TAG_PLACEHOLDER_0__ (same)
The Victim ('The Man with the Broken Ear')
The Victim ('The Man with the Broken Ear')
The Man without a Country (same)
__A_TAG_PLACEHOLDER_0__ (same)
ACCADIAN-BABYLONIAN AND ASSYRIAN LITERATURE (by Crawford H. Toy)
__A_TAG_PLACEHOLDER_0__ (by Crawford H. Toy)
ABIGAIL ADAMS (by Lucia Gilbert Runkle) -- 1744-1818
ABIGAIL ADAMS (by Lucia Gilbert Runkle) -- 1744-1818
__A_TAG_PLACEHOLDER_0__; __A_TAG_PLACEHOLDER_1__; __A_TAG_PLACEHOLDER_2__;
__A_TAG_PLACEHOLDER_0__; __A_TAG_PLACEHOLDER_1__; __A_TAG_PLACEHOLDER_2__
__A_TAG_PLACEHOLDER_0__; __A_TAG_PLACEHOLDER_1__;
__A_TAG_PLACEHOLDER_0__; __A_TAG_PLACEHOLDER_1__
HENRY ADAMS -- 1838-
__A_TAG_PLACEHOLDER_0__ -- 1838
JOHN ADAMS -- 1735-1826
__A_TAG_PLACEHOLDER_0__ -- 1735-1826
JOHN QUINCY ADAMS -- 1767-1848
__A_TAG_PLACEHOLDER_0__ -- 1767-1848
__A_TAG_PLACEHOLDER_0__; __A_TAG_PLACEHOLDER_1__; __A_TAG_PLACEHOLDER_2__
SARAH FLOWER ADAMS -- 1805-1848
__A_TAG_PLACEHOLDER_0__ -- 1805-1848
JOSEPH ADDISON (by Hamilton Wright Mabie) -- 1672-1720
JOSEPH ADDISON (by Hamilton Wright Mabie) -- 1672-1720
AESCHINES -- B.C. 389-314
__A_TAG_PLACEHOLDER_0__ -- 389-314 B.C.
JEAN LOUIS RODOLPHE AGASSIZ -- 1807-1873
__A_TAG_PLACEHOLDER_0__ -- 1807-1873
AGATHIAS -- A.D. 536-581
__A_TAG_PLACEHOLDER_0__ -- 536-581 AD
GRACE AGUILAR -- 1816-1847
__A_TAG_PLACEHOLDER_0__ -- 1816-1847
WILLIAM HARRISON AINSWORTH -- 1805-1882
__A_TAG_PLACEHOLDER_0__ -- 1805-1882
MARK AKENSIDE -- 1721-1770
__A_TAG_PLACEHOLDER_0__ -- 1721-1770
PEDRO ANTONIO DE ALARCÓN -- 1833-1891
__A_TAG_PLACEHOLDER_0__ -- 1833-1891
ALCAEUS -- Sixth Century B.C.
__A_TAG_PLACEHOLDER_0__ -- 6th Century B.C.
BALTÁZAR DE ALCÁZAR -- 1530?-1606
__A_TAG_PLACEHOLDER_0__ -- 1530-1606
ALCIPHRON (by Harry Thurston Peck) -- Second Century
ALCIPHRON (by Harry Thurston Peck) -- Second Century
ALCMAN -- Seventh Century B.C.
__A_TAG_PLACEHOLDER_0__ -- 7th Century B.C.
LOUISA MAY ALCOTT -- 1832-1888
__A_TAG_PLACEHOLDER_0__ -- 1832-1888
HENRY M. ALDEN -- 1836-
__A_TAG_PLACEHOLDER_0__ -- 1836
THOMAS BAILEY ALDRICH -- 1837-
__A_TAG_PLACEHOLDER_0__ -- 1837-
ALEARDO ALEARDI -- 1812-1878
__A_TAG_PLACEHOLDER_0__ -- 1812-1878
JEAN LE ROND D'ALEMBERT -- 1717-1783
__A_TAG_PLACEHOLDER_0__ -- 1717-1783
VITTORIO ALFIERI (by L. Oscar Kuhns) -- 1749-1803
VITTORIO ALFIERI (by L. Oscar Kuhns) -- 1749-1803
ALFRED THE GREAT -- 849-901
__A_TAG_PLACEHOLDER_0__ -- 849-901
CHARLES GRANT ALLEN -- 1848-
__A_TAG_PLACEHOLDER_0__ -- 1848
JAMES LANE ALLEN -- 1850-
__A_TAG_PLACEHOLDER_0__ -- 1850s
WILLIAM ALLINGHAM -- 1828-1889
__A_TAG_PLACEHOLDER_0__ -- 1828-1889
KARL JONAS LUDVIG ALMQUIST -- 1793-1866
__A_TAG_PLACEHOLDER_0__ -- 1793-1866
JOHANNA AMBROSIUS -- 1854-
__A_TAG_PLACEHOLDER_0__ -- 1854
EDMONDO DE AMICIS -- 1846-
__A_TAG_PLACEHOLDER_0__ -- 1846
__A_TAG_PLACEHOLDER_0__)
__A_TAG_PLACEHOLDER_0__)
HENRI FRÉDÉRIC AMIEL (by Richard Burton) -- 1821-1881
__A_TAG_PLACEHOLDER_0__ (by Richard Burton) -- 1821-1881
FULL-PAGE ILLUSTRATIONS
VOLUME I.
First English Printing (Fac-simile).
Assyrian Clay Tablet (Fac-simile).
John Adams (Portrait).
John Quincy Adams (Portrait).
Joseph Addison (Portrait).
Louis Agassiz (Portrait).
"Poetry" (Photogravure).
Vittorio Alfieri (Portrait).
"A Courtship" (Photogravure).
"A Dutch Girl" (Photogravure).
VIGNETTE PORTRAITS
Books are not absolutely dead things, but do contain a potency of life in them to be as active as that soul was whose progeny they are; nay, they do preserve as in a vial the purest efficacy and extraction of that living intellect that bred them. I know they are as lively, and as vigorously productive, as those fabulous dragon's teeth; and being sown up and down, may chance to spring up armed men. And yet on the other hand, unless wariness be used, as good almost kill a man as kill a good book: who kills a man kills a reasonable creature, God's image; but he who destroys a good book, kills reason itself, kills the image of God, as it were in the eye. Many a man lives a burden to the earth; but a good book is the precious life-blood of a master-spirit, embalmed and treasured up on purpose to a life beyond life.
JOHN MILTON.
Books aren’t just dead objects; they hold a potential for life that’s as lively as the soul that created them. In fact, they preserve the pure essence and wisdom of the intellect that brought them into existence. I believe they are as vibrant and productive as those mythical dragon's teeth; scattered around, they could unexpectedly give rise to powerful individuals. However, we must be cautious, as it’s nearly as harmful to destroy a good book as it is to take a life: killing a person ends the life of a rational being, made in God's image; but destroying a good book destroys reason itself, like losing the image of God from our sight. Many people are a drain on the earth, but a good book is the precious essence of a great mind, preserved and saved for a life beyond this one.
JOHN MILTON.
Reduced facsimile of the first page of the only copy extant of
GODEFREY OF BOLOYNE
or
LAST SIEGE AND CONQUESTE OF JHERUSALEM.
The Prologue, at top of page, begins:
Here begynneth the boke Intituled Eracles, and also Godefrey of Boloyne,
the whiche speketh of the Conquest of the holy lande of Jherusalem.
Printed by Caxton, London, 1481. In the British Museum.
A good specimen page of the earliest English printing. Caxton's first
printed book, and the first book printed in English, was "The Game and
Play of the Chess," which was printed in 1474. The blank
space on this page was for the insertion by
hand of an illuminated initial T.
First English Printing (Fac-simile).
First English Printing (Facsimile).
ABÉLARD
(1079--1142)
BY THOMAS DAVIDSON
ierre, the eldest son of Bérenger and Lucie (Abélard?) was born at Palais, near Nantes and the frontier of Brittany, in 1079. His knightly father, having in his youth been a student, was anxious to give his family, and especially his favorite Pierre, a liberal education. The boy was accordingly sent to school, under a teacher who at that time was making his mark in the world,--Roscellin, the reputed father of Nominalism. As the whole import and tragedy of his life may be traced back to this man's teaching, and the relation which it bore to the thought of the time, we must pause to consider these.
Pierre, the eldest son of Bérenger and Lucie (Abélard?) was born at Palais, near Nantes and the border of Brittany, in 1079. His knightly father, having been a student in his youth, was eager to provide his family, especially his favored son Pierre, with a solid education. As a result, the boy was sent to school with a teacher who was gaining recognition at that time—Roscellin, the presumed father of Nominalism. Since the entire significance and tragedy of his life can be traced back to this man’s teachings and their relation to the thoughts of the era, we need to take a moment to consider these.
In the early centuries of our era, the two fundamental articles of the Gentile-Christian creed, the Trinity and the Incarnation, neither of them Jewish, were formulated in terms of Platonic philosophy, of which the distinctive tenet is, that the real and eternal is the universal, not the individual. On this assumption it was possible to say that the same real substance could exist in three, or indeed in any number of persons. In the case of God, the dogma-builders were careful to say, essence is one with existence, and therefore in Him the individuals are as real as the universal. Platonism, having lent the formula for the Trinity, became the favorite philosophy of many of the Church fathers, and so introduced into Christian thought and life the Platonic dualism, that sharp distinction between the temporal and the eternal which belittles the practical life and glorifies the contemplative.
In the early centuries of our era, the two essential beliefs of the Gentile-Christian faith, the Trinity and the Incarnation, neither of which originated from Judaism, were developed using Platonic philosophy. This philosophy's key idea is that the real and eternal is found in the universal, rather than the individual. Based on this idea, it was possible to claim that the same real substance could exist in three, or even more, people. When it came to God, the creators of these doctrines were careful to state that essence is the same as existence, and thus in Him, the individuals are just as real as the universal. Platonism, having provided the framework for the Trinity, became the preferred philosophy of many Church fathers, introducing into Christian thought and life the Platonic dualism—the clear distinction between the temporal and the eternal—which diminishes practical life and elevates the contemplative.
This distinction, as aggravated by Neo-Platonism, further affected Eastern Christianity in the sixth century, and Western Christianity in the ninth, chiefly through the writings of (the pseudo-) Dionysius Areopagita, and gave rise to Christian mysticism. It was then erected into a rule of conduct through the efforts of Pope Gregory VII., who strove to subject practical and civil life entirely to the control of ecclesiastics and monks, standing for contemplative, supernatural life. The latter included all purely mental work, which more and more tended to concentrate itself upon religion and confine itself to the clergy. In this way it came to be considered an utter disgrace for any man engaged in mental work to take any part in the institutions of civil life, and particularly to marry. He might indeed enter into illicit relations, and rear a family of "nephews" and "nieces," without losing prestige; but to marry was to commit suicide. Such was the condition of things in the days of Abélard.
This distinction, made more intense by Neo-Platonism, further impacted Eastern Christianity in the sixth century and Western Christianity in the ninth, mainly through the writings of (the pseudo-) Dionysius Areopagita, and led to the rise of Christian mysticism. It was then established as a guideline for behavior through the efforts of Pope Gregory VII, who aimed to bring practical and civil life completely under the control of clergy and monks, representing a contemplative, supernatural way of living. This included all purely intellectual work, which increasingly focused on religion and became limited to the clergy. As a result, it became seen as a complete disgrace for anyone involved in intellectual work to participate in civil life, especially to marry. While it was acceptable for him to engage in illicit relationships and raise a family of "nephews" and "nieces" without losing status, to marry was viewed as a form of suicide. Such was the situation in the time of Abélard.
But while Platonism, with its real universals, was celebrating its ascetic, unearthly triumphs in the West, Aristotelianism, which maintains that the individual is the real, was making its way in the East. Banished as heresy beyond the limits of the Catholic Church, in the fifth and sixth centuries, in the persons of Nestorius and others, it took refuge in Syria, where it flourished for many years in the schools of Edessa and Nisibis, the foremost of the time. From these it found its way among the Arabs, and even to the illiterate Muhammad, who gave it (1) theoretic theological expression in the cxii. surah of the Koran: "He is One God, God the Eternal; He neither begets nor is begotten; and to Him there is no peer," in which both the fundamental dogmas of Christianity are denied, and that too on the ground of revelation; (2) practical expression, by forbidding asceticism and monasticism, and encouraging a robust, though somewhat coarse, natural life. Islam, indeed, was an attempt to rehabilitate the human.
But while Platonism, with its real universals, was enjoying its ascetic, otherworldly victories in the West, Aristotelianism, which asserts that the individual is real, was making headway in the East. Exiled as heresy beyond the borders of the Catholic Church in the fifth and sixth centuries, with figures like Nestorius and others, it found refuge in Syria, where it thrived for many years in the prominent schools of Edessa and Nisibis. From there, it spread among the Arabs and even reached the uneducated Muhammad, who provided it (1) theoretical theological expression in the cxii. surah of the Koran: "He is One God, God the Eternal; He neither begets nor is begotten; and to Him there is no peer," which denies both fundamental doctrines of Christianity, and that as a matter of revelation; (2) practical expression by forbidding asceticism and monasticism, while promoting a vigorous, though somewhat rough, natural life. Islam was indeed an effort to restore the focus on humanity.
In Abélard's time Arab Aristotelianism, with its consequences for thought and life, was filtering into Europe and forcing Christian thinkers to defend the bases of their faith. Since these, so far as defensible at all, depended upon the Platonic doctrine of universals, and this could be maintained only by dialectic, this science became extremely popular,--indeed, almost the rage. Little of the real Aristotle was at that time known in the West; but in Porphyry's Introduction to Aristotle's Logic was a famous passage, in which all the difficulties with regard to universals were stated without being solved. Over this the intellectual battles of the first age of Scholasticism were fought. The more clerical and mystic thinkers, like Anselm and Bernard, of course sided with Plato; but the more worldly, robust thinkers inclined to accept Aristotle, not seeing that his doctrine is fatal to the Trinity.
In Abélard's time, Arab Aristotelianism was spreading into Europe and challenging Christian thinkers to defend their beliefs. These beliefs, where defensible, relied on Platonic ideas about universals, which could only be supported through dialectic, leading to its immense popularity—almost a craze. At that time, very little of the real Aristotle was known in the West; however, Porphyry's Introduction to Aristotle's Logic contained a famous passage that outlined all the issues concerning universals without providing solutions. This became the battleground for the intellectual conflicts of the early Scholastic period. More clerical and mystical thinkers, like Anselm and Bernard, naturally aligned with Plato; whereas the more pragmatic and robust thinkers leaned towards accepting Aristotle, not realizing that his theories contradict the concept of the Trinity.
Prominent among these was a Breton, Roscellin, the early instructor of Abélard. From him the brilliant, fearless boy learnt two terrible lessons: (1) that universals, instead of being real substances, external and superior to individual things, are mere names (hence Nominalism) for common qualities of things as recognized by the human mind; (2) that since universals are the tools and criteria of thought, the human mind, in which alone these exist, is the judge of all truth,--a lesson which leads directly to pure rationalism, and indeed to the rehabilitation of the human as against the superhuman. No wonder that Roscellin came into conflict with the church authorities, and had to flee to England. Abélard afterwards modified his nominalism and behaved somewhat unhandsomely to him, but never escaped from the influence of his teaching. Abélard was a rationalist and an asserter of the human. Accordingly, when, definitely adopting the vocation of the scholar, he went to Paris to study dialectic under the then famous William of Champeaux, a declared Platonist, or realist as the designation then was, he gave his teacher infinite trouble by his subtle objections, and not seldom got the better of him.
Prominent among these was a Breton named Roscellin, who was the early teacher of Abélard. From him, the brilliant and fearless boy learned two crucial lessons: (1) that universals, rather than being real substances that exist outside and above individual things, are just names (hence Nominalism) for the common qualities of things as recognized by the human mind; (2) that since universals are the tools and standards of thought, the human mind, where these exist, is the judge of all truth—this lesson leads directly to pure rationalism and emphasizes the value of the human over the superhuman. It's no surprise that Roscellin clashed with church authorities and had to flee to England. Abélard later modified his nominalism and treated him somewhat poorly, but he never escaped Roscellin's influence. Abélard was a rationalist and an advocate for humanity. So, when he fully committed to being a scholar, he went to Paris to study dialectic under the then-famous William of Champeaux, a declared Platonist, or realist as it was referred to back then, and he caused his teacher endless trouble with his sharp objections, often getting the better of him.
These victories, which made him disliked both by his teacher and his fellow-pupils, went to increase his natural self-appreciation, and induced him, though a mere youth, to leave William and set up a rival school at Mélun. Here his splendid personality, his confidence, and his brilliant powers of reasoning and statement, drew to him a large number of admiring pupils, so that he was soon induced to move his school to Corbeil, near Paris, where his impetuous dialectic found a wider field. Here he worked so hard that he fell ill, and was compelled to return home to his family. With them he remained for several years, devoting himself to study,--not only of dialectic, but plainly also of theology. Returning to Paris, he went to study rhetoric under his old enemy, William of Champeaux, who had meanwhile, to increase his prestige, taken holy orders, and had been made bishop of Châlons. The old feud was renewed, and Abélard, being now better armed than before, compelled his master openly to withdraw from his extreme realistic position with regard to universals, and assume one more nearly approaching that of Aristotle.
These victories, which made him unpopular with both his teacher and classmates, boosted his natural self-esteem and led him, even as a young man, to leave William and start a rival school in Mélun. There, his impressive personality, confidence, and sharp reasoning skills attracted a large number of admiring students, prompting him to relocate his school to Corbeil, near Paris, where his passionate debates found a broader audience. He worked so hard that he fell ill and had to return home to his family. He stayed with them for several years, focusing on his studies—not just on dialectic, but also on theology. When he returned to Paris, he went to study rhetoric under his former rival, William of Champeaux, who had since taken holy orders and become the bishop of Châlons to boost his status. The old rivalry flared up again, and Abélard, now better equipped than before, forced his teacher to publicly abandon his extreme realistic view on universals and adopt a stance closer to that of Aristotle.
This victory greatly diminished the fame of William, and increased that of Abélard; so that when the former left his chair and appointed a successor, the latter gave way to Abélard and became his pupil (1113). This was too much for William, who removed his successor, and so forced Abélard to retire again to Mélun. Here he remained but a short time; for, William having on account of unpopularity removed his school from Paris Abélard returned thither and opened a school outside the city, on Mont Ste. Généviève. William, hearing this, returned to Paris and tried to put him down, but in vain. Abélard was completely victorious.
This victory significantly reduced William's reputation and boosted Abélard's. When William stepped down from his position and appointed a successor, that successor ended up following Abélard and became his student (1113). This was too much for William, who fired his successor, forcing Abélard to retreat to Mélun. He didn't stay there long; after William, due to his unpopularity, moved his school away from Paris, Abélard returned and opened a school just outside the city on Mont Ste. Généviève. When William learned about this, he came back to Paris and tried to undermine him, but it was all in vain. Abélard was totally victorious.
After a time he returned once more to Palais, to see his mother, who was about to enter the cloister, as his father had done some time before. When this visit was over, instead of returning to Paris to lecture on dialectic, he went to Laon to study theology under the then famous Anselm. Here, convinced of the showy superficiality of Anselm, he once more got into difficulty, by undertaking to expound a chapter of Ezekiel without having studied it under any teacher. Though at first derided by his fellow-students, he succeeded so well as to draw a crowd of them to hear him, and so excited the envy of Anselm that the latter forbade him to teach in Laon. Abélard accordingly returned once more to Paris, convinced that he was fit to shine as a lecturer, not only on dialectic, but also on theology. And his audiences thought so also; for his lectures on Ezekiel were very popular and drew crowds. He was now at the height of his fame (1118).
After a while, he returned to Palais to visit his mother, who was about to enter the cloister, just like his father had done some time before. Once this visit ended, instead of heading back to Paris to lecture on dialectic, he went to Laon to study theology under the now-famous Anselm. There, realizing Anselm's flashy superficiality, he got himself into trouble again by attempting to explain a chapter from Ezekiel without having studied it under any teacher. At first, his fellow students mocked him, but he ended up doing so well that he attracted a large crowd to hear him, which sparked Anselm's jealousy so much that he forbade him from teaching in Laon. Abélard then returned to Paris, convinced that he was ready to shine as a lecturer, not just on dialectic, but also on theology. His audiences agreed; his lectures on Ezekiel became very popular and drew large crowds. He was now at the peak of his fame (1118).
The result of all these triumphs over dialecticians and theologians was unfortunate. He not only felt himself the intellectual superior of any living man, which he probably was, but he also began to look down upon the current thought of his time as obsolete and unworthy, and to set at naught even current opinion. He was now on the verge of forty, and his life had so far been one of spotless purity; but now, under the influence of vanity, this too gave way. Having no further conquests to make in the intellectual world, he began to consider whether, with his great personal beauty, manly bearing, and confident address, he might not make conquests in the social world, and arrived at the conclusion that no woman could reject him or refuse him her favor.
The outcome of all these victories over philosophers and theologians was unfortunate. He not only saw himself as the intellectual superior of anyone alive, which he probably was, but he also started to think of the ideas of his time as outdated and unworthy, dismissing even popular opinions. Now nearing forty, he had lived a life of complete purity; however, under the influence of vanity, that began to change. With no more victories to achieve in the intellectual realm, he started to wonder if, with his great looks, confident demeanor, and strong presence, he could win over women socially, concluding that no woman could refuse him or turn down his advances.
It was just at this unfortunate juncture that he went to live in the house of a certain Canon Fulbert, of the cathedral, whose brilliant niece, Héloïse, had at the age of seventeen just returned from a convent at Argenteuil, where she had been at school. Fulbert, who was proud of her talents, and glad to get the price of Abélard's board, took the latter into his house and intrusted him with the full care of Héloïse's further education, telling him even to chastise her if necessary. So complete was Fulbert's confidence in Abélard, that no restriction was put upon the companionship of teacher and pupil. The result was that Abélard and Héloïse, both equally inexperienced in matters of the heart, soon conceived for each other an overwhelming passion, comparable only to that of Faust and Gretchen. And the result in both cases was the same. Abélard, as a great scholar, could not think of marriage; and if he had, Héloïse would have refused to ruin his career by marrying him. So it came to pass that when their secret, never very carefully guarded, became no longer a secret, and threatened the safety of Héloïse, the only thing that her lover could do for her was to carry her off secretly to his home in Palais, and place her in charge of his sister. Here she remained until the birth of her child, which received the name of Astralabius, Abélard meanwhile continuing his work in Paris. And here all the nobility of his character comes out. Though Fulbert and his friends were, naturally enough, furious at what they regarded as his utter treachery, and though they tried to murder him, he protected himself, and as soon as Héloïse was fit to travel, hastened to Palais, and insisted upon removing her to Paris and making her his lawful wife. Héloïse used every argument which her fertile mind could suggest to dissuade him from a step which she felt must be his ruin, at the same time expressing her entire willingness to stand in a less honored relation to him. But Abélard was inexorable. Taking her to Paris, he procured the consent of her relatives to the marriage (which they agreed to keep secret), and even their presence at the ceremony, which was performed one morning before daybreak, after the two had spent a night of vigils in the church.
It was just at this unfortunate moment that he went to live in the house of a certain Canon Fulbert of the cathedral, whose brilliant niece, Héloïse, had just returned at seventeen from a convent in Argenteuil where she had been in school. Fulbert, proud of her talents and eager to cover Abélard's living expenses, welcomed him into his home and entrusted him with Héloïse’s further education, even telling him to discipline her if needed. Fulbert's confidence in Abélard was so strong that there were no restrictions on the relationship between teacher and student. As a result, Abélard and Héloïse, both inexperienced in matters of love, quickly developed an intense passion for each other, comparable only to that of Faust and Gretchen. And the outcomes in both cases were similarly tragic. Abélard, being a renowned scholar, couldn’t think about marrying; and even if he had, Héloïse wouldn’t have wanted to jeopardize his career by marrying him. So, when their secret, which had never been very well kept, finally came to light and endangered Héloïse, the only option her lover had was to secretly take her back to his home in Palais and place her in the care of his sister. She stayed there until she gave birth to their child, who they named Astralabius, while Abélard continued his work in Paris. Here, his noble character truly shines. Although Fulbert and his friends were understandably furious about what they saw as his betrayal, even attempting to kill him, he defended himself. Once Héloïse was ready to travel, he hurried to Palais and insisted on bringing her to Paris to make her his lawful wife. Héloïse used every argument her clever mind could think of to convince him against this step, which she believed would ruin him, while still expressing her complete willingness to accept a lesser position with him. But Abélard was resolute. He took her to Paris, secured her family's consent for the marriage (which they agreed to keep secret), and even had them present at the ceremony, which took place one morning before dawn after the pair had spent the night in vigil at the church.
After the marriage, they parted and for some time saw little of each other. When Héloïse's relatives divulged the secret, and she was taxed with being Abélard's lawful wife, she "anathematized and swore that it was absolutely false." As the facts were too patent, however, Abélard removed her from Paris, and placed her in the convent at Argenteuil, where she had been educated. Here she assumed the garb of a novice. Her relatives, thinking that he must have done this in order to rid himself of her, furiously vowed vengeance, which they took in the meanest and most brutal form of personal violence. It was not a time of fine sensibilities, justice, or mercy; but even the public of those days was horrified, and gave expression to its horror. Abélard, overwhelmed with shame, despair, and remorse, could now think of nothing better than to abandon the world. Without any vocation, as he well knew, he assumed the monkish habit and retired to the monastery of St. Denis, while Héloïse, by his order, took the veil at Argenteuil. Her devotion and heroism on this occasion Abélard has described in touching terms. Thus supernaturalism had done its worst for these two strong, impetuous human souls.
After the marriage, they separated and for a while saw almost nothing of each other. When Héloïse's family revealed the secret, and she was accused of being Abélard's legitimate wife, she "anathematized and swore that it was absolutely false." However, since the facts were too obvious, Abélard took her away from Paris and placed her in the convent at Argenteuil, where she had been educated. There, she took on the attire of a novice. Her relatives, believing he must have done this to escape from her, vowed revenge, which they carried out in the most cruel and brutal way possible. It was not a time of delicate feelings, justice, or mercy; yet even the public back then was horrified and expressed their disgust. Abélard, overwhelmed with shame, despair, and remorse, could think of nothing better than to withdraw from the world. Without any calling, as he well knew, he took on the monk's habit and retreated to the monastery of St. Denis, while Héloïse, at his request, took the veil at Argenteuil. Abélard described her devotion and bravery during this time in moving terms. Thus, supernaturalism had unleashed its worst upon these two strong, passionate human souls.
If Abélard had entered the cloister in the hope of finding peace, he soon discovered his mistake. The dissolute life of the monks utterly disgusted him, while the clergy stormed him with petitions to continue his lectures. Yielding to these, he was soon again surrounded by crowds of students--so great that the monks at St. Denis were glad to get rid of him. He accordingly retired to a lonely cell, to which he was followed by more admirers than could find shelter or food. As the schools of Paris were thereby emptied, his rivals did everything in their power to put a stop to his teaching, declaring that as a monk he ought not to teach profane science, nor as a layman in theology sacred science. In order to legitimatize his claim to teach the latter, he now wrote a theological treatise, regarding which he says:--
If Abélard had joined the monastery hoping to find peace, he quickly realized his mistake. The immoral behavior of the monks completely repulsed him, while the clergy bombarded him with requests to resume his lectures. Giving in to these requests, he soon found himself surrounded by crowds of students—so many that the monks at St. Denis were relieved to see him go. He then retreated to a secluded cell, which was followed by more admirers than could be accommodated or fed. As the schools of Paris were emptied as a result, his rivals did everything they could to stop his teaching, claiming that as a monk he shouldn't teach secular topics, nor should he, as a layperson in theology, teach sacred topics. To legitimize his right to teach the latter, he decided to write a theological treatise, about which he says:--
"It so happened that I first endeavored to illuminate the basis of our faith by similitudes drawn from human reason, and to compose for our students a treatise on 'The Divine Unity and Trinity,' because they kept asking for human and philosophic reasons, and demanding rather what could be understood than what could be said, declaring that the mere utterance of words was useless unless followed by understanding; that nothing could be believed that was not first understood, and that it was ridiculous for any one to preach what neither he nor those he taught could comprehend, God himself calling such people blind leaders of the blind."
"I started by trying to explain the foundation of our faith using examples from human reasoning, and I wanted to create a guide for our students on 'The Divine Unity and Trinity.' They kept asking for logical and philosophical reasons and were looking for what could be understood rather than just what could be said. They insisted that simply saying words was pointless unless it was followed by understanding; that nothing could be believed unless it was first comprehended; and that it was absurd for anyone to preach what neither they nor their students could grasp, just like God himself referred to such individuals as blind leaders of the blind."
Here we have Abélard's central position, exactly the opposite to that of his realist contemporary, Anselm of Canterbury, whose principle was "Credo ut intelligam" (I believe, that I may understand). We must not suppose, however, that Abélard, with his rationalism, dreamed of undermining Christian dogma. Very far from it! He believed it to be rational, and thought he could prove it so. No wonder that the book gave offense, in an age when faith and ecstasy were placed above reason. Indeed, his rivals could have wished for nothing better than this book, which gave them a weapon to use against him. Led on by two old enemies, Alberich and Lotulf, they caused an ecclesiastical council to be called at Soissons, to pass judgment upon the book (1121). This judgment was a foregone conclusion, the trial being the merest farce, in which the pursuers were the judges, the Papal legate allowing his better reason to be overruled by their passion. Abélard was condemned to burn his book in public, and to read the Athanasian Creed as his confession of faith (which he did in tears), and then to be confined permanently in the monastery of St. Médard as a dangerous heretic.
Here we have Abélard's central stance, which is exactly the opposite of his realist contemporary, Anselm of Canterbury, whose principle was "Credo ut intelligam" (I believe so that I may understand). However, we shouldn't assume that Abélard, with his rationalism, intended to undermine Christian doctrine. Quite the opposite! He believed it was rational and thought he could prove it. It's no surprise that the book caused offense in a time when faith and ecstasy were valued above reason. Indeed, his rivals couldn't have asked for anything better than this book, which gave them a tool to use against him. Spurred on by two old adversaries, Alberich and Lotulf, they summoned an ecclesiastical council at Soissons to judge the book (1121). This judgment was a foregone conclusion; the trial was nothing more than a farce, with the pursuers acting as the judges, and the Papal legate allowing his better judgment to be overruled by their passion. Abélard was sentenced to publicly burn his book and to read the Athanasian Creed as his confession of faith (which he did in tears), and then to be permanently confined in the monastery of St. Médard as a dangerous heretic.
His enemies seemed to have triumphed and to have silenced him forever. Soon after, however, the Papal legate, ashamed of the part he had taken in the transaction, restored him to liberty and allowed him to return to his own monastery at St. Denis. Here once more his rationalistic, critical spirit brought him into trouble with the bigoted, licentious monks. Having maintained, on the authority of Beda, that Dionysius, the patron saint of the monastery, was bishop of Corinth and not of Athens, he raised such a storm that he was forced to flee, and took refuge on a neighboring estate, whose proprietor, Count Thibauld, was friendly to him. Here he was cordially received by the monks of Troyes, and allowed to occupy a retreat belonging to them.
His enemies seemed to have won and silenced him for good. However, soon after, the Papal legate, embarrassed by his involvement in the situation, set him free and let him return to his monastery at St. Denis. Once again, his rational, critical nature caused problems with the narrow-minded and debauched monks. After arguing, based on Beda's authority, that Dionysius, the patron saint of the monastery, was the bishop of Corinth rather than Athens, he stirred up such a commotion that he had to escape and sought refuge on a nearby property, whose owner, Count Thibauld, was supportive of him. There, he was warmly welcomed by the monks of Troyes and was allowed to use a retreat they had.
After some time, and with great difficulty, he obtained leave from the abbot of St. Denis to live where he chose, on condition of not joining any other order. Being now practically a free man, he retired to a lonely spot near Nogent-sur-Seine, on the banks of the Ardusson. There, having received a gift of a piece of land, he established himself along with a friendly cleric, building a small oratory of clay and reeds to the Holy Trinity. No sooner, however, was his place of retreat known than he was followed into the wilderness by hosts of students of all ranks, who lived in tents, slept on the ground, and underwent every kind of hardship, in order to listen to him (1123). These supplied his wants, and built a chapel, which he dedicated to the "Paraclete,"--a name at which his enemies, furious over his success, were greatly scandalized, but which ever after designated the whole establishment.
After a while, and with a lot of effort, he got permission from the abbot of St. Denis to live wherever he wanted, as long as he didn’t join another order. Now practically a free man, he moved to a remote area near Nogent-sur-Seine, by the banks of the Ardusson. There, after receiving a gift of land, he settled down with a fellow cleric, building a small chapel of clay and reeds dedicated to the Holy Trinity. However, as soon as his retreat became known, he was followed into the wilderness by crowds of students from all backgrounds, who lived in tents, slept on the ground, and endured all kinds of hardships just to hear him speak (1123). They met his needs and built a chapel, which he dedicated to the "Paraclete"—a name that outraged his enemies, who were furious about his success, but it later became the name for the entire establishment.
So incessant and unrelenting were the persecutions he suffered from those enemies, and so deep his indignation at their baseness, that for some time he seriously thought of escaping beyond the bounds of Christendom, and seeking refuge among the Muslim. But just then (1125) he was offered an important position, the abbotship of the monastery of St. Gildas-de-Rhuys, in Lower Brittany, on the lonely, inhospitable shore of the Atlantic. Eager for rest and a position promising influence, Abélard accepted the offer and left the Paraclete, not knowing what he was doing.
So relentless were the persecutions he faced from his enemies, and so strong was his anger at their cruelty, that for a while he seriously considered fleeing beyond the borders of Christendom to find refuge among Muslims. But just then (1125), he was offered a significant position as the abbot of the monastery of St. Gildas-de-Rhuys, located on the barren, unwelcoming coast of the Atlantic in Lower Brittany. Eager for peace and a role that promised influence, Abélard accepted the offer and left the Paraclete, unaware of what he was getting himself into.
His position at St. Gildas was little less than slow martyrdom. The country was wild, the inhabitants were half barbarous, speaking a language unintelligible to him; the monks were violent, unruly, and dissolute, openly living with concubines; the lands of the monastery were subjected to intolerable burdens by the neighboring lord, leaving the monks in poverty and discontent. Instead of finding a home of God-fearing men, eager for enlightenment, he found a nest of greed and corruption. His attempts to introduce discipline, or even decency, among his "sons," only stirred up rebellion and placed his life in danger. Many times he was menaced with the sword, many times with poison. In spite of all that, he clung to his office, and labored to do his duty. Meanwhile the jealous abbot of St. Denis succeeded in establishing a claim to the lands of the convent at Argenteuil,--of which Héloïse, long since famous not only for learning but also for saintliness, was now the head,--and she and her nuns were violently evicted and cast on the world. Hearing of this with indignation, Abélard at once offered the homeless sisters the deserted Paraclete and all its belongings. The offer was thankfully accepted, and Héloïse with her family removed there to spend the remainder of her life. It does not appear that Abélard and Héloïse ever saw each other at this time, although he used every means in his power to provide for her safety and comfort. This was in 1129. Two years later the Paraclete was confirmed to Héloïse by a Papal bull. It remained a convent, and a famous one, for over six hundred years.
His situation at St. Gildas was pretty much a slow torture. The area was wild, the people were somewhat uncivilized, speaking a language he couldn’t understand; the monks were violent, unruly, and morally lax, openly living with mistresses; the monastery’s lands were burdened by the neighboring lord, leaving the monks in poverty and frustration. Instead of finding a community of God-fearing men eager for knowledge, he discovered a place filled with greed and corruption. His efforts to bring some order or even basic decency among his “sons” only sparked rebellion and put his life at risk. He faced threats of violence many times, and was even threatened with poison. Despite all of this, he held onto his position and worked hard to fulfill his responsibilities. Meanwhile, the envious abbot of St. Denis managed to claim the lands of the convent at Argenteuil, which was now led by Héloïse, famous not just for her intellect but also for her holiness, and she and her nuns were forcefully expelled. Outraged by this, Abélard immediately offered the homeless sisters the deserted Paraclete and all its possessions. They gratefully accepted his offer, and Héloïse moved there with her family to live out the rest of her life. It doesn’t seem that Abélard and Héloïse ever saw each other during this time, although he did everything he could to ensure her safety and well-being. This was in 1129. Two years later, a Papal bull confirmed the Paraclete to Héloïse. It remained a convent, and a renowned one, for over six hundred years.
After this Abélard paid several visits to the convent, which he justly regarded as his foundation, in order to arrange a rule of life for its inmates, and to encourage them in their vocation. Although on these occasions he saw nothing of Héloïse, he did not escape the malignant suspicions of the world, nor of his own flock, which now became more unruly than ever,--so much so that he was compelled to live outside the monastery. Excommunication was tried in vain, and even the efforts of a Papal legate failed to restore order. For Abélard there was nothing but "fear within and conflict without." It was at this time, about 1132, that he wrote his famous 'Historia Calamitatum,' from which most of the above account of his life has been taken. In 1134, after nine years of painful struggle, he definitely left St. Gildas, without, however, resigning the abbotship. For the next two years he seems to have led a retired life, revising his old works and composing new ones.
After this, Abélard visited the convent several times, which he rightly considered his foundation, to set up a way of life for its residents and to motivate them in their calling. Even though he didn’t see Héloïse during these visits, he couldn’t avoid the harsh suspicions of the world around him, nor those from his own followers, who became more unruly than ever. This became so challenging that he had to live outside the monastery. Attempts at excommunication were ineffective, and even a Papal legate's efforts failed to bring back order. For Abélard, there was nothing but "fear within and conflict without." It was around 1132 when he wrote his famous 'Historia Calamitatum,' from which most of the above account of his life has been drawn. In 1134, after nine years of difficult struggles, he officially left St. Gildas, but did not resign from being the abbot. For the next two years, he seemed to live a secluded life, revising his old works and writing new ones.
Meanwhile, by some chance, his 'History of Calamities' fell into the hands of Héloïse at the Paraclete, was devoured with breathless interest, and rekindled the flame that seemed to have smoldered in her bosom for thirteen long years. Overcome with compassion for her husband, for such he really was, she at once wrote to him a letter which reveals the first healthy human heart-beat that had found expression in Christendom for a thousand years. Thus began a correspondence which, for genuine tragic pathos and human interest, has no equal in the world's literature. In Abélard, the scholarly monk has completely replaced the man; in Héloïse, the saintly nun is but a veil assumed in loving obedience to him, to conceal the deep-hearted, faithful, devoted flesh-and-blood woman. And such a woman! It may well be doubted if, for all that constitutes genuine womanhood, she ever had an equal. If there is salvation in love, Héloïse is in the heaven of heavens. She does not try to express her love in poems, as Mrs. Browning did; but her simple, straightforward expression of a love that would share Francesca's fate with her lover, rather than go to heaven without him, yields, and has yielded, matter for a hundred poems. She looks forward to no salvation; for her chief love is for him. Domino specialiter, sua singulariter: "As a member of the species woman I am the Lord's, as Héloïse I am yours"--nominalism with a vengeance!
Meanwhile, by some chance, his 'History of Calamities' found its way to Héloïse at the Paraclete, who read it with intense interest, reigniting the passion that seemed to have burned quietly in her heart for thirteen long years. Filled with compassion for her husband, for he truly was one, she immediately wrote him a letter that expressed the first genuine human emotion that had surfaced in Christendom for a thousand years. This sparked a correspondence that, for its true tragic depth and human interest, has no match in world literature. In Abélard, the scholarly monk has completely overshadowed the man; in Héloïse, the saintly nun is merely a role taken on out of loving obedience to him, hiding the deep-hearted, faithful, devoted flesh-and-blood woman within. And what a woman she is! It’s hard to believe that, in everything that defines true womanhood, she ever had an equal. If love brings salvation, Héloïse is in the highest heaven. She doesn’t express her love in poems like Mrs. Browning did; instead, her simple and honest declaration of a love that would choose to share Francesca's fate with her lover rather than go to heaven without him has provided inspiration for countless poems. She doesn’t seek salvation; her greatest love is for him. Domino specialiter, sua singulariter: "As a member of the female species, I am the Lord's, but as Héloïse, I am yours"—nominalism at its most intense!
But to return to Abélard. Permanent quiet in obscurity was plainly impossible for him; and so in 1136 we find him back at Ste. Généviève, lecturing to crowds of enthusiastic students. He probably thought that during the long years of his exile, the envy and hatred of his enemies had died out; but he soon discovered that he was greatly mistaken. He was too marked a character, and the tendency of his thought too dangerous, for that. Besides, he emptied the schools of his rivals, and adopted no conciliatory tone toward them. The natural result followed. In the year 1140, his enemies, headed by St. Bernard, who had long regarded him with suspicion, raised a cry of heresy against him, as subjecting everything to reason. Bernard, who was nothing if not a fanatic, and who managed to give vent to all his passions by placing them in the service of his God, at once denounced him to the Pope, to cardinals, and to bishops, in passionate letters, full of rhetoric, demanding his condemnation as a perverter of the bases of the faith.
But let's get back to Abélard. Living in obscurity was clearly not an option for him; so in 1136, we find him back at Ste. Généviève, giving lectures to crowds of eager students. He probably thought that during his long exile, the jealousy and animosity of his foes had faded away, but he soon realized he was sorely mistaken. He was too distinctive, and the nature of his ideas was too risky for that. Plus, he drew students away from his competitors and showed no desire to make peace with them. The predictable outcome followed. In 1140, his opponents, led by St. Bernard, who had long been wary of him, cried heresy against him for applying reason to everything. Bernard, who was nothing if not fanatical and found a way to channel all his passions into the service of his God, immediately reported him to the Pope, cardinals, and bishops in fervent letters, full of rhetoric, demanding his condemnation as a corruptor of the foundations of faith.
At that time a great ecclesiastical council was about to assemble at Sens; and Abélard, feeling certain that his writings contained nothing which he could not show to be strictly orthodox, demanded that he should be allowed to explain and dialectically defend his position, in open dispute, before it. But this was above all things what his enemies dreaded. They felt that nothing was safe before his brilliant dialectic. Bernard even refused to enter the lists with him; and preferred to draw up a list of his heresies, in the form of sentences sundered from their context in his works,--some of them, indeed, from works which he never wrote,--and to call upon the council to condemn them. (These theses may be found in Denzinger's 'Enchiridion Symbolorum et Definitionum,' pp. 109 seq.) Abélard, clearly understanding the scheme, feeling its unfairness, and knowing the effect of Bernard's lachrymose pulpit rhetoric upon sympathetic ecclesiastics who believed in his power to work miracles, appeared before the council, only to appeal from its authority to Rome. The council, though somewhat disconcerted by this, proceeded to condemn the disputed theses, and sent a notice of its action to the Pope. Fearing that Abélard, who had friends in Rome, might proceed thither and obtain a reversal of the verdict, Bernard set every agency at work to obtain a confirmation of it before his victim could reach the Eternal City. And he succeeded.
At that time, a major church council was about to meet in Sens, and Abélard, confident that his writings had nothing wrong with them and could be proven strictly orthodox, requested to present and defend his views in an open debate before the council. However, this was exactly what his opponents feared. They believed nothing was safe from his brilliant reasoning. Bernard even refused to engage in a debate with him and instead chose to compile a list of his supposed heresies by quoting sentences taken out of context from his works—some of which were from texts he never wrote—and urged the council to condemn them. (These theses can be found in Denzinger's 'Enchiridion Symbolorum et Definitionum,' pp. 109 seq.) Abélard, fully aware of their plan, recognizing its unfairness, and knowing how effective Bernard's emotional preaching was on sympathetic church members who believed he could work miracles, appeared before the council only to appeal its decision to Rome. Although the council was somewhat taken aback by this, it went ahead and condemned the disputed theses and sent a notice of its decision to the Pope. Fearing that Abélard, who had supporters in Rome, might travel there and get the ruling overturned, Bernard did everything he could to secure confirmation of the verdict before Abélard could reach the Eternal City. And he succeeded.
The result was for a time kept secret from Abélard, who, now over sixty years old, set out on his painful journey. Stopping on his way at the famous, hospitable Abbey of Cluny, he was most kindly entertained by its noble abbot, who well deserved the name of Peter the Venerable. Here, apparently, he learned that he had been condemned and excommunicated; for he went no further. Peter offered the weary man an asylum in his house, which was gladly accepted; and Abélard, at last convinced of the vanity of all worldly ambition, settled down to a life of humiliation, meditation, study, and prayer. Soon afterward Bernard made advances toward reconciliation, which Abélard accepted; whereupon his excommunication was removed. Then the once proud Abélard, shattered in body and broken in spirit, had nothing more to do but to prepare for another life. And the end was not far off. He died at St. Marcel, on the 21st of April, 1142, at the age of sixty-three. His generous host, in a letter to Héloïse, gives a touching account of his closing days, which were mostly spent in a retreat provided for him on the banks of the Saône. There he read, wrote, dictated, and prayed, in the only quiet days which his life ever knew.
The result was kept a secret from Abélard for a while. Now over sixty years old, he embarked on his painful journey. He stopped at the famous, welcoming Abbey of Cluny, where the noble abbot, rightly named Peter the Venerable, treated him very kindly. It was here that he apparently learned he had been condemned and excommunicated; he chose not to go any further. Peter offered the weary man a place to stay, which Abélard gladly accepted. Convinced at last of the futility of all worldly ambition, he settled into a life of humility, meditation, study, and prayer. Soon after, Bernard reached out for reconciliation, and Abélard accepted it, leading to the lifting of his excommunication. The once proud Abélard, now physically shattered and spiritually broken, had nothing left to do but prepare for the next life. The end was close. He died at St. Marcel on April 21, 1142, at the age of sixty-three. His generous host, in a letter to Héloïse, provides a moving account of his final days, which he mostly spent in a retreat by the banks of the Saône. There, he read, wrote, dictated, and prayed during the only peaceful days his life had ever known.
The body of Abélard was placed in a monolith coffin and buried in the chapel of the monastery of St. Marcel; but Peter the Venerable twenty-two years afterward allowed it to be secretly removed, and carried to the Paraclete, where Abélard had wished to lie. When Héloïse, world-famous for learning, virtue, and saintliness, passed away, and her body was laid beside his, he opened his arms and clasped her in close embrace. So says the legend, and who would not believe it? The united remains of the immortal lovers, after many vicissitudes, found at last (let us hope), in 1817, a permanent resting place, in the Parisian cemetery of Père Lachaise, having been placed together in Abélard's monolith coffin. "In death they were not divided."
The body of Abélard was placed in a solid coffin and buried in the chapel of St. Marcel's monastery; however, twenty-two years later, Peter the Venerable allowed it to be secretly moved and taken to the Paraclete, where Abélard had wanted to be laid to rest. When Héloïse, renowned for her knowledge, virtue, and saintliness, passed away and was laid beside him, he opened his arms and held her closely. So goes the legend, and who wouldn't believe it? The combined remains of the timeless lovers, after many challenges, finally found a permanent resting place in 1817, in the Parisian cemetery of Père Lachaise, placed together in Abélard's solid coffin. "In death they were not divided."
Abélard's character may be summed up in a few words. He was one of the most brilliant and variously gifted men that ever lived, a sincere lover of truth and champion of freedom. But unfortunately, his extraordinary personal beauty and charm of manner made him the object of so much attention and adulation that he soon became unable to live without seeing himself mirrored in the admiration and love of others. Hence his restlessness, irritability, craving for publicity, fondness for dialectic triumph, and inability to live in fruitful obscurity; hence, too, his intrigue with Héloïse, his continual struggles and disappointments, his final humiliation and tragic end. Not having conquered the world, he cannot claim the crown of the martyr.
Abélard's character can be summed up in just a few words. He was one of the most brilliant and talented individuals to ever exist, a genuine lover of truth and a defender of freedom. Unfortunately, his remarkable physical attractiveness and charming personality drew so much attention and praise that he quickly became dependent on seeing himself reflected in the admiration and love of others. This led to his restlessness, irritability, craving for the spotlight, love for intellectual victories, and inability to thrive in meaningful obscurity; it also explains his affair with Héloïse, his ongoing struggles and disappointments, his eventual humiliation, and tragic end. Having not conquered the world, he can't claim the title of martyr.
Abélard's works were collected by Cousin, and published in three 4to volumes (Paris, 1836, 1849, 1859). They include, besides the correspondence with Héloïse, and a number of sermons, hymns, answers to questions, etc., written for her, the following:--(1) 'Sic et Non,' a collection of (often contradictory) statements of the Fathers concerning the chief dogmas of religion, (2) 'Dialectic,' (3) 'On Genera and Species,' (4) Glosses to Porphyry's 'Introduction,' Aristotle's 'Categories and Interpretation,' and Boethius's 'Topics,' (5) 'Introduction to Theology,' (6) 'Christian Theology,' (7) 'Commentary on the Epistle to the Romans,' (9) 'Abstract of Christian Theology,' (10) 'Ethics, or Know Thyself,' (11) 'Dialogue between a Philosopher, a Jew, and a Christian,' (12) 'On the Intellects,' (12) 'On the Hexameron,' with a few short and unimportant fragments and tracts. None of Abélard's numerous poems in the vernacular, in which he celebrated his love for Héloïse, which he sang ravishingly (for he was a famous singer), and which at once became widely popular, seem to have come down to us; but we have a somewhat lengthy poem, of considerable merit (though of doubtful authenticity), addressed to his son Astralabius, who grew to manhood, became a cleric, and died, it seems, as abbot of Hauterive in Switzerland, in 1162.
Abélard's works were gathered by Cousin and published in three 4to volumes (Paris, 1836, 1849, 1859). They include, along with the correspondence with Héloïse and several sermons, hymns, answers to questions, and more written for her, the following: (1) 'Sic et Non,' a collection of often contradictory statements from the Church Fathers regarding the main dogmas of religion, (2) 'Dialectic,' (3) 'On Genera and Species,' (4) Glosses to Porphyry's 'Introduction,' Aristotle's 'Categories and Interpretation,' and Boethius's 'Topics,' (5) 'Introduction to Theology,' (6) 'Christian Theology,' (7) 'Commentary on the Epistle to the Romans,' (8) 'Abstract of Christian Theology,' (9) 'Ethics, or Know Thyself,' (10) 'Dialogue between a Philosopher, a Jew, and a Christian,' (11) 'On the Intellects,' (12) 'On the Hexameron,' along with a few minor fragments and tracts. None of Abélard's many poems in the vernacular, in which he celebrated his love for Héloïse—sung beautifully, as he was a well-known singer, and that became quite popular—appear to have survived; however, we do have a rather lengthy poem of significant quality (though its authenticity is uncertain) addressed to his son Astralabius, who grew up, became a cleric, and seemingly died as abbot of Hauterive in Switzerland in 1162.
Of Abélard's philosophy, little need be added to what has been already said. It is, on the whole, the philosophy of the Middle Age, with this difference: that he insists upon making theology rational, and thus may truly be called the founder of modern rationalism, and the initiator of the struggle against the tyrannic authority of blind faith. To have been so is his crowning merit, and is one that can hardly be overestimated. At the same time it must be borne in mind that he was a loyal son of the Church, and never dreamed of opposing or undermining her. His greatest originality is in 'Ethics,' in which, by placing the essence of morality in the intent and not in the action, he anticipated Kant and much modern speculation. Here he did admirable work. Abélard founded no school, strictly speaking; nevertheless, he determined the method and aim of Scholasticism, and exercised a boundless influence, which is not dead. Descartes and Kant are his children. Among his immediate disciples were a pope, twenty-nine cardinals, and more than fifty bishops. His two greatest pupils were Peter the Lombard, bishop of Paris, and author of the 'Sentences,' the theological text-book of the schools for hundreds of years; and Arnold of Brescia, one of the noblest champions of human liberty, though condemned and banished by the second Council of the Lateran.
Of Abélard's philosophy, not much more needs to be said than what has already been mentioned. Overall, it reflects the philosophy of the Middle Ages, with the distinction that he emphasizes the need to make theology rational, making him rightfully the founder of modern rationalism and the initiator of the fight against the oppressive authority of blind faith. This achievement is his greatest merit and is truly significant. At the same time, it's important to remember that he was a devoted member of the Church and never intended to oppose or undermine it. His most original contributions are in 'Ethics,' where he placed the essence of morality in intention rather than action, anticipating Kant and much modern thought. In this area, he did outstanding work. Technically, Abélard did not establish a school; however, he shaped the method and goals of Scholasticism and had an immense influence that remains today. Descartes and Kant can be seen as his intellectual descendants. Among his immediate followers were a pope, twenty-nine cardinals, and more than fifty bishops. His two most notable students were Peter the Lombard, bishop of Paris, and author of the 'Sentences,' which became the theological textbook used in schools for centuries; and Arnold of Brescia, one of the most admirable advocates for human freedom, though he was condemned and exiled by the second Council of the Lateran.
The best biography of Abélard is that by Charles de Rémusat (2 vols., 8vo, Paris, 1845). See also, in English, Wight's 'Abelard and Eloise' (New York, 1853).
The best biography of Abélard is by Charles de Rémusat (2 vols., 8vo, Paris, 1845). Also, in English, check out Wight's 'Abelard and Eloise' (New York, 1853).
A letter of yours sent to a friend, best beloved, to console him in affliction, was lately, almost by a chance, put into my hands. Seeing the superscription, guess how eagerly I seized it! I had lost the reality; I hoped to draw some comfort from this faint image of you. But alas!--for I well remember--every line was written with gall and wormwood.
A letter from you that you sent to a close friend to comfort him in his troubles recently came into my hands by chance. When I saw the address, you can imagine how quickly I grabbed it! I had lost the real thing; I hoped to find some solace in this faint reminder of you. But unfortunately—I remember well—every line was filled with bitterness and sorrow.
How you retold our sorrowful history, and dwelt on your incessant afflictions! Well did you fulfill that promise to your friend, that, in comparison with your own, his misfortunes should seem but as trifles. You recalled the persecutions of your masters, the cruelty of my uncle, and the fierce hostility of your fellow-pupils, Albericus of Rheims, and Lotulphus of Lombardy--how through their plottings that glorious book your Theology was burned, and you confined and disgraced--you went on to the machinations of the Abbot of St. Denys and of your false brethren of the convent, and the calumnies of those wretches, Norbert and Bernard, who envy and hate you. It was even, you say, imputed to you as an offense to have given the name of Paraclete, contrary to the common practice, to the Oratory you had founded.
How you shared our painful history and focused on your constant struggles! You really kept that promise to your friend, making his troubles seem minor compared to yours. You reminded us of the persecutions by your masters, the cruelty of my uncle, and the fierce rivalry from your fellow students, Albericus of Rheims and Lotulphus of Lombardy—how their schemes led to the burning of your important book, Theology, and to your imprisonment and shame. You continued with the plots of the Abbot of St. Denys and your false brothers in the convent, along with the slanders from those miserable men, Norbert and Bernard, who envy and resent you. You even said it was considered a wrongdoing for you to name the Oratory you founded Paraclete, which went against the usual practice.
The persecutions of that cruel tyrant of St. Gildas, and of those execrable monks,--monks out of greed only, whom notwithstanding you call your children,--which still harass you, close the miserable history. Nobody could read or hear these things and not be moved to tears. What then must they mean to me?
The persecution from that cruel tyrant of St. Gildas and those despicable monks—monks who only act out of greed, yet you still call them your children—continues to torment you and wraps up this miserable history. No one could read or hear about these things and not be moved to tears. What must they mean to me?
We all despair of your life, and our trembling hearts dread to hear the tidings of your murder. For Christ's sake, who has thus far protected you,--write to us, as to His handmaids and yours, every circumstance of your present dangers. I and my sisters alone remain of all who were your friends. Let us be sharers of your joys and sorrows. Sympathy brings some relief, and a load laid on many shoulders is lighter. And write the more surely, if your letters may be messengers of joy. Whatever message they bring, at least they will show that you remember us. You can write to comfort your friend: while you soothe his wounds, you inflame mine. Heal, I pray you, those you yourself have made, you who bustle about to cure those for which you are not responsible. You cultivate a vineyard you did not plant, which grows nothing. Give heed to what you owe your own. You who spend so much on the obstinate, consider what you owe the obedient. You who lavish pains on your enemies, reflect on what you owe your daughters. And, counting nothing else, think how you are bound to me! What you owe to all devoted women, pay to her who is most devoted.
We all feel hopeless about your life, and our anxious hearts fear to hear news of your death. For Christ's sake, who has protected you so far, write to us, as He has to His servants and you, about every detail of your current dangers. My sisters and I are the only ones left of all your friends. Let us share in your joys and sorrows. Sympathy offers some relief, and a burden shared among many is lighter. And write with confidence, especially if your letters can carry good news. Whatever news they bring, at least they will show that you remember us. You can write to comfort your friend: while you ease his pain, you deepen mine. Please heal those wounds you’ve caused, while you rush to fix those that aren’t your fault. You’re tending to a vineyard you didn’t plant, which yields nothing. Pay attention to your own responsibilities. You who invest so much in the stubborn, consider what you owe to the obedient. You who spend so much effort on your enemies, think about what you owe your daughters. And, above all, remember what you owe to me! What you owe to all loyal women, give to her who is most loyal.
You know better than I how many treatises the holy fathers of the Church have written for our instruction; how they have labored to inform, to advise, and to console us. Is my ignorance to suggest knowledge to the learned Abélard? Long ago, indeed, your neglect astonished me. Neither religion, nor love of me, nor the example of the holy fathers, moved you to try to fix my struggling soul. Never, even when long grief had worn me down, did you come to see me, or send me one line of comfort,--me, to whom you were bound by marriage, and who clasp you about with a measureless love! And for the sake of this love have I no right to even a thought of yours?
You know better than I how many teachings the holy fathers of the Church have written to guide us; how they have worked to educate, advise, and comfort us. Should my ignorance be the thing that prompts knowledge in the learned Abélard? A long time ago, your indifference shocked me. Neither religion, nor love for me, nor the example of the holy fathers made you try to help my struggling soul. Never, even when my prolonged grief had worn me down, did you come to see me or send me a single word of comfort—me, to whom you are bound by marriage, and who holds you with an endless love! And for the sake of this love, do I not even have a right to a thought from you?
You well know, dearest, how much I lost in losing you, and that the manner of it put me to double torture. You only can comfort me. By you I was wounded, and by you I must be healed. And it is only you on whom the debt rests. I have obeyed the last tittle of your commands; and if you bade me, I would sacrifice my soul.
You know very well, my dear, how much I lost when I lost you, and that the way it happened caused me even more pain. Only you can comfort me. You were the one who hurt me, and you're the only one who can heal me. The responsibility for this lies solely with you. I have followed every single one of your instructions, and if you asked me to, I would even sacrifice my soul.
To please you my love gave up the only thing in the universe it valued--the hope of your presence--and that forever. The instant I received your commands I quitted the habit of the world, and denied all the wishes of my nature. I meant to give up, for your sake, whatever I had once a right to call my own.
To make you happy, my love sacrificed the only thing in the universe it valued—the hope of being with you—forever. The moment I got your orders, I gave up my old way of life and turned down all my natural desires. I intended to let go of everything I once considered mine for your sake.
God knows it was always you, and you only that I thought of. I looked for no dowry, no alliance of marriage. And if the name of wife is holier and more exalted, the name of friend always remained sweeter to me, or if you would not be angry, a meaner title; since the more I gave up, the less should I injure your present renown, and the more deserve your love.
God knows it was always you, and only you that I thought about. I looked for no dowry, no marriage alliance. And if the title of wife is holier and more esteemed, the title of friend has always been sweeter to me, or if you wouldn't mind me saying, a lesser title; since the more I gave up, the less I would harm your current reputation, and the more I would deserve your love.
Nor had you yourself forgotten this in that letter which I recall. You are ready enough to set forth some of the reasons which I used to you, to persuade you not to fetter your freedom, but you pass over most of the pleas I made to withhold you from our ill-fated wedlock. I call God to witness that if Augustus, ruler of the world, should think me worthy the honor of marriage, and settle the whole globe on me to rule forever, it would seem dearer and prouder to me to be called your mistress than his empress.
Nor did you forget this in that letter I'm remembering. You're quick to share some of the reasons I gave you to persuade you not to limit your freedom, but you ignore most of the arguments I used to try to stop you from our doomed marriage. I swear to God that if Augustus, the ruler of the world, were to consider me worthy of the honor of marriage and give me the entire world to rule forever, it would still mean more to me to be called your lover than his empress.
Not because a man is rich or powerful is he better: riches and power may come from luck, constancy is from virtue. I hold that woman base who weds a rich man rather than a poor one, and takes a husband for her own gain. Whoever marries with such a motive--why, she will follow his prosperity rather than the man, and be willing to sell herself to a richer suitor.
Not because a man is rich or powerful does that make him better: wealth and power can come from luck, while true character comes from virtue. I believe that a woman is low if she marries a rich man instead of a poor one, choosing a husband for her own benefit. Anyone who gets married with that mindset will follow his success rather than him as a person and would be willing to leave for an even wealthier partner.
That happiness which others imagine, best beloved, I experienced. Other women might think their husbands perfect, and be happy in the idea, but I knew that you were so and the universe knew the same. What philosopher, what king, could rival your fame? What village, city, kingdom, was not on fire to see you? When you appeared in public, who did not run to behold you? Wives and maidens alike recognized your beauty and grace. Queens envied Héloïse her Abélard.
That happiness that others dream of, my dearest, I felt. Other women might see their husbands as perfect and be content with that idea, but I knew you truly were, and the universe knew it too. What philosopher or king could match your reputation? What village, city, or kingdom didn't light up with excitement to see you? When you showed up in public, who didn't rush to catch a glimpse of you? Wives and young women both admired your beauty and elegance. Queens envied Héloïse for having Abélard.
Two gifts you had to lead captive the proudest soul, your voice that made all your teaching a delight, and your singing, which was like no other. Do you forget those tender songs you wrote for me, which all the world caught up and sang,--but not like you,--those songs that kept your name ever floating in the air, and made me known through many lands, the envy and the scorn of women?
Two gifts you had to captivate the proudest soul: your voice, which made all your lessons a joy, and your singing, which was unlike any other. Do you forget those sweet songs you wrote for me, which everyone in the world sang along to—but not like you did—those songs that kept your name alive in the air and made me known across many lands, the envy and scorn of women?
What gifts of mind, what gifts of person glorified you! Oh, my loss! Who would change places with me now!
What amazing qualities you had! Oh, how I miss you! Who would want to be in my shoes right now!
And you know, Abelard, that though I am the great cause of your misfortunes, I am most innocent. For a consequence is no part of a crime. Justice weighs not the thing done, but the intention. And how pure was my intention toward you, you alone can judge. Judge me! I will submit.
And you know, Abelard, that even though I am the main reason for your troubles, I am completely innocent. A consequence doesn’t equal a crime. Justice doesn’t consider just what was done, but the intention behind it. And how pure my intention toward you was, only you can truly assess. Judge me! I’m ready to accept it.
But how happens it, tell me, that since my profession of the life which you alone determined, I have been so neglected and so forgotten that you will neither see me nor write to me? Make me understand it, if you can, or I must tell you what everybody says: that it was not a pure love like mine that held your heart, and that your coarser feeling vanished with absence and ill-report. Would that to me alone this seemed so, best beloved, and not to all the world! Would that I could hear others excuse you, or devise excuses myself!
But tell me, how is it that since I've committed to the life you chose for me, I've been so neglected and forgotten that you won't see me or even write to me? Help me understand, if you can, or I have to say what everyone else is saying: that it wasn't a true love like mine that captured your heart, and that your stronger feelings faded with distance and bad rumors. I wish it only seemed this way to me, my dearest, and not to everyone else! I wish I could hear others defend you or come up with excuses myself!
The things I ask ought to seem very small and easy to you. While I starve for you, do, now and then, by words, bring back your presence to me! How can you be generous in deeds if you are so avaricious in words? I have done everything for your sake. It was not religion that dragged me, a young girl, so fond of life, so ardent, to the harshness of the convent, but only your command. If I deserve nothing from you, how vain is my labor! God will not recompense me, for whose love I have done nothing.
The things I ask should seem really small and easy for you. While I long for you, please, every now and then, bring your presence back to me through your words! How can you be generous in actions if you're so stingy with your words? I've done everything for you. It wasn't my faith that forced me, a young girl who loved life and was full of passion, into the harshness of the convent; it was only your command. If I don't deserve anything from you, how pointless is my effort! God won't reward me for whom I've done nothing.
When you resolved to take the vows, I followed,--rather, I ran before. You had the image of Lot's wife before your eyes; you feared I might look back, and therefore you deeded me to God by the sacred vestments and irrevocable vows before you took them yourself. For this, I own, I grieved, bitterly ashamed that I could depend on you so little, when I would lead or follow you straight to perdition. For my soul is always with you and no longer mine own. And if it is not with you in these last wretched years, it is nowhere. Do receive it kindly. Oh, if only you had returned favor for favor, even a little for the much, words for things! Would, beloved, that your affection would not take my tenderness and obedience always for granted; that it might be more anxious! But just because I have poured out all I have and am, you give me nothing. Remember, oh, remember how much you owe!
When you decided to take your vows, I followed—actually, I rushed ahead. You had the image of Lot's wife in your mind; you were worried I might look back, so you handed me over to God with the sacred garments and unbreakable vows before you took them yourself. I must admit, this made me really sad, feeling ashamed that I could rely on you so little, even when I would lead or follow you straight to ruin. My soul is always with you and not my own anymore. And if it’s not with you in these last miserable years, then it’s nowhere. Please accept it kindly. Oh, if only you had reciprocated just a bit, giving me words for the things I’ve done! I wish, my love, that you wouldn’t always take my tenderness and obedience for granted; that you might care a bit more! But because I’ve given everything I have and am, you give me nothing in return. Remember, oh, remember how much you owe!
There was a time when people doubted whether I had given you all my heart, asking nothing. But the end shows how I began. I have denied myself a life which promised at least peace and work in the world, only to obey your hard exactions. I have kept back nothing for myself, except the comfort of pleasing you. How hard and cruel are you then, when I ask so little and that little is so easy for you to give!
There was a time when people questioned whether I had truly given you all my heart without asking for anything in return. But the end reveals how I started. I have given up a life that could have offered me at least peace and work in the world just to meet your demanding expectations. I haven’t held anything back for myself, except the satisfaction of making you happy. How harsh and unfeeling you are, when I ask for so little and that little is so easy for you to provide!
In the name of God, to whom you are dedicate, send me some lines of consolation. Help me to learn obedience! When you wooed me because earthly love was beautiful, you sent me letter after letter. With your divine singing every street and house echoed my name! How much more ought you now to persuade to God her whom then you turned from Him! Heed what I ask; think what you owe. I have written a long letter, but the ending shall be short. Farewell, darling!
In the name of God, to whom you are devoted, please send me some comforting words. Help me learn to be obedient! When you pursued me because earthly love was beautiful, you sent me letter after letter. With your divine singing, every street and house echoed my name! You should strive even harder now to lead back to God the one you once turned away from Him! Pay attention to my request; consider what you owe me. I have written a long letter, but I'll keep the ending brief. Goodbye, my love!
To Héloïse, his best beloved Sister in Christ,
To Héloïse, my dearest Sister in Christ,
Abélard, her Brother in Him:
Abélard, her Brother in Christ:
If, since we resigned the world I have not written to you, it was because of the high opinion I have ever entertained of your wisdom and prudence. How could I think that she stood in need of help on whom Heaven had showered its best gifts? You were able, I knew, by example as by word, to instruct the ignorant, to comfort the timid, to kindle the lukewarm.
If I haven't written to you since we left the world, it's because I’ve always respected your wisdom and good judgment. How could I believe that someone who has been blessed with the best gifts from heaven needed help? I knew you could guide the uninformed and reassure the fearful, inspiring the indifferent, both through your actions and your words.
When prioress of Argenteuil, you practiced all these duties; and if you give the same attention to your daughters that you then gave to your sisters, it is enough. All my exhortations would be needless. But if, in your humility, you think otherwise, and if my words can avail you anything, tell me on what subjects you would have me write, and as God shall direct me I will instruct you. I thank God that the constant dangers to which I am exposed rouse your sympathies. Thus I may hope, under the divine protection of your prayers, to see Satan bruised under my feet.
When you were the prioress of Argenteuil, you handled all these responsibilities; and if you give the same care to your daughters that you once gave to your sisters, that's enough. There would be no need for all my encouragement. But if, in your humility, you believe otherwise, and if my words can help you in any way, let me know what topics you would like me to write about, and I will guide you as God leads me. I thank God that the constant dangers I face stir your compassion. Therefore, I hope that with the divine protection of your prayers, I will see Satan defeated under my feet.
Therefore I hasten to send you the form of prayer you beseech of me--you, my sister, once dear to me in the world, but now far dearer in Christ. Offer to God a constant sacrifice of prayer. Urge him to pardon our great and manifold sins, and to avert the dangers which threaten me. We know how powerful before God and his saints are the prayers of the faithful, but chiefly of faithful women for their friends, and of wives for their husbands. The Apostle admonishes us to pray without ceasing.... But I will not insist on the supplications of your sisterhood, day and night devoted to the service of their Maker; to you only do I turn. I well know how powerful your intercession may be. I pray you, exert it in this my need. In your prayers, then, ever remember him who, in a special sense, is yours. Urge your entreaties, for it is just that you should be heard. An equitable judge cannot refuse it.
So, I'm sending you the prayer you asked for—my sister, who was once dear to me in this life but is now even more precious in Christ. Offer God continuous prayers. Ask Him to forgive our many sins and to protect me from the dangers that threaten me. We know how strong the prayers of the faithful are before God and His saints, especially the prayers of faithful women for their friends and wives for their husbands. The Apostle tells us to pray without stopping... But I won’t focus on the prayers of your sisters, who are dedicated to serving their Creator day and night; I’m reaching out to you specifically. I understand how impactful your intercession can be. I kindly ask you to use it for my needs. In your prayers, always remember him who is especially yours. Please make your requests, as it’s only fair that you be heard. A just judge cannot deny it.
In former days, you remember, best beloved, how fervently you recommended me to the care of Providence. Often in the day you uttered a special petition. Removed now from the Paraclete, and surrounded by perils, how much greater my need! Convince me of the sincerity of your regard, I entreat, I implore you.
In the past, you remember, dear one, how passionately you entrusted me to the care of Providence. Throughout the day, you made special prayers for me. Now, away from the Paraclete and faced with dangers, my need is so much greater! I ask you to prove the sincerity of your feelings; I beg you, I implore you.
[The Prayer:] "O God, who by Thy servant didst here assemble Thy handmaids in Thy Holy Name, grant, we beseech Thee, that he be protected from all adversity, and be restored safe to us, Thy handmaids."
[The Prayer:] "O God, who through Your servant gathered Your followers here in Your Holy Name, we ask that You protect him from all hardship and bring him back to us safely, Your followers."
If Heaven permit my enemies to destroy me, or if I perish by accident, see that my body is conveyed to the Paraclete. There, my daughters, or rather my sisters in Christ, seeing my tomb, will not cease to implore Heaven for me. No resting-place is so safe for the grieving soul, forsaken in the wilderness of its sins, none so full of hope as that which is dedicated to the Paraclete--that is, the Comforter.
If heaven allows my enemies to take me down, or if I die by accident, make sure my body is taken to the Paraclete. There, my daughters, or rather my sisters in Christ, will see my grave and will continue to pray for me. There's no safer place for a grieving soul lost in the wilderness of its sins, none so full of hope, as that which is dedicated to the Paraclete—that is, the Comforter.
Where could a Christian find a more peaceful grave than in the society of holy women, consecrated by God? They, as the Gospel tells us, would not leave their divine Master; they embalmed His body with precious spices; they followed Him to the tomb, and there they held their vigil. In return, it was to them that the angel of the resurrection appeared for their consolation.
Where could a Christian find a more peaceful resting place than in the company of holy women, dedicated to God? They, as the Gospel tells us, did not abandon their divine Master; they prepared His body with precious spices; they followed Him to the tomb, and there they kept watch. In return, it was to them that the angel of the resurrection appeared to offer comfort.
Finally, let me entreat you that the solicitude you now too strongly feel for my life you will extend to the repose of my soul. Carry into my grave the love you showed me when alive; that is, never forget to pray Heaven for me.
Finally, let me urge you to extend the concern you currently feel for my life to the peace of my soul. Take with you to my grave the love you showed me when I was alive; that means, never forget to pray to Heaven for me.
Long life, farewell! Long life, farewell, to your sisters also! Remember me, but let it be in Christ!
Long life, goodbye! Long life, goodbye to your sisters too! Remember me, but do so in Christ!
Translated for the 'World's Best Literature.'
Translated for the 'World's Best Literature.'
Oh, what shall be, oh, when shall be that holy Sabbath day,
Oh, what will be, oh, when will that holy Sabbath day come,
Which heavenly care shall ever keep and celebrate alway,
Which heavenly care will always keep and celebrate,
When rest is found for weary limbs, when labor hath reward,
When rest is found for tired limbs, when work has its reward,
When everything forevermore is joyful in the Lord?
When will everything always be joyful in the Lord?
The true Jerusalem above, the holy town, is there,
The real Jerusalem above, the holy city, is there,
Whose duties are so full of joy, whose joy so free from care;
Whose responsibilities are filled with happiness, whose happiness is completely carefree;
Where disappointment cometh not to check the longing heart,
Where disappointment doesn’t come to hold back the yearning heart,
And where the heart, in ecstasy, hath gained her better part.
And where the heart, in joy, has found its true self.
O glorious King, O happy state, O palace of the blest!
O glorious King, O joyful realm, O home of the blessed!
O sacred place and holy joy, and perfect, heavenly rest!
O sacred space and divine joy, and perfect, heavenly peace!
To thee aspire thy citizens in glory's bright array,
To you, your citizens strive in the bright glory of success,
And what they feel and what they know they strive in vain to say.
And what they feel and what they know, they struggle to express in vain.
For while we wait and long for home, it shall be ours to raise
For while we wait and long for home, we will raise
Our songs and chants and vows and prayers in that dear country's praise;
Our songs, chants, vows, and prayers in honor of that beloved country;
And from these Babylonian streams to lift our weary eyes,
And from these Babylonian rivers to lift our tired eyes,
And view the city that we love descending from the skies.
And watch the city we love coming down from the skies.
There, there, secure from every ill, in freedom we shall sing
There, there, safe from every harm, we will sing freely.
The songs of Zion, hindered here by days of suffering,
The songs of Zion, held back here by days of suffering,
And unto Thee, our gracious Lord, our praises shall confess
And to You, our gracious Lord, our praises will acknowledge
That all our sorrow hath been good, and Thou by pain canst bless.
That all our sadness has been beneficial, and You can bring blessings through pain.
There Sabbath day to Sabbath day sheds on a ceaseless light,
There Sabbath day to Sabbath day sheds a constant light,
Eternal pleasure of the saints who keep that Sabbath bright;
Eternal joy of the saints who celebrate that Sabbath with joy;
Nor shall the chant ineffable decline, nor ever cease,
Nor will the unbelievable chant ever fade away or stop,
Which we with all the angels sing in that sweet realm of peace.
Which we sing with all the angels in that sweet realm of peace.
Translation of Dr. Samuel W. Duffield.
Translation of Dr. Samuel W. Duffield.
EDMOND ABOUT
(1828-1885)
arly in the reign of Louis Napoleon, a serial story called 'Tolla,' a vivid study of social life in Rome, delighted the readers of the Revue des Deux Mondes. When published in book form in 1855 it drew a storm of opprobrium upon its young author, who was accused of offering as his own creation a translation of the Italian work 'Vittoria Savorelli.' This charge, undoubtedly unjust, he indignantly refuted. It served at least to make his name well known. Another book, 'La Question Romaine,' a brilliant if somewhat superficial argument against the temporal power of pope and priests, was a philosophic employment of the same material. Appearing in 1860, about the epoch of the French invasion of Austrian Italy, its tone agreed with popular sentiment and it was favorably received.
Early in the reign of Louis Napoleon, a serialized story called 'Tolla,' a vivid portrayal of social life in Rome, captivated the readers of the Revue des Deux Mondes. When it was published as a book in 1855, it drew a wave of criticism towards its young author, who was accused of passing off a translation of the Italian work 'Vittoria Savorelli' as his own creation. This charge, undoubtedly unfair, was met with his indignant denial. At least it made his name well known. Another book, 'La Question Romaine,' a brilliant but somewhat superficial argument against the temporal power of the pope and priests, was a philosophical exploration of the same themes. Released in 1860, around the time of the French invasion of Austrian Italy, its tone resonated with popular sentiment and it received a positive reception.
Edmond François Valentin About had a freakish, evasive, many-sided personality, a nature drawn in too many directions to achieve in any one of these the success his talents warranted. He was born in Dreuze, and like most French boys of literary ambition, soon found his way to Paris, where he studied at the Lycée Charlemagne. Here he won the honor prize; and in 1851 was sent to Athens to study archaeology at the École Française. He loved change and out-of-the-way experiences, and two studies resulted from this trip: 'La Grèce Contemporaine,' a book of charming philosophic description; and the delightful story 'Le Roi des Montagnes' (The King of the Mountains). This tale of the long-limbed German student, enveloped in the smoke from his porcelain pipe as he recounts a series of impossible adventures,--those of himself and two Englishwomen, captured for ransom by Hadgi Stavros, brigand king in the Grecian mountains,--is especially characteristic of About in the humorous atmosphere of every situation.
Edmond François Valentin About had a quirky, elusive, and multifaceted personality, a nature pulled in too many directions to find success in any one area that his talents deserved. He was born in Dreuze and, like many French boys with literary ambitions, quickly made his way to Paris, where he studied at Lycée Charlemagne. There, he won the honor prize, and in 1851, he was sent to Athens to study archaeology at the École Française. He enjoyed change and unusual experiences, and two works emerged from this trip: 'La Grèce Contemporaine,' a charming philosophical description, and the delightful story 'Le Roi des Montagnes' (The King of the Mountains). This tale features a tall German student, shrouded in smoke from his porcelain pipe as he recounts a series of improbable adventures—those of himself and two Englishwomen who were captured for ransom by Hadgi Stavros, the brigand king of the Greek mountains—particularly showcases About's characteristic humor in every situation.
About wrote stories so easily and well that his early desertion of fiction is surprising. His mocking spirit has often suggested comparison with Voltaire, whom he studied and admired. He too is a skeptic and an idol-breaker; but his is a kindlier irony, a less incisive philosophy. Perhaps, however, this influence led to lack of faith in his own work, to his loss of an ideal, which Zola thinks the real secret of his sudden change from novelist to journalist. Voltaire taught him to scoff and disbelieve, to demand "à quoi bon?" and that took the heart out of him. He was rather fond of exposing abuses, a habit that appears in those witty letters to the Gaulois which in 1878 obliged him to suspend that journal. His was a positive mind, interested in political affairs, and with something always ready to say upon them. In 1872 he founded a radical newspaper, Le XIXme Siècle (The Nineteenth Century), in association with another aggressive spirit, that of Francisque Sarcey. For many years he proved his ability as editor, business man, and keen polemist.
About wrote stories so easily and well that his early departure from fiction is surprising. His mocking spirit often draws comparisons to Voltaire, whom he studied and admired. He, too, is a skeptic and a critic of idols; however, his irony is gentler, and his philosophy is less harsh. Perhaps this influence led to a loss of faith in his own work and an abandonment of his ideals, which Zola believes is the real reason for his sudden shift from novelist to journalist. Voltaire taught him to scoff and distrust, to ask "what's the point?" and that drained his enthusiasm. He had a knack for exposing abuses, a trait that shows in those witty letters to the Gaulois, which in 1878 forced him to suspend that journal. He had a proactive mindset, was interested in political matters, and always had something to say about them. In 1872, he launched a radical newspaper, Le XIXme Siècle (The Nineteenth Century), in partnership with another bold figure, Francisque Sarcey. For many years, he demonstrated his skills as an editor, businessman, and sharp debater.
He tried drama, too, inevitable ambition of young French authors; but after the failure of 'Guillery' at the Théâtre Française and 'Gaétena' at the Odéon, renounced the theatre. Indeed, his power is in odd conceptions, in the covert laugh and humorous suggestion of the phrasing, rather than in plot or characterization. He will always be best known for the tales and novels in that thoroughly French style--clear, concise, and witty--which in 1878 elected him president of the Société des Gens de Lettres, and in 1884 won him a seat in the Academy.
He also tried his hand at drama, which is a typical ambition for young French writers; however, after the failures of 'Guillery' at the Théâtre Français and 'Gaétena' at the Odéon, he gave up on the theater. In fact, his strength lies in unusual ideas, the subtle humor, and clever phrasing, rather than in plot or character development. He will always be best remembered for his stories and novels in that distinctly French style—clear, concise, and witty—which led to him being elected president of the Société des Gens de Lettres in 1878 and securing a seat in the Academy in 1884.
About wrote a number of novels, most of them as well known in translation to English and American readers as to his French audience. The bright stories originally published in the Moniteur, afterward collected with the title 'Les Mariages de Paris' had a conspicuous success, and were followed by a companion volume, 'Les Mariages de Province.' 'L'Homme à l'Oreille Cassée' (The Man with the Broken Ear)--the story of a mummy resuscitated to a world of new conditions after many years of apparent death--shows his freakish delight in oddity. So does 'Le Nez du Notaire' (The Notary's Nose), a gruesome tale of the tribulations of a handsome society man, whose nose is struck off in a duel by a revengeful Turk. The victim buys a bit of living skin from a poor water-carrier, and obtains a new nose by successful grafting. But he can nevermore get rid of the uncongenial Aquarius, who exercises occult influence over the skin with which he has parted. When he drinks too much, the Notary's nose is red; when he starves, it dwindles away; when he loses the arm from which the graft was made, the important feature drops off altogether, and the sufferer must needs buy a silver one. About's latest novel, 'Le Roman d'un Brave Homme' (The Story of an Honest Man), is in quite another vein, a charming picture of bourgeois virtue in revolutionary days. 'Madelon' and 'La Vielle Roche' (The Old School) are also popular.
About wrote several novels, many of which are just as well-known to English and American readers as they are to his French audience. The lively stories originally published in the Moniteur, later collected under the title 'Les Mariages de Paris,' enjoyed significant success and were followed by a companion volume, 'Les Mariages de Province.' 'L'Homme à l'Oreille Cassée' (The Man with the Broken Ear)—the tale of a mummy brought back to life in a new world after many years of apparent death—shows his quirky fascination with the unusual. The same goes for 'Le Nez du Notaire' (The Notary's Nose), a gruesome story about the misadventures of a handsome man from society, whose nose is cut off in a duel by a vengeful Turk. The victim buys a piece of living skin from a poor water-carrier and successfully grafts on a new nose. However, he can never shake off the unpleasant Aquarius, who has an eerie control over the skin he donated. When he drinks too much, the Notary's nose turns red; when he goes hungry, it shrinks; and if he loses the arm from which the graft was taken, the important feature falls off completely, forcing him to buy a silver replacement. About's latest novel, 'Le Roman d'un Brave Homme' (The Story of an Honest Man), takes a different approach, presenting a lovely depiction of middle-class virtue during revolutionary times. 'Madelon' and 'La Vielle Roche' (The Old School) are also popular.
French critics have not found much to say of this non-evolutionist of letters, who is neither pure realist nor pure romanticist, and who has no new theory of art. Some, indeed, may have scorned him for the wise taste which refuses to tread the debatable ground common to French fiction. But the reading public has received him with less conscious analysis, and has delighted in him. If he sees only what any clever man may see, and is no profound psychologist, yet he tells what he sees and what he imagines with delightful spirit and delightful wit, and tinges the fabric of his fancy with the ever-changing colors of his own versatile personality, fanciful suggestions, homely realism, and bright antithesis. Above all, he has the great gift of the story-teller.
French critics haven’t had much to say about this non-evolutionist writer, who is neither a pure realist nor a pure romantic, and who doesn’t present any new theory of art. Some may have even looked down on him for his wise taste that avoids the contentious ground common in French fiction. However, the reading public has embraced him with less critical analysis and has found joy in his work. While he may only observe what any intelligent person could see, and isn’t a deep psychologist, he shares what he sees and imagines with charming energy and humor, coloring his imaginative fabric with the ever-changing hues of his diverse personality, whimsical ideas, down-to-earth realism, and striking contrasts. Above all, he possesses the remarkable talent of a storyteller.
"ST! ST!"
"Stop! Stop!"
I raised my eyes. Two thickets of mastic-trees and arbutus enclosed the road on the right and left. From each tuft of trees protruded three or four musket-barrels. A voice cried out in Greek, "Seat yourselves on the ground!" This operation was the more easy to me, as my legs gave way under me. But I consoled myself by thinking that Ajax, Agamemnon, and the fiery Achilles, if they had found themselves in the same situation, would not have refused the seat that was offered.
I looked up. Two clusters of mastic trees and arbutus surrounded the path on both sides. From each group of trees, three or four musket barrels stuck out. A voice shouted in Greek, "Sit down on the ground!" It was easy for me to do this since my legs were giving out. But I comforted myself by thinking that Ajax, Agamemnon, and the fierce Achilles, if they had been in the same situation, wouldn’t have turned down the seat they were offered.
The musket-barrels were leveled upon us. It seemed to me that they stretched out immeasurably, and that their muzzles were about to join above our heads. It was not that fear disturbed my vision; but I had never remarked so sensibly the desperate length of the Greek muskets! The whole arsenal soon debouched into the road, and every barrel showed its stock and its master.
The musket barrels were aimed at us. It felt like they went on forever, and their tips were about to meet over our heads. It wasn’t fear that clouded my sight; I just had never noticed how incredibly long the Greek muskets were! Soon, the entire arsenal spilled into the road, and every gun displayed its stock and its owner.
The only difference which exists between devils and brigands is, that devils are less black than they are said to be, and brigands more dirty than people suppose. The eight bullies, who packed themselves in a circle around us, were so filthy in appearance that I should have wished to give them my money with a pair of tongs. You might guess, with a little effort, that their caps had been red; but lye-wash itself could not have restored the original color of their clothes. All the rocks of the kingdom had stained their cotton shirts, and their vests preserved a sample of the different soils on which they had reposed. Their hands, their faces, and even their moustachios were of a reddish-gray, like the soil which supports them. Every animal is colored according to its abode and its habits: the foxes of Greenland are of the color of snow; lions, of the desert; partridges, of the furrow; Greek brigands, of the highway.
The only difference between devils and bandits is that devils aren’t as bad as people think, and bandits are dirtier than you'd expect. The eight thugs who surrounded us looked so filthy that I would have preferred to hand over my money with a pair of tongs. With a bit of imagination, you could guess that their caps used to be red; but even lye wash wouldn’t bring back the original color of their clothes. The rocks of the kingdom had stained their cotton shirts, and their vests showed off samples of the various soils they had rested on. Their hands, faces, and even their mustaches were a reddish-gray, resembling the soil that surrounds them. Every creature reflects its environment and habits: the foxes in Greenland are the color of snow; lions, of the desert; partridges, of the furrow; and Greek bandits, of the highway.
The chief of the little troop which had made us prisoners was distinguished by no outward mark. Perhaps, however, his face, his hands, and his clothes were richer in dust than those of his comrades. He leaned toward us from the height of his tall figure, and examined us so closely that I felt the grazing of his moustachios. You would have pronounced him a tiger, who smells of his prey before tasting it. When his curiosity was satisfied, he said to Dimitri, "Empty your pockets!"
The leader of the small group that captured us didn't have any obvious signs of leadership. However, his face, hands, and clothes were dustier than those of his companions. He leaned down from his tall frame and looked us over so closely that I could feel his mustache brushing against me. You would have thought he was a tiger, sniffing its prey before going in for the kill. Once he was satisfied with his inspection, he said to Dimitri, "Empty your pockets!"
Dimitri did not give him cause to repeat the order: he threw down before him a knife, a tobacco-pouch, and three Mexican dollars, which compose a sum of about sixteen francs.
Dimitri didn’t need to be told twice: he tossed a knife, a tobacco pouch, and three Mexican dollars down in front of him, which added up to about sixteen francs.
"Is that all?" demanded the brigand.
"Is that it?" asked the bandit.
"Yes, brother."
"Yeah, bro."
"You are the servant?"
"Are you the servant?"
"Yes, brother."
"Yeah, bro."
"Take back one dollar. You must not return to the city without money."
"Take back one dollar. You must not go back to the city without any money."
Dimitri haggled. "You could well allow me two," said he: "I have two horses below; they are hired from the riding-school; I shall have to pay for the day."
Dimitri bargained. "You could let me have two," he said, "I have two horses downstairs; they're rented from the riding school, and I’ll have to pay for them for the day."
"You will explain to Zimmerman that we have taken your money from you."
"You will explain to Zimmerman that we took your money."
"And if he wishes to be paid, notwithstanding?"
"And what if he wants to get paid anyway?"
"Answer that he is lucky enough to see his horses again."
"Say that he is lucky to see his horses again."
"He knows very well that you do not take horses. What would you do with them in the mountains?"
"He knows very well that you don’t take horses. What would you do with them in the mountains?"
"Enough! What is this big raw-boned animal next you?"
"Enough! What is this huge, awkward creature next to you?"
I answered for myself: "An honest German, whose spoils will not enrich you."
I replied for myself: "A truthful German, whose treasures won’t benefit you."
"You speak Greek well. Empty your pockets."
"You speak Greek well. Empty your pockets."
I deposited on the road a score of francs, my tobacco, my pipe, and my handkerchief.
I dropped a bunch of francs on the road, along with my tobacco, my pipe, and my handkerchief.
"What is that?" asked the grand inquisitor.
"What is that?" the grand inquisitor asked.
"A handkerchief."
"A tissue."
"For what purpose?"
"Why?"
"To wipe my nose."
"Wipe my nose."
"Why did you tell me that you were poor? It is only milords who wipe their noses with handkerchiefs. Take off the box which you have behind your back. Good! Open it!"
"Why did you tell me you were broke? It's only rich folks who use handkerchiefs to wipe their noses. Take off the box you have behind your back. Good! Open it!"
My box contained some plants, a book, a knife, a little package of arsenic, a gourd nearly empty, and the remnants of my breakfast, which kindled a look of covetousness in the eyes of Mrs. Simons. I had the assurance to offer them to her before my baggage changed masters. She accepted greedily, and began to devour the bread and meat. To my great astonishment, this act of gluttony scandalized our robbers, who murmured among themselves the word "Schismatic:" The monk made half a dozen signs of the cross, according to the rite of the Greek Church.
My box had some plants, a book, a knife, a small packet of arsenic, a nearly empty gourd, and the leftovers from my breakfast, which sparked a greedy look in Mrs. Simons' eyes. I was bold enough to offer them to her before my belongings changed hands. She accepted eagerly and started to gobble up the bread and meat. To my surprise, this act of greed shocked our robbers, who whispered to each other the word "Schismatic." The monk made several signs of the cross, following the ritual of the Greek Church.
"You must have a watch," said the brigand: "put it with the rest."
"You need to hand over your watch," said the bandit. "Add it to the pile."
I gave up my silver watch, a hereditary toy of the weight of four ounces. The villains passed it from hand to hand, and thought it very beautiful. I was in hopes that admiration, which makes men better, would dispose them to restore me something, and I begged their chief to let me have my tin box. He imposed silence upon me roughly. "At least," said I, "give me back two crowns for my return to the city!" He answered with a sardonic smile, "You will not have need of them."
I gave up my silver watch, a family heirloom that weighed four ounces. The bad guys passed it around and thought it was really nice. I hoped that their admiration, which often brings out the best in people, would lead them to give me something back, so I asked their leader to let me have my tin box. He shut me down harshly. "At least," I said, "give me back two crowns for my trip back to the city!" He replied with a sarcastic smile, "You won’t need those."
The turn of Mrs. Simons had come. Before putting her hand in her pocket, she warned our conquerors in the language of her fathers. The English is one of those rare idioms which one can speak with a mouth full. "Reflect well on what you are going to do," said she, in a menacing tone. "I am an Englishwoman, and English subjects are inviolable in all the countries of the world. What you will take from me will serve you little, and will cost you dear. England will avenge me, and you will all be hanged, to say the least. Now if you wish my money, you have only to speak; but it will burn your fingers: it is English money!"
The time had come for Mrs. Simons. Before reaching into her pocket, she warned our captors in the language of her ancestors. English is one of those rare languages that can be spoken even with a mouth full. "Think carefully about what you're about to do," she said in a threatening tone. "I'm an Englishwoman, and English citizens are protected everywhere in the world. What you take from me won't benefit you much, and it will cost you dearly. England will take revenge for me, and you'll all be hanged, at the very least. Now, if you want my money, just say the word; but be warned: it's English money, and it will burn your fingers!"
"What does she say?" asked the spokesman of the brigands.
"What does she say?" asked the leader of the bandits.
Dimitri answered, "She says that she is English."
Dimitri replied, "She says she's English."
"So much the better! All the English are rich. Tell her to do as you have done."
"That's great! Everyone in England is wealthy. Tell her to follow your example."
The poor lady emptied on the sand a purse, which contained twelve sovereigns. As her watch was not in sight, and as they made no show of searching us, she kept it. The clemency of the conquerors left her her pocket-handkerchief.
The poor lady emptied a purse onto the sand, which had twelve sovereigns inside. Since her watch was out of view and they showed no intention of searching us, she kept it. The mercy of the conquerors allowed her to keep her pocket-handkerchief.
Mary Ann threw down her watch, with a whole bunch of charms against the evil eye. She cast before her, by a movement full of mute grace, a shagreen bag, which she carried in her belt. The brigand opened it with the eagerness of a custom-house officer. He drew from it a little English dressing-case, a vial of English salts, a box of pastilles of English mint, and a hundred and some odd francs in English money.
Mary Ann dropped her watch, which was covered in charms meant to ward off bad luck. With a smooth, graceful motion, she tossed a shagreen bag that was attached to her belt in front of her. The thief opened it with the excitement of a customs officer. He pulled out a small English makeup case, a vial of English salts, a box of English mint pastilles, and a little over a hundred francs in English currency.
"Now," said the impatient beauty, "you can let us go: we have nothing more for you." They indicated to her, by a menacing gesture, that the session was not ended. The chief of the band squatted down before our spoils, called "the good old man," counted the money in his presence, and delivered to him the sum of forty-five francs. Mrs. Simons nudged me on the elbow. "You see," said she, "the monk and Dimitri have betrayed us: he is dividing the spoils with them."
"Okay," said the impatient woman, "you can let us go now; we don't have anything else for you." They signaled to her with a threatening gesture that the meeting wasn't over. The leader of the group squatted down in front of our stolen goods, referred to as "the good old man," counted the money in front of him, and handed him forty-five francs. Mrs. Simons elbowed me. "You see," she said, "the monk and Dimitri have sold us out: he’s splitting the loot with them."
"No, madam," replied I, immediately. "Dimitri has received a mere pittance from that which they had stolen from him. It is a thing which is done everywhere. On the banks of the Rhine, when a traveler is ruined at roulette, the conductor of the game gives him something wherewith to return home."
"No, ma'am," I replied right away. "Dimitri has only gotten a tiny amount back from what they stole from him. This kind of thing happens everywhere. By the Rhine, when a traveler loses everything at roulette, the dealer gives them something to help them get home."
"But the monk?"
"But what about the monk?"
"He has received a tenth part of the booty in virtue of an immemorial custom. Do not reproach him, but rather be thankful to him for having wished to save us, when his convent was interested in our capture."
"He has received a tenth of the loot according to an ancient custom. Don’t blame him; instead, be grateful to him for wanting to save us when his monastery was actually interested in our capture."
This discussion was interrupted by the farewells of Dimitri. They had just set him at liberty.
This conversation was interrupted by Dimitri’s goodbyes. They had just released him.
"Wait for me," said I to him: "we will return together." He shook his head sadly, and answered me in English, so as to be understood by the ladies:-- "You are prisoners for some days, and you will not see Athens again before paying a ransom. I am going to inform the milord. Have these ladies any messages to give me for him?"
"Wait for me," I said to him, "we'll come back together." He shook his head sadly and replied in English so the ladies could understand: "You’re prisoners for a few days, and you won't see Athens again until you pay a ransom. I'm going to inform the lord. Do these ladies have any messages for him?"
"Tell him," cried Mrs. Simons, "to run to the embassy, to go then to the Piraeus and find the admiral, to complain at the foreign office, to write to Lord Palmerston! They shall take us away from here by force of arms, or by public authority, but I do not intend that they shall disburse a penny for my liberty."
"Tell him," shouted Mrs. Simons, "to rush to the embassy, then head to the Piraeus to find the admiral, to file a complaint at the foreign office, to write to Lord Palmerston! They can take us away from here by force or through official means, but I won’t let them spend a single penny for my freedom."
"As for me," replied I, without so much passion, "I beg you to tell my friends in what hands you have left me. If some hundreds of drachms are necessary to ransom a poor devil of a naturalist, they will find them without trouble. These gentlemen of the highway cannot rate me very high. I have a mind, while you are still here, to ask them what I am worth at the lowest price."
"As for me," I replied, with less intensity, "please let my friends know who you’ve entrusted me to. If a few hundred drachmas are needed to free a poor naturalist, they’ll be able to come up with that easily. These highwaymen can’t think very highly of me. While you’re still here, I want to ask them what I’m worth at the lowest price."
"It would be useless, my dear Mr. Hermann! It is not they who fix the figures of your ransom."
"It would be pointless, my dear Mr. Hermann! It's not them who set the amount for your ransom."
"And who then?"
"And who's next?"
"Their chief, Hadgi-Stavros."
"Their leader, Hadgi-Stavros."
The camp of the King was a plateau, covering a surface of seven or eight hundred metres. I looked in vain for the tents of our conquerors. The brigands are not sybarites, and they sleep under the open sky on the 30th of April. I saw neither spoils heaped up nor treasures displayed, nor any of those things which one expects to find at the headquarters of a band of robbers. Hadgi-Stavros makes it his business to have the booty sold; every man receives his pay in money, and employs it as he chooses. Some make investments in commerce, others take mortgages on houses in Athens, others buy land in their villages; no one squanders the products of robbery. Our arrival interrupted the breakfast of twenty-five or thirty men, who flocked around us with their bread and cheese. The chief supports his soldiers; there is distributed to them every day one ration of bread, oil, wine, cheese, caviare, allspice, bitter olives, and meat when their religion permits it. The epicures who wish to eat mallows or other herbs are at liberty to gather delicacies in the mountains.
The King’s camp was a plateau, stretching over around seven or eight hundred meters. I looked in vain for the tents of our conquerors. The bandits aren’t hedonists; they sleep under the open sky on April 30th. I saw no piles of spoils, no treasures on display, nor any of the things you’d expect to find at the base of a group of robbers. Hadgi-Stavros makes it a point to sell the loot; each man gets paid in cash and spends it however he likes. Some invest in trade, others take out mortgages on houses in Athens, and some buy land in their villages; no one wastes the spoils of theft. Our arrival interrupted the breakfast of about twenty-five or thirty men, who gathered around us with their bread and cheese. The chief supports his soldiers; they get one ration of bread, oil, wine, cheese, caviar, allspice, bitter olives, and meat when their religion allows it. Those who want to eat mallows or other herbs can gather treats in the mountains.
The office of the King was as much like an office as the camp of the robbers was like a camp. Neither tables nor chairs nor movables of any sort were to be seen there. Hadgi-Stavros was seated cross-legged on a square carpet in the shade of a fir-tree. Four secretaries and two servants were grouped around him. A boy of sixteen or eighteen was occupied incessantly in filling, lighting, and cleaning the chibouk of his master. He carried in his belt a tobacco-pouch, embroidered with gold and fine mother-of-pearl, and a pair of silver pincers intended for taking up coals. Another servant passed the day in preparing cups of coffee, glasses of water, and sweetmeats to refresh the royal mouth. The secretaries, seated on the bare rock, wrote on their knees, with pens made of reeds. Each of them had at hand a long copper box containing reeds, penknife, and inkhorn. Some tin cylinders, like those in which our soldiers roll up their discharges, served as a depository for the archives. The paper was not of native manufacture, and for a good reason, Every leaf bore the word BATH in capital letters.
The king's office looked less like an office and more like a bandit camp. There were no tables, chairs, or any furniture to be seen. Hadgi-Stavros was sitting cross-legged on a square carpet in the shade of a fir tree. Four secretaries and two servants were gathered around him. A boy, around sixteen or eighteen, was constantly busy filling, lighting, and cleaning his master's chibouk. He had a tobacco pouch embroidered with gold and mother-of-pearl strapped to his belt, along with a pair of silver tongs for handling coals. Another servant spent the day making cups of coffee, glasses of water, and sweets to satisfy the king. The secretaries sat on the bare rock, writing on their knees with reed pens. Each had a long copper box nearby with reeds, a penknife, and an inkwell. Some tin cylinders, similar to those our soldiers use to roll up their discharge papers, were used to store the archives. The paper wasn't locally made, and there was a good reason for that; every sheet was stamped with the word BATH in big letters.
The King was a fine old man, marvelously well preserved, straight, slim, supple as a spring, spruce and shining as a new sabre. His long white moustachios hung under his chin like two marble stalactites. The rest of his face was carefully shaved, the skull bare even to the occiput, where a long tress of white hair was rolled up under his hat. The expression of his features appeared to me calm and thoughtful. A pair of small, clear blue eyes and a square chin announced an indomitable will. His face was long, and the position of the wrinkles lengthened it still more. All the creases of the forehead were broken in the middle, and seemed to direct themselves toward the meeting of the eyebrows; two wide and deep furrows descended perpendicularly to the corners of the lips, as if the weight of the moustachios had drawn in the muscles of the face.
The King was a remarkable old man, incredibly well-preserved, straight, slim, and as flexible as a spring, looking sharp and polished like a new sword. His long white mustache hung beneath his chin like two marble stalactites. The rest of his face was smoothly shaven, with his head bare even at the back, where a long strand of white hair was rolled up under his hat. His expression seemed calm and thoughtful. A pair of small, bright blue eyes and a strong chin displayed an unyielding will. His face was elongated, and the wrinkles made it appear even longer. All the creases on his forehead were centered, pointing toward where his eyebrows met; two wide and deep lines ran straight down to the corners of his lips, as if the weight of the mustache had pulled in the muscles of his face.
I have seen a good many septuagenarians; I have even dissected one who would have reached a hundred years, if the diligence of Osnabrück had not passed over his body: but I do not remember to have observed a more green and robust old age than that of Hadgi-Stavros. He wore the dress of Tino and of all the islands of the Archipelago. His red cap formed a large crease at its base around his forehead. He had a vest of black cloth, faced with black silk, immense blue pantaloons which contained more than twenty metres of cotton cloth, and great boots of Russia leather, elastic and stout. The only rich thing in his costume was a scarf embroidered with gold and precious stones, which might be worth two or three thousand francs. It inclosed in its folds an embroidered cashmere purse, a Damascus sanjar in a silver sheath, a long pistol mounted in gold and rubies, and the appropriate baton.
I’ve seen quite a few people in their seventies; I even examined one who could have lived to be a hundred, if it weren’t for the diligent care from Osnabrück that took over his body. But I don’t recall seeing anyone with a more youthful and vigorous old age than Hadgi-Stavros. He wore the traditional outfit of Tino and the other islands of the Archipelago. His red cap had a deep crease at the base around his forehead. He had a black cloth vest lined with black silk, huge blue pantaloons that used over twenty meters of cotton fabric, and sturdy, elastic boots made of Russian leather. The only lavish part of his outfit was a scarf embroidered with gold and precious stones, which could be worth two or three thousand francs. Inside it, he kept an embroidered cashmere purse, a Damascus dagger in a silver sheath, a long pistol adorned with gold and rubies, and a suitable baton.
Quietly seated in the midst of his employees, Hadgi-Stavros moved only the ends of his fingers and his lips; the lips to dictate his correspondence, the fingers to count the beads in his chaplet. It was one of those beautiful chaplets of milky amber which do not serve to number prayers, but to amuse the solemn idleness of the Turk.
Quietly sitting among his employees, Hadgi-Stavros only moved the tips of his fingers and his lips; his lips to dictate his correspondence, his fingers to count the beads on his rosary. It was one of those beautiful rosaries made of milky amber that aren’t used to count prayers, but to entertain the solemn idleness of the Turk.
He raised his head at our approach, guessed at a glance the occurrence which had brought us there, and said to us, with a gravity which had in it nothing ironical, "You are welcome! Be seated."
He looked up as we came closer, figured out right away what had brought us there, and said to us, with a seriousness that was completely sincere, "Welcome! Please, take a seat."
"Sir," cried Mrs. Simons, "I am an Englishwoman, and--" He interrupted the discourse by making his tongue smack against the teeth of his upper jaw--superb teeth, indeed! "Presently," said he: "I am occupied." He understood only Greek, and Mrs. Simons knew only English; but the physiognomy of the King was so speaking that the good lady comprehended easily without the aid of an interpreter.
"Sir," Mrs. Simons exclaimed, "I’m an Englishwoman, and--" He interrupted her by making a clicking sound with his tongue against his upper teeth—truly impressive teeth! "In a moment," he said. "I’m busy." He only spoke Greek, and Mrs. Simons only knew English; but the King’s facial expressions were so expressive that the kind lady easily understood without needing a translator.
Selections from 'The King of the Mountains' used by permission of J.E. Tilton and Company.
Selections from 'The King of the Mountains' used with permission from J.E. Tilton and Company.
Léon took his bunch of keys and opened the long oak box on which he had been seated. The lid being raised, they saw a great leaden casket which inclosed a magnificent walnut box carefully polished on the outside, lined on the inside with white silk, and padded.
Léon grabbed his bunch of keys and opened the long oak box he had been sitting on. When he lifted the lid, they saw a large lead casket that contained a stunning walnut box, carefully polished on the outside and lined with soft white silk on the inside.
The others brought their lamps and candles near, and the colonel of the Twenty-third of the line appeared as if he were in a chapel illuminated for his lying in state.
The others brought their lamps and candles closer, and the colonel of the Twenty-third of the line looked as though he was in a chapel lit for his wake.
One would have said that the man was asleep. The perfect preservation of the body attested the paternal care of the murderer. It was truly a remarkable preparation, and would have borne comparison with the finest European mummies described by Vicq d'Azyr in 1779, and by the younger Puymaurin in 1787. The part best preserved, as is always the case, was the face. All the features had maintained a proud and manly expression. If any old friend of the colonel had been at the opening of the third box, he would have recognized him at first sight. Undoubtedly the point of the nose was a little sharper, the nostrils less expanded and thinner, and the bridge a little more marked, than in the year 1813. The eyelids were thinned, the lips pinched, the corners of the mouth drawn down, the cheek bones too prominent, and the neck visibly shrunken, which exaggerated the prominence of the chin and larynx. But the eyelids were closed without contraction, and the sockets much less hollow than one could have expected; the mouth was not at all distorted, like the mouth of a corpse; the skin was slightly wrinkled, but had not changed color,--it had only become a little more transparent, showing after a fashion the color of the tendons, the fat, and the muscles, wherever it rested directly upon them. It also had a rosy tint which is not ordinarily seen in embalmed corpses. Dr. Martout explained this anomaly by saying that if the colonel had actually been dried alive, the globules of the blood were not decomposed, but simply collected in the capillary vessels of the skin and subjacent tissues, where they still preserved their proper color, and could be seen more easily than otherwise on account of the semi-transparency of the skin.
One would have said that the man was asleep. The perfect preservation of the body showed the murderer’s careful attention. It was truly an impressive preparation and could easily compete with the finest European mummies described by Vicq d'Azyr in 1779 and by the younger Puymaurin in 1787. The best-preserved part, as is often the case, was the face. All the features retained a proud and strong expression. If any old friend of the colonel had been at the opening of the third box, they would have recognized him immediately. Undoubtedly, the tip of the nose was a bit sharper, the nostrils less flared and thinner, and the bridge a little more pronounced than in 1813. The eyelids were thinner, the lips pinched, the corners of the mouth turned down, the cheekbones too prominent, and the neck noticeably shrunken, which made the chin and larynx stand out even more. However, the eyelids were closed without tension, and the eye sockets were much less hollow than one would expect; the mouth was not distorted at all, like that of a corpse; the skin was slightly wrinkled but had not changed color—it had only become a bit more transparent, revealing somewhat the color of the tendons, fat, and muscles wherever it lay directly on them. It also had a rosy tint that is not usually seen in embalmed bodies. Dr. Martout explained this anomaly by saying that if the colonel had actually been dried alive, the blood cells had not decomposed, but instead collected in the capillary vessels of the skin and underlying tissues, where they still held their original color and were more visible due to the semi-transparency of the skin.
The uniform had become much too large, as may be readily understood, though it did not seem at a casual glance that the members had become deformed. The hands were dry and angular, but the nails, although a little bent inward toward the root, had preserved all their freshness. The only very noticeable change was the excessive depression of the abdominal walls, which seemed crowded downward to the posterior side; at the right, a slight elevation indicated the place of the liver. A tap of the finger on the various parts of the body produced a sound like that from dry leather. While Léon was pointing out these details to his audience and doing the honors of his mummy, he awkwardly broke off the lower part of the right ear, and a little piece of the colonel remained in his hand. This trifling accident might have passed unnoticed had not Clémentine, who followed with visible emotion all the movements of her lover, dropped her candle and uttered a cry of affright. All gathered around her. Léon took her in his arms and carried her to a chair. M. Renault ran after salts. She was as pale as death, and seemed on the point of fainting. She soon recovered, however, and reassured them all by a charming smile.
The uniform had gotten way too big, which was obvious, although at first glance, it didn’t appear the members had actually changed. Their hands were dry and bony, but the nails, even though a bit bent inward at the base, still looked fresh. The only major change was the significant sagging of the abdominal walls, which seemed to have been pushed down towards the back; on the right side, a slight bump marked the position of the liver. When Léon tapped on different parts of the body, it sounded like dry leather. While he was showing these details to his audience and showcasing his mummy, he accidentally broke off the lower part of the right ear, leaving a small piece of the colonel in his hand. This minor incident might have gone unnoticed if Clémentine, who was clearly emotional about her lover's every move, hadn’t dropped her candle and cried out in fear. Everyone crowded around her. Léon scooped her up and took her to a chair. M. Renault rushed to get some salts. She was as pale as a ghost and looked about to faint. However, she quickly recovered and reassured everyone with a lovely smile.
"Pardon me," she said, "for such a ridiculous exhibition of terror; but what Monsieur Léon was saying to us--and then--that figure which seemed sleeping--it appeared to me that the poor man was going to open his mouth and cry out, when he was injured."
"Excuse me," she said, "for this silly display of fear; but what Monsieur Léon was telling us—and then—that figure that looked like it was sleeping—it seemed to me that the poor man was about to open his mouth and scream when he got hurt."
Léon hastened to close the walnut box, while M. Martout picked up the piece of ear and put it in his pocket. But Clémentine, while continuing to smile and make apologies, was overcome by a fresh access of emotion and melted into tears. The engineer threw himself at her feet, poured forth excuses and tender phrases, and did all he could to console her inexplicable grief.
Léon quickly closed the walnut box while M. Martout picked up the piece of ear and put it in his pocket. But Clémentine, still smiling and apologizing, was suddenly overwhelmed with emotion and broke down in tears. The engineer fell to his knees in front of her, offered up excuses and sweet words, and did everything he could to comfort her unexplainable sorrow.
Clémentine dried her eyes, looked prettier than ever, and sighed fit to break her heart, without knowing why.
Clémentine wiped her tears, looked more beautiful than ever, and sighed deeply, feeling heartbroken without really knowing why.
"Beast that I am!" muttered Léon, tearing his hair. "On the day when I see her again after three years' absence, I can think of nothing more soul-inspiring than showing her mummies!" He launched a kick at the triple coffin of the colonel, saying, "I wish the devil had the confounded colonel!"
"Beast that I am!" Léon muttered, tugging at his hair. "On the day I finally see her again after three years, all I can think about is showing her mummies!" He kicked the colonel’s triple coffin, exclaiming, "I wish the devil would take that damn colonel!"
"No!" cried Clémentine, with redoubled energy and emotion. "Do not curse him, Monsieur Léon! He has suffered so much! Ah! poor, poor, unfortunate man!"
"No!" shouted Clémentine, with even more energy and emotion. "Don't curse him, Mr. Léon! He has been through so much! Oh! poor, poor, unfortunate man!"
Mlle. Sambucco felt a little ashamed. She made excuses for her niece, and declared that never, since her tenderest childhood, had she manifested such extreme sensitiveness ... Clémentine was no sensitive plant. She was not even a romantic school-girl. Her youth had not been nourished by Anne Radcliffe, she did not trouble herself about ghosts, and she would go through the house very tranquilly at ten o'clock at night without a candle. When her mother died, some months before Léon's departure, she did not wish to have any one share with her the sad satisfaction of watching and praying in the death chamber.
Mlle. Sambucco felt a bit embarrassed. She made excuses for her niece and insisted that never, since her earliest childhood, had she shown such extreme sensitivity... Clémentine was not a delicate flower. She wasn't even a romantic schoolgirl. She hadn’t been raised on Anne Radcliffe; she didn’t worry about ghosts, and she would calmly walk through the house at ten o’clock at night without a candle. When her mother passed away a few months before Léon left, she didn’t want anyone to share the bittersweet satisfaction of watching and praying in the room where her mother died.
"This will teach us," said the aunt, "what staying up after ten o'clock does. What! it is midnight, within a quarter of an hour! Come, my child; you will recover fast enough after you get to bed."
"This will teach us," said the aunt, "what happens when you stay up past ten o'clock. What! It's almost midnight, in just a quarter of an hour! Come on, my child; you'll feel better once you get to bed."
Clémentine arose submissively; but at the moment of leaving the laboratory she retraced her steps, and with a caprice more inexplicable than her grief, she absolutely demanded to see the mummy of the colonel again. Her aunt scolded in vain; in spite of the remarks of Mlle. Sambucco and all the others present, she reopened the walnut box, knelt down beside the mummy, and kissed it on the forehead.
Clémentine got up obediently, but just as she was about to leave the lab, she changed her mind and, for reasons even she couldn't understand, insisted on seeing the colonel's mummy again. Her aunt scolded her in vain; despite the comments from Mlle. Sambucco and everyone else there, she opened the walnut box again, knelt beside the mummy, and kissed it on the forehead.
"Poor man!" said she, rising. "How cold he is! Monsieur Léon, promise me that if he is dead you will have him laid in consecrated ground!"
"Poor man!" she said, standing up. "How cold he is! Monsieur Léon, promise me that if he’s dead, you’ll make sure he’s buried in consecrated ground!"
"As you please, mademoiselle. I intended to send him to the anthropological museum, with my father's permission; but you know that we can refuse you nothing."
"As you wish, miss. I planned to send him to the anthropology museum, with my dad's approval; but you know we can’t say no to you."
Selections from 'The Man with the Broken Ear' used by permission of Henry Holt and Company.
Selections from 'The Man with the Broken Ear' used by permission of Henry Holt and Company.
Forthwith the colonel marched and opened the windows with a precipitation which upset the gazers among the crowd.
Immediately, the colonel marched and opened the windows with such urgency that it startled the onlookers in the crowd.
"People," said he, "I have knocked down a hundred beggarly pandours, who respect neither sex nor infirmity. For the benefit of those who are not satisfied, I will state that I call myself Colonel Fougas of the Twenty-third. And Vive l'Empéreur!"
"People," he said, "I've taken down a hundred pathetic soldiers who show no respect for gender or weakness. For those who are not satisfied, I'll clarify that I go by Colonel Fougas of the Twenty-third. And Long live the Emperor!"
A confused mixture of plaudits, cries, laughs, and jeers answered this unprecedented allocution. Léon Renault hastened out to make apologies to all to whom they were due. He invited a few friends to dine the same evening with the terrible colonel, and of course he did not forget to send a special messenger to Clémentine. Fougas, after speaking to the people, returned to his hosts, swinging himself along with a swaggering air, set himself astride a chair, took hold of the ends of his mustache, and said:--
A jumbled mix of applause, shouts, laughter, and boos responded to this unprecedented speech. Léon Renault rushed out to apologize to everyone he needed to. He invited a few friends to have dinner that evening with the intimidating colonel, and, naturally, he made sure to send a special messenger to Clémentine. After addressing the crowd, Fougas returned to his hosts, strutting in with a confident swagger, swung himself onto a chair, grabbed the tips of his mustache, and said:--
"Well! Come, let's talk this over. I've been sick, then?"
"Well! Come on, let's discuss this. I've been sick, then?"
"Very sick."
"Seriously ill."
"That's incredible! I feel entirely well; I'm hungry; and moreover, while waiting for dinner I'll try a glass of your schnick."
"That's amazing! I feel great; I'm hungry; and while I'm waiting for dinner, I'll have a glass of your schnick."
Mme. Renault went out, gave an order, and returned in an instant.
Mme. Renault stepped out, gave an order, and came back immediately.
"But tell me, then, where I am?" resumed the colonel. "By these paraphernalia of work, I recognize a disciple of Urania; possibly a friend of Monge and Berthollet. But the cordial friendliness impressed on your countenances proves to me that you are not natives of this land of sauerkraut. Yes, I believe it from the beatings of my heart. Friends, we have the same fatherland. The kindness of your reception, even were there no other indications, would have satisfied me that you are French. What accidents have brought you so far from our native soil? Children of my country, what tempest has thrown you upon this inhospitable shore?"
"But tell me, where am I?" the colonel asked again. "From this collection of tools, I can tell you’re a follower of Urania; maybe even friends with Monge and Berthollet. But the warm friendliness on your faces makes it clear to me that you’re not from this land of sauerkraut. Yes, I can feel it in my heart. Friends, we share the same homeland. The warmth of your welcome, even without any other signs, would make me believe you are French. What events have brought you so far from our homeland? Children of my country, what storm has cast you onto this unwelcoming shore?"
"My dear colonel," replied M. Nibor, "if you want to become very wise, you will not ask so many questions at once. Allow us the pleasure of instructing you quietly and in order, for you have a great many things to learn."
"My dear colonel," replied M. Nibor, "if you want to be very wise, you shouldn't ask so many questions all at once. Let us enjoy the chance to teach you calmly and step by step, because there's a lot for you to learn."
The colonel flushed with anger, and answered sharply:--
The colonel blushed with anger and replied sharply:—
"At all events, you are not the man to teach them to me, my little gentleman!"
"Anyway, you’re not the one to teach me, my little dude!"
A drop of blood which fell on his hand changed the current of his thoughts.
A drop of blood that landed on his hand shifted his thoughts.
"Hold on!" said he: "am I bleeding?"
"Wait!" he said. "Am I bleeding?"
"That will amount to nothing: circulation is re-established, and--and your broken ear--"
"That won't lead to anything: circulation is back to normal, and--and your injured ear--"
He quickly carried his hand to his ear, and said:--
He quickly brought his hand to his ear and said:—
"It's certainly so. But devil take me if I recollect this accident!"
"It's definitely true. But I swear I can't remember this incident!"
"I'll make you a little dressing, and in a couple of days there will be no trace of it left."
"I'll whip up a little dressing for you, and in a few days, there won't be any sign of it left."
"Don't give yourself the trouble, my dear Hippocrates: a pinch of powder is a sovereign cure!"
"Don’t stress yourself out, my dear Hippocrates: a little bit of powder is the ultimate remedy!"
M. Nibor set to work to dress the ear in a little less military fashion. During his operations Léon re-entered.
M. Nibor got to work on styling the ear in a slightly less military way. While he was busy, Léon walked back in.
"Ah! ah!" said he to the doctor: "you are repairing the harm I did."
"Ah! ah!" he said to the doctor, "you're fixing the damage I caused."
"Thunderation!" cried Fougas, escaping from the hands of M. Nibor so as to seize Léon by the collar, "was it you, you rascal, that hurt my ear?"
"Thunderation!" shouted Fougas, breaking free from M. Nibor to grab Léon by the collar. "Was it you, you rascal, who hurt my ear?"
Léon was very good-natured, but his patience failed him. He pushed his man roughly aside.
Léon was really easygoing, but he lost his patience. He shoved his guy roughly aside.
"Yes, sir: it was I who tore your ear, in pulling it; and if that little misfortune had not happened to me, it is certain that you would have been to-day six feet under ground. It is I who saved your life, after buying you with my money when you were not valued at more than twenty-five louis. It is I who have passed three days and two nights in cramming charcoal under your boiler. It is my father who gave you the clothes you now have on. You are in our house. Drink the little glass of brandy Gothon just brought you; but for God's sake give up the habit of calling me rascal, of calling my mother 'Good Mother,' and of flinging our friends into the street and calling them beggarly pandours!"
"Yes, sir: I’m the one who hurt your ear when I pulled it; and if that little accident hadn't happened, you’d definitely be six feet under by now. I’m the one who saved your life after buying you for my money when you weren’t worth more than twenty-five louis. I’ve spent three days and two nights stuffing charcoal under your boiler. My father gave you the clothes you’re wearing now. You’re in our home. Drink the little glass of brandy Gothon just brought you; but for God’s sake, stop calling me a rascal, stop referring to my mother as 'Good Mother,' and quit throwing our friends out into the street and calling them beggarly pandours!"
The colonel, all dumbfounded, held out his hand to Léon, M. Renault, and the doctor, gallantly kissed the hand of Mme. Renault, swallowed at a gulp a claret glass filled to the brim with brandy, and said, in a subdued voice:--
The colonel, completely stunned, extended his hand to Léon, M. Renault, and the doctor, gallantly kissed Mme. Renault's hand, quickly downed a glass of brandy filled to the top, and said in a soft voice:--
"Most excellent friends, forget the vagaries of an impulsive but generous soul. To subdue my passions shall hereafter be my law. After conquering all the nations in the universe, it is well to conquer one's self."
"Dear friends, let’s overlook the inconsistencies of an impulsive yet generous person. From now on, controlling my emotions will be my guiding principle. After winning over all the nations in the world, it’s just as important to master oneself."
This said, he submitted his ear to M. Nibor, who finished dressing it.
That said, he let M. Nibor finish taking care of his ear.
"But," said he, summoning up his recollections, "they did not shoot me, then?"
"But," he said, trying to remember, "they didn’t shoot me, right?"
"No."
"Nope."
"And I wasn't frozen to death in the tower?"
"And I didn't freeze to death in the tower?"
"Not quite."
"Not really."
"Why has my uniform been taken off? I see! I am a prisoner!"
"Why was my uniform taken off? Oh, I get it! I'm a prisoner!"
"You are free."
"You’re free."
"Free! Vive l'Empéreur! But then there's not a moment to lose! How many leagues is it to Dantzic?"
"Free! Long live the Emperor! But we can’t waste any time! How many miles is it to Danzig?"
"It's very far."
"It's really far."
"What do you call this chicken-coop of a town?"
"What do you call this rundown town?"
"Fontainebleau."
"Fontainebleau."
"Fontainebleau! In France?"
"Fontainebleau! In France?"
"Prefecture of Seine-et-Marne. We are going to introduce to you the sub-préfect, whom you just pitched into the street."
"Prefecture of Seine-et-Marne. We're going to introduce you to the sub-prefect, whom you just threw out into the street."
"What the devil are your sub-prefects to me? I have a message from the Emperor to General Rapp, and I must start this very day for Dantzic. God knows whether I'll be there in time!"
"What do I care about your sub-prefects? I have a message from the Emperor for General Rapp, and I need to leave today for Dantzic. God knows if I'll make it in time!"
"My poor colonel, you will arrive too late. Dantzic is given up."
"My poor colonel, you’re going to arrive too late. Dantzic has been given up."
"That's impossible! Since when?"
"That's impossible! Since when?"
"About forty-six years ago."
"About 46 years ago."
"Thunder! I did not understand that you were--mocking me!"
"Thunder! I didn't realize you were--mocking me!"
M. Nibor placed in his hand a calendar, and said, "See for yourself! It is now the 17th of August, 1859; you went to sleep in the tower of Liebenfeld on the 11th of November, 1813: there have been, then, forty-six years, within three months, during which the world has moved on without you."
M. Nibor handed him a calendar and said, "Look for yourself! It's now August 17, 1859; you fell asleep in the tower of Liebenfeld on November 11, 1813. So, it's been forty-six years, almost three months, while the world has gone on without you."
"Twenty-four and forty-six: but then I would be seventy years old, according to your statement!"
"Twenty-four and forty-six: but that means I would be seventy years old, based on what you said!"
"Your vitality clearly shows that you are still twenty-four."
"Your energy clearly shows that you’re still twenty-four."
He shrugged his shoulders, tore up the calendar, and said, beating the floor with his foot, "Your almanac is a humbug!"
He shrugged his shoulders, ripped up the calendar, and said, stomping his foot on the floor, "Your almanac is a scam!"
M. Renault ran to his library, took up half a dozen books at haphazard, and made him read, at the foot of the title-pages, the dates 1826, 1833, 1847, and 1858.
M. Renault rushed to his library, grabbed a handful of books randomly, and had him read the dates at the bottoms of the title pages: 1826, 1833, 1847, and 1858.
"Pardon me!" said Fougas, burying his head in his hands. "What has happened to me is so new! I do not think that another human being was ever subjected to such a trial. I am seventy years old!"
"Pardon me!" said Fougas, burying his head in his hands. "What happened to me is so new! I don't think anyone else has ever gone through such a trial. I'm seventy years old!"
Good Mme. Renault went and got a looking-glass from the bath-room and gave it to him, saying:--
Good Mme. Renault went and got a mirror from the bathroom and handed it to him, saying:--
"Look!"
"Check this out!"
He took the glass in both hands, and was silently occupied in resuming acquaintance with himself, when a hand-organ came into the court and began playing 'Partant pour la Syrie.'
He picked up the glass with both hands and was quietly lost in reconnecting with himself when a street performer entered the courtyard and started playing 'Partant pour la Syrie.'
Fougas threw the mirror to the ground, and cried out:--
Fougas slammed the mirror onto the ground and shouted:--
"What is that you are telling me? I hear the little song of Queen Hortense!"
"What are you saying to me? I hear the little song of Queen Hortense!"
M. Renault patiently explained to him, while picking up the pieces of the mirror, that the pretty little song of Queen Hortense had become a national air, and even an official one, since the regimental bands had substituted that gentle melody for the fierce 'Marseillaise'; and that our soldiers, strange to say, had not fought any the worse for it. But the colonel had already opened the window, and was crying out to the Savoyard with the organ:--
M. Renault patiently explained to him, while picking up the pieces of the mirror, that the lovely little song of Queen Hortense had turned into a national anthem, and even an official one, since the regimental bands had replaced that sweet melody with the fierce 'Marseillaise'; and surprisingly, our soldiers hadn’t fought any worse for it. But the colonel had already opened the window and was shouting to the Savoyard with the organ:--
"Eh! Friend! A napoleon for you if you will tell me in what year I am drawing the breath of life!"
"Hey! Friend! I’ll give you a napoleon if you tell me what year I’m breathing in this life!"
The artist began dancing as lightly as possible, playing on his musical instrument.
The artist started dancing as lightly as he could while playing his musical instrument.
"Advance at the order!" cried the colonel, "and keep that devilish machine still!"
"Move out as instructed!" shouted the colonel, "and keep that damn machine steady!"
"A little penny, my good monsieur!"
"A small coin, my good sir!"
"It is not a penny that I'll give you, but a napoleon, if you'll tell what year it is."
"It’s not a penny I’ll give you, but a napoleon, if you tell me what year it is."
"Oh, but that's funny! Hi--hi--hi!"
"Oh, that's hilarious! Hi--hi--hi!"
"And if you don't tell me quicker than this amounts to, I'll cut your ears off!"
"And if you don't tell me faster than this, I'll cut your ears off!"
The Savoyard ran away, but he came back pretty soon, having meditated, during his flight, on the maxim "Nothing risk, nothing gain."
The Savoyard ran away, but he returned pretty quickly after thinking, during his escape, about the saying "No risk, no reward."
"Monsieur," said he, in a wheedling voice, "this is the year eighteen hundred and fifty-nine."
"Mister," he said in a coaxing voice, "this is the year eighteen fifty-nine."
"Good!" cried Fougas. He felt in his pockets for money, and found nothing there. Léon saw his predicament, and flung twenty francs into the court. Before shutting the window, he pointed out, to the right, the façade of a pretty little new building, where the colonel could distinctly read:--
"Good!" shouted Fougas. He checked his pockets for money and found nothing. Léon noticed his situation and tossed twenty francs into the courtyard. Before closing the window, he pointed to the right at the front of a charming new building, where the colonel could clearly read:--
AUDRET ARCHITECTE
MDCCCLIX
AUDRET ARCHITECT
1859
A perfectly satisfactory piece of evidence, and one which did not cost twenty francs.
A perfectly satisfactory piece of evidence that didn't cost twenty francs.
Fougas, a little confused, pressed Léon's hand and said to him:--
Fougas, a bit puzzled, shook Léon's hand and said to him: --
"My friend, I do not forget that Confidence is the first duty from Gratitude toward Beneficence. But tell me of our country! I tread the sacred soil where I received my being, and I am ignorant of the career of my native land. France is still the queen of the world, is she not?"
"My friend, I don’t forget that confidence is the first duty of gratitude toward kindness. But tell me about our country! I walk on the sacred ground where I was born, and I know nothing about the path of my homeland. France is still the queen of the world, right?"
"Certainly," said Léon.
"Sure," said Léon.
"How is the Emperor?"
"How's the Emperor?"
"Well."
"Alright."
"And the Empress?"
"And what about the Empress?"
"Very well."
"All good."
"And the King of Rome?"
"And the King of Rome?"
"The Prince Imperial? He is a very fine child."
"The Prince Imperial? He’s a really great kid."
"How? A fine child! And you have the face to say that this is 1859!"
"How? What a great kid! And you actually have the nerve to say that this is 1859!"
M. Nibor took up the conversation, and explained in a few words that the reigning sovereign of France was not Napoleon I., but Napoleon III.
M. Nibor joined the conversation and briefly explained that the current ruler of France was not Napoleon I, but Napoleon III.
"But then," cried Fougas, "my Emperor is dead!"
"But then," cried Fougas, "my Emperor is dead!"
"Yes."
Yes.
"Impossible! Tell me anything you will but that! My Emperor is immortal."
"Impossible! You can say whatever you want, but not that! My Emperor is immortal."
M. Nibor and the Renaults, who were not quite professional historians, were obliged to give him a summary of the history of our century. Some one went after a big book, written by M. de Norvins and illustrated with fine engravings by Raffet. He only believed in the presence of Truth when he could touch her with his hand, and still cried out almost every moment, "That's impossible! This is not history that you are reading to me: it is a romance written to make soldiers weep!"
M. Nibor and the Renaults, who weren’t exactly professional historians, had to give him a summary of our century's history. Someone went to get a big book written by M. de Norvins, which had beautiful engravings by Raffet. He only believed in the existence of Truth when he could feel it, and still shouted almost every moment, "That's impossible! This isn’t history you’re telling me: it’s a story meant to make soldiers cry!"
This young man must indeed have had a strong and well-tempered soul; for he learned in forty minutes all the woful events which fortune had scattered through eighteen years, from the first abdication up to the death of the King of Rome. Less happy than his old companions in arms, he had no interval of repose between these terrible and repeated shocks, all beating upon his heart at the same time. One could have feared that the blow might prove mortal, and poor Fougas die in the first hour of his recovered life. But the imp of a fellow yielded and recovered himself in quick succession like a spring. He cried out with admiration on hearing of the five battles of the campaign in France; he reddened with grief at the farewells of Fontainebleau. The return from the Isle of Elba transfigured his handsome and noble countenance; at Waterloo his heart rushed in with the last army of the Empire, and there shattered itself. Then he clenched his fists and said between his teeth, "If I had been there at the head of the Twenty-Third, Blücher and Wellington would have seen another fate!" The invasion, the truce, the martyr of St. Helena, the ghastly terror of Europe, the murder of Murat,--the idol of the cavalry,--the deaths of Ney, Bruno, Mouton-Duvernet, and so many other whole-souled men whom he had known, admired, and loved, threw him into a series of paroxysms of rage; but nothing crushed him. In hearing of the death of Napoleon, he swore that he would eat the heart of England; the slow agony of the pale and interesting heir of the Empire inspired him with a passion to tear the vitals out of Austria. When the drama was over, and the curtain fell on Schönbrunn, he dashed away his tears and said, "It is well. I have lived in a moment a man's entire life. Now show me the map of France!"
This young man must have had a strong and resilient spirit; he learned in forty minutes all the tragic events that fate had spread over eighteen years, from the first abdication to the death of the King of Rome. Unlike his old comrades, he had no break between these awful and repeated blows, all hitting his heart at once. One might have feared that the shock could be fatal, and poor Fougas would die within the first hour of his regained life. But the determined guy bounced back quickly, just like a spring. He exclaimed with admiration upon hearing about the five battles of the campaign in France; he turned red with grief at the farewells of Fontainebleau. The return from the Isle of Elba transformed his handsome and noble face; at Waterloo, his heart surged in with the last army of the Empire, only to be crushed there. Then he clenched his fists and muttered, "If I had been there leading the Twenty-Third, Blücher and Wellington would have faced a different fate!" The invasion, the truce, the martyrdom of St. Helena, the horrible terror across Europe, the murder of Murat—the idol of the cavalry—the deaths of Ney, Bruno, Mouton-Duvernet, and so many other genuinely good men he had known, admired, and loved, sent him into fits of rage; yet nothing broke him. Upon hearing of Napoleon's death, he swore that he would take vengeance on England; the slow suffering of the pale, intriguing heir of the Empire sparked in him a desire to rip apart Austria. When the drama ended, and the curtain fell on Schönbrunn, he wiped away his tears and said, "It’s fine. I’ve lived a whole lifetime in a moment. Now show me the map of France!"
Léon began to turn over the leaves of an atlas, while M. Renault attempted to continue narrating to the colonel the history of the Restoration, and of the monarchy of 1830. But Fougas's interest was in other things.
Léon started flipping through the pages of an atlas, while M. Renault tried to keep telling the colonel about the history of the Restoration and the monarchy of 1830. But Fougas was more interested in other things.
"What do I care," said he, "if a couple of hundred babblers of deputies put one king in place of another? Kings! I've seen enough of them in the dirt. If the Empire had lasted ten years longer, I could have had a king for a bootblack."
"What do I care," he said, "if a few hundred chatty representatives swap one king for another? Kings! I've seen enough of them in the mud. If the Empire had lasted ten more years, I could have had a king as my shoeshiner."
When the atlas was placed before him, he at once cried out with profound disdain, "That France?" But soon two tears of pitying affection, escaping from his eyes, swelled the rivers Ardèche and Gironde. He kissed the map and said, with an emotion which communicated itself to nearly all those who were present:--
When the atlas was set in front of him, he immediately exclaimed with deep disdain, "That France?" But soon, two tears of pitying love streamed from his eyes, swelling the Ardèche and Gironde rivers. He kissed the map and said, with a feeling that resonated with almost everyone present:--
"Forgive me, poor old love, for insulting your misfortunes. Those scoundrels whom we always whipped have profited by my sleep to pare down your frontiers; but little or great, rich or poor, you are my mother, and I love you as a faithful son! Here is Corsica, where the giant of our age was born; here is Toulouse, where I first saw the light; here is Nancy, where I felt my heart awakened--where, perhaps, she whom I call my Aeglé waits for me still! France! Thou hast a temple in my soul; this arm is thine; thou shalt find me ever ready to shed my blood to the last drop in defending or avenging thee!"
"Forgive me, my dear love, for disrespecting your struggles. Those scoundrels we've always fought against have taken advantage of my inactivity to shrink your borders; but whether you are small or large, rich or poor, you are my mother, and I love you like a devoted son! Here is Corsica, where the giant of our time was born; here is Toulouse, where I first opened my eyes; here is Nancy, where I first felt my heart come alive—where, perhaps, the one I call my Aeglé is still waiting for me! France! You have a special place in my heart; this arm belongs to you; you can always count on me to fight to the last drop of my blood to defend or avenge you!"
ACCADIAN-BABYLONIAN AND ASSYRIAN LITERATURE
BY CRAWFORD H. TOY
ecent discoveries have carried the beginnings of civilization farther and farther back into the remote past. Scholars are not agreed as to what region can lay claim to the greatest literary antiquity. The oldest historical records are found in Egypt and Babylonia, and each of these lands has its advocates, who claim for it priority in culture. The data now at our command are not sufficient for the decision of this question. It may be doubted whether any one spot on the globe will ever be shown to have precedence in time over all others,--whether, that is, it will appear that the civilization of the world has proceeded from a single centre. But though we are yet far from having reached the very beginnings of culture, we know that they lie farther back than the wildest dreams of half a century ago would have imagined. Established kingdoms existed in Babylonia in the fourth millennium before the beginning of our era; royal inscriptions have been found which are with great probability assigned to about the year 3800 B.C. These are, it is true, of the simplest description, consisting of a few sentences of praise to a deity or brief notices of a campaign or of the building of a temple; but they show that the art of writing was known, and that the custom existed of recording events of the national history. We may thence infer the existence of a settled civilization and of some sort of literary productiveness.
Recent discoveries have pushed the beginnings of civilization further back into the distant past. Scholars disagree on which region can claim the title of having the oldest literary heritage. The earliest historical records are found in Egypt and Babylonia, and each of these regions has its supporters who argue for its cultural priority. The information we currently have is not enough to resolve this debate. It's uncertain whether any specific location on the planet will ever be definitively proven to have come first in time over all others—that is, whether it will be established that the civilization of the world originated from a single center. However, while we are still far from uncovering the very beginnings of culture, we know they date back further than anyone could have imagined just fifty years ago. Established kingdoms existed in Babylonia during the fourth millennium before our era, and royal inscriptions have been discovered that can likely be dated to around 3800 B.C. Although these inscriptions are quite basic, consisting of a few sentences praising a deity or brief notes about a military campaign or the construction of a temple, they indicate that the art of writing was known and that recording events of national history was common. From this, we can infer the presence of a settled civilization and some level of literary creativity.
The Babylonian-Assyrian writings with which we are acquainted may be divided into the two classes of prose and poetry. The former class consists of royal inscriptions (relating to military campaigns and the construction of temples), chronological tables (eponym canons), legal documents (sales, suits, etc.), grammatical tables (paradigms and vocabularies), lists of omens and lucky and unlucky days, and letters and reports passing between kings and governors; the latter class includes cosmogonic poems, an epic poem in twelve books, detached mythical narratives, magic formulas and incantations, and prayers to deities (belonging to the ritual service of the temples). The prose pieces, with scarcely an exception, belong to the historical period, and may be dated with something like accuracy. The same thing is true of a part of the poetical material, particularly the prayers; but the cosmogonic and other mythical poems appear to go back, at least so far as their material is concerned, to a very remote antiquity, and it is difficult to assign them a definite date.
The Babylonian-Assyrian writings we know of can be split into two categories: prose and poetry. Prose includes royal inscriptions (about military campaigns and temple construction), chronological tables (eponym canons), legal documents (sales, lawsuits, etc.), grammatical tables (paradigms and vocabularies), lists of omens and good and bad days, and letters and reports exchanged between kings and governors. Poetry consists of cosmogonic poems, an epic poem in twelve books, separate mythical stories, magic formulas and incantations, and prayers to gods (related to temple rituals). Almost all prose pieces are from the historical period and can be dated fairly accurately. The same is true for some poetic works, especially the prayers; however, the cosmogonic and other mythical poems seem to date back to a very distant past, and it's hard to assign them a specific date.
Whether this oldest poetical material belongs to the Semitic Babylonians or to a non-Semitic (Sumerian-Accadian) people is a question not yet definitely decided. The material which comes into consideration for the solution of this problem is mainly linguistic. Along with the inscriptions, which are obviously in the Semitic-Babylonian language, are found others composed of words apparently strange. These are held by some scholars to represent a priestly, cryptographic writing, by others to be true Semitic words in slightly altered form, and by others still to belong to a non-Semitic tongue. This last view supposes that the ancient poetry comes, in substance at any rate, from a non-Semitic people who spoke this tongue; while on the other hand, it is maintained that this poetry is so interwoven into Semitic life that it is impossible to regard it as of foreign origin. The majority of Semitic scholars are now of the opinion that the origin of this early literature is foreign. However this may be, it comes to us in Babylonian dress, it has been elaborated by Babylonian hands, has thence found its way into the literature of other Semitic peoples, and for our purposes may be accepted as Babylonian. In any case it carries us back to very early religious conceptions.
Whether the oldest poetic material belongs to the Semitic Babylonians or to a non-Semitic (Sumerian-Accadian) group is still an unresolved issue. The key evidence for this debate is mainly linguistic. Alongside the inscriptions that are clearly in the Semitic-Babylonian language, there are others containing words that seem unfamiliar. Some scholars believe these represent a priestly, coded writing, while others think they are actually Semitic words that have been slightly altered, and others still argue that they come from a non-Semitic language. This last perspective posits that the ancient poetry originates, at least in essence, from a non-Semitic group that spoke this language; however, it is also argued that this poetry is so deeply woven into Semitic culture that it cannot be considered foreign in origin. Most Semitic scholars now believe that the roots of this early literature are indeed foreign. Regardless, it reaches us in a Babylonian form, has been refined by Babylonian hands, and has subsequently influenced the literature of other Semitic peoples, making it acceptable for our purposes to be regarded as Babylonian. In any case, it takes us back to very early religious ideas.
The cosmogonic poetry is in its outlines not unlike that of Hesiod, but develops the ruder ideas at greater length. In the shortest (but probably not the earliest) form of the cosmogony, the beginning of all things is found in the watery abyss. Two abysmal powers (Tiamat and Apsu), represented as female and male, mingle their waters, and from them proceed the gods. The list of deities (as in the Greek cosmogony) seems to represent several dynasties, a conception which may embody the belief in the gradual organization of the world. After two less-known gods, called Lahmu and Lahamu, come the more familiar figures of later Babylonian writing, Anu and Ea. At this point the list unfortunately breaks off, and the creative function which may have been assigned to the gods is lost, or has not yet been discovered. The general similarity between this account and that of Gen. i. is obvious: both begin with the abysmal chaos. Other agreements between the two cosmogonies will be pointed out below. The most interesting figure in this fragment is that of Tiamat. We shall presently see her in the character of the enemy of the gods. The two conceptions of her do not agree together perfectly, and the priority in time must be assigned to the latter. The idea that the world of gods and men and material things issued out of the womb of the abyss is a philosophic generalization that is more naturally assigned to a period of reflection.
The cosmogonic poetry is somewhat similar to Hesiod's, but it expands on the rougher ideas in more detail. In its shortest (but likely not its earliest) version, the origin of everything is traced back to a watery abyss. Two primordial deities (Tiamat and Apsu), depicted as female and male, blend their waters, and from that, the gods emerge. The list of deities (like in the Greek cosmogony) appears to represent several dynasties, suggesting a belief in the gradual organization of the world. After two lesser-known gods, Lahmu and Lahamu, we see the more recognizable figures from later Babylonian texts, Anu and Ea. Unfortunately, the list cuts off at this point, and we lose any creative roles that might have been attributed to the gods, which have not yet been discovered. The striking similarity between this account and Genesis 1 is clear: both start with chaotic waters. Other similarities between the two cosmogonies will be highlighted later. The most intriguing character in this fragment is Tiamat. Soon, we'll see her as the enemy of the gods. These two representations of her don’t completely align, and the latter depiction should be considered the more recent one. The idea that the world of gods, humans, and material things emerged from the womb of the abyss reflects a philosophical concept that is more suited to a period of contemplation.
In the second cosmogonic poem the account is more similar to that of the second chapter of Genesis, and its present form originated in or near Babylon. Here we have nothing of the primeval deep, but are told how the gods made a beautiful land, with rivers and trees; how Babylon was built and Marduk created man, and the Tigris and the Euphrates, and the beasts and cities and temples. This also must be looked on as a comparatively late form of the myth, since its hero is Marduk, god of Babylon. As in the Bible account, men are created before beasts, and the region of their first abode seems to be the same as the Eden of Genesis.
In the second creation poem, the story closely resembles that of the second chapter of Genesis, and its current version likely originated in or near Babylon. It doesn't mention a primordial ocean but describes how the gods created a beautiful land filled with rivers and trees; how Babylon was established, Marduk created humans, and the Tigris and the Euphrates rivers, along with the animals, cities, and temples. This should also be viewed as a relatively later version of the myth, given that its hero is Marduk, the god of Babylon. Like in the biblical account, humans are created before animals, and the area of their first home seems to match the Eden described in Genesis.
Let us now turn to the poem in which the combat between Tiamat and Marduk forms the principal feature. For some unexplained reason Tiamat rebels against the gods. Collecting her hosts, among them frightful demon shapes of all imaginable forms, she advances for the purpose of expelling the gods from their seats. The affrighted deities turn for protection to the high gods, Anu and Ea, who, however, recoil in terror from the hosts of the dragon Tiamat. Anshar then applies to Marduk. The gods are invited to a feast, the situation is described, and Marduk is invited to lead the heavenly hosts against the foe. He agrees on condition that he shall be clothed with absolute power, so that he shall only have to say "Let it be," and it shall be. To this the gods assent: a garment is placed before him, to which he says "Vanish," and it vanishes, and when he commands it to appear, it is present. The hero then dons his armor and advances against the enemy. He takes Tiamat and slays her, routs her host, kills her consort Kingu, and utterly destroys the rebellion. Tiamat he cuts in twain. Out of one half of her he forms the heavens, out of the other half the earth, and for the gods Anu and Bel and Ea he makes a heavenly palace, like the abyss itself in extent. To the great gods also he assigns positions, forms the stars, establishes the year and month and the day. At this point the history is interrupted, the tablet being broken. The creation of the heavenly bodies is to be compared with the similar account in Gen. i.; whether this poem narrates the creation of the rest of the world it is impossible to say.
Let’s now look at the poem where the fight between Tiamat and Marduk is the main focus. For some unknown reason, Tiamat turns against the gods. Gathering her army, which includes terrifying demons of all kinds, she moves to drive the gods from their thrones. The scared deities seek refuge with the high gods, Anu and Ea, who, however, are too frightened to confront Tiamat's dragon army. Anshar then turns to Marduk for help. The gods are called to a feast to discuss the situation, and Marduk is asked to lead the celestial forces against the enemy. He agrees, but only if he can be granted absolute power, so that he only needs to say "Let it be," and it will happen. The gods agree to this; a robe is placed before him, which he commands to "Vanish," and it disappears. When he tells it to return, it reappears. The hero then puts on his armor and marches against the enemy. He captures Tiamat and kills her, defeats her army, slays her partner Kingu, and completely crushes the rebellion. He splits Tiamat in half. From one half, he creates the heavens, and from the other half, the earth. He also builds a heavenly palace for gods Anu, Bel, and Ea, as vast as the abyss itself. He assigns positions to the great gods, forms the stars, and establishes the year, month, and day. At this point, the story gets interrupted because the tablet is broken. The creation of the heavenly bodies should be compared to the similar account in Gen. i.; it's unclear whether this poem tells about the creation of the rest of the world.
In this history of the rebellion of Tiamat against the gods we have a mythical picture of some natural phenomenon, perhaps of the conflict between the winter and the enlivening sun of summer. The poem appears to contain elements of different dates. The rude character of some of the procedures suggests an early time: Marduk slays Tiamat by driving the wind into her body; the warriors who accompany her have those composite forms familiar to us from Babylonian and Egyptian statues, paintings, and seals, which are the product of that early thought for which there was no essential difference between man and beast. The festival in which the gods carouse is of a piece with the divine Ethiopian feasts of Homer. On the other hand, the idea of the omnipotence of the divine word, when Marduk makes the garment disappear and reappear, is scarcely a primitive one. It is substantially identical with the Biblical "Let it be, and it was." It is probable that the poem had a long career, and in successive recensions received the coloring of different generations. Tiamat herself has a long history. Here she is a dragon who assaults the gods; elsewhere, as we have seen, she is the mother of the gods; here also her body forms the heaven and the earth. She appears in Gen. i. 2 as the Tehom, the primeval abyss. In the form of the hostile dragon she is found in numerous passages of the Old Testament, though under different names. She is an enemy of Yahwe, god of Israel, and in the New Testament (Rev. xii.) the combat between Marduk and Tiamat is represented under the form of a fight between Michael and the Dragon. In Christian literature Michael has been replaced by St. George. The old Babylonian conception has been fruitful of poetry, representing, as it does, in grand form the struggle between the chaotic and the formative forces of the universe.
In this account of Tiamat's rebellion against the gods, we see a mythical representation of a natural event, possibly the struggle between winter and the revitalizing summer sun. The poem seems to include elements from different periods. The primitive nature of some actions suggests an early time: Marduk defeats Tiamat by forcing wind into her body; the warriors who accompany her have the hybrid forms we recognize from Babylonian and Egyptian art, stemming from an early belief that there was no real difference between humans and animals. The festival where the gods celebrate resembles the divine feasts in Homer's works. On the other hand, the concept of the power of the divine word—when Marduk makes a garment vanish and reappear—is definitely not primitive. It's very similar to the Biblical phrase "Let it be, and it was." It's likely that the poem evolved over time and took on the characteristics of different eras. Tiamat herself has a long narrative. Here, she is depicted as a dragon attacking the gods; in other contexts, she's referred to as the mother of the gods; her body is also said to form heaven and earth. In Genesis 1:2, she appears as Tehom, the primordial abyss. In her dragon form, she is found in many passages of the Old Testament, though under various names. She is considered an enemy of Yahweh, the god of Israel, and in the New Testament (Revelation 12), the battle between Marduk and Tiamat is portrayed as a confrontation between Michael and the Dragon. In Christian literature, Michael is often replaced by St. George. The ancient Babylonian idea has inspired a lot of poetry, symbolizing the grand conflict between chaotic and creative forces in the universe.
The most considerable of the old Babylonian poems, so far as length and literary form are concerned, is that which has been commonly known as the Izdubar epic. The form of the name is not certain: Mr. Pinches has recently proposed, on the authority of a Babylonian text, to write it Gilgamesh, and this form has been adopted by a number of scholars. The poem (discovered by George Smith in 1872) is inscribed on twelve tablets, each tablet apparently containing a separate episode.
The longest and most significant of the ancient Babylonian poems, in terms of length and literary style, is what’s commonly called the Izdubar epic. The exact spelling of the name is unclear: Mr. Pinches has recently suggested, based on a Babylonian text, that it should be written as Gilgamesh, and many scholars have adopted this version. The poem, which was uncovered by George Smith in 1872, is written on twelve tablets, with each tablet seemingly containing a different episode.
The first tablet introduces the hero as the deliverer of his country from the Elamites, an event which seems to have taken place before 2000 B.C. Of the second, third, fourth, and fifth tablets, only fragments exist, but it appears that Gilgamesh slays the Elamite tyrant.
The first tablet introduces the hero as the savior of his country from the Elamites, an event that seems to have occurred before 2000 B.C. Only fragments remain of the second, third, fourth, and fifth tablets, but it seems that Gilgamesh kills the Elamite tyrant.
The sixth tablet recounts the love of Ishtar for the hero, to whom she proposes marriage, offering him the tribute of the land. The reason he assigns for his rejection of the goddess is the number and fatal character of her loves. Among the objects of her affection were a wild eagle, a lion, a war-horse, a ruler, and a husbandman; and all these came to grief. Ishtar, angry at her rejection, complains to her father, Anu, and her mother, Anatu, and begs them to avenge her wrong. Anu creates a divine bull and sends it against Gilgamesh, who, however, with the aid of his friend Eabani, slays the bull. Ishtar curses Gilgamesh, but Eabani turns the curse against her.
The sixth tablet tells the story of Ishtar's love for the hero, to whom she proposes marriage, offering him the gifts of the land. The reason he gives for rejecting the goddess is the number and deadly nature of her previous lovers. Among those she loved were a wild eagle, a lion, a war-horse, a ruler, and a farmer, and all of them met tragic ends. Ishtar, furious at being spurned, complains to her father, Anu, and her mother, Anatu, asking them to take revenge on him. Anu creates a divine bull and sends it after Gilgamesh, who, with the help of his friend Eabani, kills the bull. Ishtar curses Gilgamesh, but Eabani turns the curse back on her.
The seventh tablet recounts how Ishtar descends to the underworld seeking some better way of attacking the hero. The description of the Babylonian Sheol is one of the most effective portions of the poem, and with it George Smith connects a well-known poem which relates the descent of Ishtar to the underworld. The goddess goes down to the house of darkness from which there is no exit, and demands admittance of the keeper; who, however, by command of the queen of the lower world, requires her to submit to the conditions imposed on all who enter. There are seven gates, at each of which he removes some portion of her ornaments and dress. Ishtar, thus unclothed, enters and becomes a prisoner. Meantime the upper earth has felt her absence. All love and life has ceased. Yielding to the persuasions of the gods, Ea sends a messenger to demand the release of the goddess. The latter passes out, receiving at each gate a portion of her clothing. This story of Ishtar's love belongs to one of the earliest stages of religious belief. Not only do the gods appear as under the control of ordinary human passions, but there is no consciousness of material difference between man and beast. The Greek parallels are familiar to all. Of these ideas we find no trace in the later Babylonian and Assyrian literature, and the poem was doubtless interpreted by the Babylonian sages in allegorical fashion.
The seventh tablet tells how Ishtar goes down to the underworld looking for a better way to attack the hero. The portrayal of the Babylonian Sheol is one of the most powerful parts of the poem, and George Smith links it to a well-known poem about Ishtar's descent into the underworld. The goddess descends to the house of darkness, where there’s no way out, and asks the gatekeeper for entry; however, by order of the queen of the underworld, he requires her to follow the rules that apply to everyone who enters. There are seven gates, and at each gate, he takes away some of her jewelry and clothing. Stripped of her attire, Ishtar enters and becomes a captive. Meanwhile, the upper world feels her absence; all love and life have stopped. Persuaded by the other gods, Ea sends a messenger to request Ishtar’s release. She exits, receiving back some of her clothing at each gate. This tale of Ishtar's love belongs to one of the earliest stages of religious belief. The gods show human emotions, and there’s no real difference between humans and animals. Everyone is familiar with the Greek parallels. We find no trace of these ideas in later Babylonian and Assyrian literature, and the poem was likely interpreted by Babylonian scholars in an allegorical way.
In the eighth and ninth tablets the death of Eabani is recorded, and the grief of Gilgamesh. The latter then wanders forth in search of Hasisadra, the hero of the Flood-story. After various adventures he reaches the abode of the divinized man, and from him learns the story of the Flood, which is given in the eleventh tablet.
In the eighth and ninth tablets, Eabani's death is recorded, as well as Gilgamesh's grief. Gilgamesh then sets out on a journey to find Hasisadra, the hero of the Flood story. After several adventures, he arrives at the home of the divine man and learns from him the story of the Flood, which is told in the eleventh tablet.
This story is almost identical with that of the Book of Genesis. The God Bel is determined to destroy mankind, and Hasisadra receives directions from Ea to build a ship, and take into it provisions and goods and slaves and beasts of the field. The ship is covered with bitumen. The flood is sent by Shamash (the sun-god). Hasisadra enters the ship and shuts the door. So dreadful is the tempest that the gods in affright ascend for protection to the heaven of Anu. Six days the storm lasts. On the seventh conies calm. Hasisadra opens a window and sees the mountain of Nizir, sends forth a dove, which returns; then a swallow, which returns; then a raven, which does not return; then, knowing that the flood has passed, sends out the animals, builds an altar, and offers sacrifice, over which the gods gather like flies. Ea remonstrates with Bel, and urges that hereafter, when he is angry with men, instead of sending a deluge, he shall send wild beasts, who shall destroy them. Thereupon Bel makes a compact with Hasisadra, and the gods take him and his wife and people and place them in a remote spot at the mouth of the rivers. It is now generally agreed that the Hebrew story of the Flood is taken from the Babylonian, either mediately through the Canaanites (for the Babylonians had occupied Canaan before the sixteenth century B.C.), or immediately during the exile in the sixth century. The Babylonian account is more picturesque, the Hebrew more restrained and solemn. The early polytheistic features have been excluded by the Jewish editors.
This story is nearly the same as the one in the Book of Genesis. The God Bel wants to wipe out humanity, and Hasisadra gets instructions from Ea to build a ship and stock it with supplies, goods, slaves, and animals. The ship is coated with bitumen. The flood is unleashed by Shamash, the sun god. Hasisadra boards the ship and locks the door. The storm is so terrifying that the gods flee to the heavens of Anu for safety. The storm lasts six days. On the seventh day, it finally calms down. Hasisadra opens a window and sees the mountain of Nizir, then releases a dove, which comes back; next, a swallow, which also returns; then a raven, which does not return; and knowing the flood has receded, he lets out the animals, builds an altar, and makes sacrifices, over which the gods swarm like flies. Ea confronts Bel, suggesting that instead of a flood, he should send wild beasts to destroy humanity when he's angry. Following this, Bel makes an agreement with Hasisadra, and the gods move him, his wife, and his people to a distant place at the river's mouth. It's now widely accepted that the Hebrew story of the Flood was derived from the Babylonian version, either indirectly via the Canaanites (since the Babylonians had settled in Canaan before the sixteenth century B.C.) or directly during the Babylonian exile in the sixth century. The Babylonian tale is more vivid, while the Hebrew version is more subdued and serious. The early polytheistic elements have been removed by the Jewish editors.
In addition to these longer stories there are a number of legends of no little poetical and mythical interest. In the cycle devoted to the eagle there is a story of the struggle between the eagle and the serpent. The latter complains to the sun-god that the eagle has eaten his young. The god suggests a plan whereby the hostile bird may be caught: the body of a wild ox is to be set as a snare. Out of this plot, however, the eagle extricates himself by his sagacity. In the second story the eagle comes to the help of a woman who is struggling to bring a man-child (apparently Etana) into the world. In the third is portrayed the ambition of the hero Etana to ascend to heaven. The eagle promises to aid him in accomplishing his design. Clinging to the bird, he rises with him higher and higher toward the heavenly space, reaching the abode of Anu, and then the abode of Ishtar. As they rise to height after height the eagle describes the appearance of the world lying stretched out beneath: at first it rises like a huge mountain out of the sea; then the ocean appears as a girdle encircling the land, and finally but as a ditch a gardener digs to irrigate his land. When they have risen so high that the earth is scarcely visible, Etana cries to the eagle to stop; so he does, but his strength is exhausted, and bird and man fall to the earth.
In addition to these longer stories, there are several legends that are quite poetical and mythical. In the series about the eagle, there's a story about the struggle between the eagle and the serpent. The serpent complains to the sun-god that the eagle has eaten his young. The god suggests a plan to catch the eagle: they will set a wild ox as bait. However, the eagle outsmarts this trap with his cleverness. In the second story, the eagle helps a woman who is trying to give birth to a boy (presumably Etana). The third story shows the hero Etana's ambition to ascend to heaven. The eagle promises to assist him in achieving this. Clinging to the eagle, he rises higher and higher into the heavenly realm, reaching the dwelling of Anu and then the dwelling of Ishtar. As they ascend, the eagle describes the landscape below: at first, it looks like a massive mountain rising out of the sea; then the ocean appears as a belt surrounding the land, and finally it resembles a ditch that a gardener digs to water his crops. When they've risen so high that the earth is barely visible, Etana tells the eagle to stop; he does, but he's exhausted, and both the bird and the man fall back to the earth.
Another cycle of stories deals with the winds. The god Zu longs to have absolute power over the world. To that end he lurks about the door of the sun-god, the possessor of the tablets of fate whereby he controls all things. Each morning before beginning his journey, the sun-god steps out to send light showers over the world. Watching his opportunity, Zu glides in, seizes the tablets of fate, and flies away and hides himself in the mountains. So great horror comes over the world: it is likely to be scorched by the sun-god's burning beams. Anu calls on the storm-god Ramman to conquer Zu, but he is frightened and declines the task, as do other gods. Here, unfortunately, the tablet is broken, so that we do not know by whom the normal order was finally restored.
Another series of stories focuses on the winds. The god Zu wants to have total control over the world. To achieve this, he lurks by the door of the sun-god, who possesses the tablets of fate that allow him to control everything. Each morning, before starting his journey, the sun-god steps out to shower the world with gentle light. Seizing his chance, Zu sneaks in, grabs the tablets of fate, and flies off to hide in the mountains. This unleashes great fear across the world: it risks being scorched by the sun-god's intense rays. Anu calls on the storm-god Ramman to defeat Zu, but he is terrified and refuses the task, as do the other gods. Unfortunately, at this point, the tablet is broken, so we do not know who ultimately restored order.
In the collection of cuneiform tablets disinterred at Amarna in 1887 was found the curious story of Adapa. The demigod Adapa, the son of Ea, fishing in the sea for the family of his lord, is overwhelmed by the stormy south wind and cast under the waves. In anger he breaks the wings of the wind, that it may no longer rage in the storm. Anu, informed that the south wind no longer blows, summons Adapa to his presence. Ea instructs his son to put on apparel of mourning, present himself at Anu's gate, and there make friends with the porters, Tammuz and Iszida, so that they may speak a word for him to Anu; going into the presence of the royal deity, he will be offered food and drink which he must reject, and raiment and oil which he must accept. Adapa carries out the instructions of his father to the letter. Anu is appeased, but laments that Adapa, by rejecting heavenly food and drink, has lost the opportunity to become immortal. This story, the record of which is earlier than the sixteenth century B.C., appears to contain two conceptions: it is a mythical description of the history of the south wind, but its conclusion presents a certain parallelism with the end of the story of Eden in Genesis; as there Adam, so here Adapa, fails of immortality because he infringes the divine command concerning the divine food. We have here a suggestion that the story in Genesis is one of the cycle which dealt with the common earthly fact of man's mortality.
In the collection of cuneiform tablets uncovered at Amarna in 1887, the intriguing tale of Adapa was found. The demigod Adapa, the son of Ea, is fishing in the sea for his lord’s family when he is caught in a storm and pulled under the waves. In his anger, he breaks the wings of the wind, preventing it from creating any more chaos. Anu, learning that the south wind no longer blows, calls Adapa to meet him. Ea tells his son to wear mourning clothes, go to Anu's gate, and befriend the gatekeepers, Tammuz and Iszida, so they can speak on his behalf; when he enters the presence of the god, he'll be offered food and drink that he must refuse, and clothing and oil that he must accept. Adapa follows his father's instructions precisely. Anu is satisfied but mourns that by rejecting the heavenly food and drink, Adapa has missed the chance to become immortal. This story, which dates back before the sixteenth century B.C., seems to convey two ideas: it is a mythical account of the south wind's history, but its conclusion mirrors the outcome of the Eden story in Genesis; just like Adam, Adapa loses the chance for immortality because he disobeys the divine command regarding the divine food. This suggests that the Genesis story is part of a broader narrative addressing the universal reality of human mortality.
The legend of Dibbarra seems to have a historical basis. The god Dibbarra has devastated the cities of Babylonia with bloody wars. Against Babylon he has brought a hostile host and slain its people, so that Marduk, the god of Babylon, curses him. And in like manner he has raged against Erech, and is cursed by its goddess Ishtar. He is charged with confounding the righteous and unrighteous in indiscriminate destruction. But Dibbarra determines to advance against the dwelling of the king of the gods, and Babylonia is to be further desolated by civil war. It is a poetical account of devastating wars as the production of a hostile diety. It is obvious that these legends have many features in common with those of other lands, myths of conflict between wind and sun, and the ambition of heroes to scale the heights of heaven. How far these similarities are the independent products of similar situations, and how far the results of loans, cannot at present be determined.
The legend of Dibbarra seems to have a historical foundation. The god Dibbarra has ravaged the cities of Babylonia with bloody wars. He has unleashed a hostile army against Babylon and killed its people, causing Marduk, the god of Babylon, to curse him. Similarly, he has wreaked havoc on Erech and is cursed by its goddess Ishtar. He is accused of blurring the lines between the righteous and the wicked in his indiscriminate destruction. However, Dibbarra decides to move against the residence of the king of the gods, leading to further devastation of Babylonia through civil war. This is a poetic account of devastating wars driven by a hostile deity. It’s clear that these legends share many characteristics with those from other cultures, myths about the struggle between wind and sun, and heroes aspiring to reach the heights of heaven. The extent to which these similarities are independent developments from similar situations or the result of borrowing cannot be determined at this time.
The moral-religious literature of the Babylonians is not inferior in interest to the stories just mentioned. The hymns to the gods are characterized by a sublimity and depth of feeling which remind us of the odes of the Hebrew Psalter. The penitential hymns appear to contain expressions of sorrow for sin, which would indicate a high development of the religious consciousness. These hymns, apparently a part of the temple ritual, probably belong to a relatively late stage of history; but they are none the less proof that devotional feeling in ancient times was not limited to any one country.
The moral and religious literature of the Babylonians is just as interesting as the previously mentioned stories. The hymns to the gods display a grandeur and depth of emotion that remind us of the odes found in the Hebrew Psalter. The penitential hymns express sorrow for sin, indicating a significant evolution of religious awareness. These hymns, likely part of the temple rituals, probably belong to a later stage in history; however, they still demonstrate that devotional feelings in ancient times were not confined to any single country.
Other productions, such as the hymn to the seven evil spirits (celebrating their mysterious power), indicate a lower stage of religious feeling; this is specially visible in the magic formulas, which portray a very early stratum of religious history. They recall the Shamanism of Central Asia and the rites of savage tribes; but there is no reason to doubt that the Semitic religion in its early stages contained this magic element, which is found all the world over.
Other works, like the hymn to the seven evil spirits (celebrating their mysterious power), show a less developed sense of spirituality; this is especially evident in the magic formulas, which reflect a very early layer of religious history. They remind us of the Shamanism of Central Asia and the rituals of primitive tribes; however, there's no reason to doubt that the early stages of Semitic religion included this magical aspect, which can be found globally.
Riddles and Proverbs are found among the Babylonians, as among all peoples. Comparatively few have been discovered, and these present nothing of peculiar interest. The following may serve as specimens:--"What is that which becomes pregnant without conceiving, fat without eating?" The answer seems to be "A cloud." "My coal-brazier clothes me with a divine garment, my rock is founded in the sea" (a volcano). "I dwell in a house of pitch and brick, but over me glide the boats" (a canal). "He that says, 'Oh, that I might exceedingly avenge myself!' draws from a waterless well, and rubs the skin without oiling it." "When sickness is incurable and hunger unappeasable, silver and gold cannot restore health nor appease hunger." "As the oven waxes old, so the foe tires of enmity." "The life of yesterday goes on every day." "When the seed is not good, no sprout comes forth."
Riddles and proverbs can be found among the Babylonians, just like in all cultures. Only a few have been discovered, and these aren't particularly interesting. Here are some examples:--"What gets pregnant without conceiving, gets fat without eating?" The answer appears to be "A cloud." "My coal brazier dresses me in a divine garment, my rock is rooted in the sea" (a volcano). "I live in a house made of pitch and brick, but boats glide above me" (a canal). "Someone who says, 'Oh, that I could really get revenge!' is drawing from a dry well and rubbing their skin without any oil." "When sickness can't be cured and hunger can't be satisfied, silver and gold can't restore health or satisfy hunger." "As the oven gets old, so does the enemy tire of hatred." "The life of yesterday continues every day." "When the seed is bad, no sprout comes out."
The poetical form of all these pieces is characterized by that parallelism of members with which we are familiar in the poetry of the Old Testament. It is rhythmical, but apparently not metrical: the harmonious flow of syllables in any one line, with more or less beats or cadences, is obvious; but it does not appear that syllables were combined into feet, or that there was any fixed rule for the number of syllables or beats in a line. So also strophic divisions may be observed, such divisions naturally resulting from the nature of all narratives. Sometimes the strophe seems to contain four lines, sometimes more. No strophic rule has yet been established; but it seems not unlikely that when the longer poetical pieces shall have been more definitely fixed in form, certain principles of poetical composition will present themselves. The thought of the mythical pieces and the prayers and hymns is elevated and imaginative. Some of this poetry appears to have belonged to a period earlier than 2000 B.C. Yet the Babylonians constructed no epic poem like the (Iliad,) or at any rate none such has yet been found. Their genius rather expressed itself in brief or fragmentary pieces, like the Hebrews and the Arabs.
The poetic style of all these works is marked by the parallel structure we recognize in Old Testament poetry. It has a rhythm but doesn't seem to follow a strict meter: the smooth flow of syllables in each line, with varying beats or cadences, is clear; however, it doesn't look like syllables were grouped into feet, nor that there was a consistent rule for the number of syllables or beats in a line. Strophic divisions can also be noted, which arise naturally from how narratives work. Sometimes a strophe appears to have four lines, and other times more. No established rule for these divisions exists yet, but it seems likely that, as longer poetic pieces become more defined in form, specific principles of poetic composition will emerge. The themes in the mythical pieces, prayers, and hymns are elevated and imaginative. Some of this poetry may date back to before 2000 B.C. Still, the Babylonians did not create an epic poem like the Iliad; at least none has been discovered so far. Their creativity was more often expressed in short or fragmentary works, similar to the Hebrews and the Arabs.
The Babylonian prose literature consists almost entirely of short chronicles and annals. Royal inscriptions have been found covering the period from 3000 B.C. to 539 B.C. There are eponym canons, statistical lists, diplomatic letters, military reports; but none of these rise to the dignity of history. Several connected books of chronicles have indeed been found; there is a synchronistic book of annals of Babylonia and Assyria, there is a long Assyrian chronicle, and there are annalistic fragments. But there is no digested historical narrative, which gives a clear picture of the general civil and political situation, or any analysis of the characters of kings, generals, and governors, or any inquiry into causes of events. It is possible that narratives having a better claim to the name of history may yet be discovered, resembling those of the Biblical Book of Kings; yet the Book of Kings is scarcely history--neither the Jews nor the Babylonians and Assyrians seem to have had great power in this direction.
The Babylonian prose literature mainly consists of short chronicles and annals. Royal inscriptions have been found that date from 3000 B.C. to 539 B.C. There are also eponym canons, statistical lists, diplomatic letters, and military reports; however, none of these qualify as true history. Some connected books of chronicles have indeed been discovered; there is a synchronistic book of annals from Babylonia and Assyria, a lengthy Assyrian chronicle, and some annalistic fragments. But there isn't a comprehensive historical narrative that paints a clear picture of the overall civil and political situation, nor is there any analysis of the characters of kings, generals, and governors, or any investigation into the causes of events. It's possible that narratives deserving the title of history may still be found, similar to those in the Biblical Book of Kings; however, the Book of Kings hardly constitutes history—neither the Jews nor the Babylonians and Assyrians seem to have had significant strength in this regard.
One of the most interesting collections of historical pieces is that recently discovered at Amarna. Here, out of a mound which represents a palace of the Egyptian King Amenhotep IV., were dug up numerous letters which were exchanged between the kings of Babylonia and Egypt in the fifteenth and sixteenth centuries, and numerous reports sent to the Egyptian government by Egyptian governors of Canaanite cities. These tablets show that at this early time there was lively communication between the Euphrates and the Nile, and they give a vivid picture of the chaotic state of affairs in Canaan, which was exposed to the assaults of enemies on all sides. This country was then in possession of Egypt, but at a still earlier period it must have been occupied by the Babylonians. Only in this way can we account for the surprising fact that the Babylonian cuneiform script and the Babylonian language form the means of communication between the east and west and between Egypt and Canaan. The literary value of these letters is not great; their interest is chiefly historic and linguistic. The same thing is true of the contract tablets, which are legal documents: these cover the whole area of Babylonian history, and show that civil law attained a high state of perfection; they are couched in the usual legal phrases.
One of the most fascinating collections of historical artifacts is the one recently found at Amarna. Here, from a mound that represents the palace of the Egyptian King Amenhotep IV, numerous letters were uncovered that were exchanged between the kings of Babylonia and Egypt in the fifteenth and sixteenth centuries, along with many reports sent to the Egyptian government by Egyptian governors of Canaanite cities. These tablets reveal that during this early time, there was active communication between the Euphrates and the Nile, and they provide a vivid depiction of the chaotic situation in Canaan, which was under attack from enemies on all sides. This region was under Egyptian control then, but it must have been occupied by the Babylonians at an even earlier time. This helps explain the surprising fact that the Babylonian cuneiform script and the Babylonian language served as the means of communication between the east and west, and between Egypt and Canaan. The literary value of these letters isn't high; their main interest lies in their historical and linguistic significance. The same applies to the contract tablets, which are legal documents: they encompass the entire scope of Babylonian history and demonstrate that civil law reached a high level of sophistication; they are written in the typical legal terminology.
The literary monuments mentioned above are all contained in tablets, which have the merit of giving in general contemporaneous records of the things described. But an account of Babylonian literature would be incomplete without mention of the priest Berosus. Having, as priest of Bel, access to the records of the temples, he wrote a history of his native land, in which he preserved the substance of a number of poetical narratives, as well as the ancient accounts of the political history. The fragments of his work which have been preserved (see Cory's 'Ancient Fragments') exhibit a number of parallels with the contents of the cuneiform tablets. Though he wrote in Greek (he lived in the time of Alexander the Great), and was probably trained in the Greek learning of his time, his work doubtless represents the spirit of Babylonian historical writing. So far as can be judged from the remains which have come down to us, its style is of the annalistic sort which appears in the old inscriptions and in the historical books of the Bible.
The literary works mentioned above are all found on tablets, which are valuable for providing contemporaneous records of the events described. However, a discussion of Babylonian literature wouldn’t be complete without mentioning the priest Berosus. Being a priest of Bel, he had access to temple records and wrote a history of his homeland, preserving the essence of several poetic narratives as well as ancient accounts of political history. The fragments of his work that have survived (see Cory's 'Ancient Fragments') show several parallels with the content of the cuneiform tablets. Although he wrote in Greek (living during the time of Alexander the Great) and was likely educated in the Greek learning of his era, his work certainly embodies the essence of Babylonian historical writing. Based on the remnants that have come down to us, its style resembles the annalistic form found in ancient inscriptions and in the historical books of the Bible.
The Babylonian literature above described must be understood to include the Assyrian. Civilization was first established in Babylonia, and there apparently were produced the great epic poems and the legends. But Assyria, when she succeeded to the headship of the Mesopotamian valley, in the twelfth century B.C., adopted the literature of her southern sister. A great part of the old poetry has been found in the library of Assurbanipal, at Nineveh (seventh century B.C.), where a host of scribes occupied themselves with the study of the ancient literature. They seem to have had almost all the apparatus of modern critical work. Tablets were edited, sometimes with revisions. There are bilingual tablets, presenting in parallel columns the older texts (called Sumerian-Accadian) and the modern version. There are numerous grammatical and lexicographical lists. The records were accessible, and often consulted. Assurbanipal, in bringing back a statue of the goddess Nana from the Elamite region, says that it was carried off by the Elamites 1635 years before; and Nabonidus, the last king of Babylon (circa B.C. 550), a man devoted to temple restoration, refers to an inscription of King Naram-Sin, of Agane, who, he says, reigned 3200 years before. In recent discoveries made at Nippur, by the American Babylonian Expedition, some Assyriologists find evidence of the existence of a Babylonian civilization many centuries before B.C. 4000 (the dates B.C. 5000 and B.C. 6000 have been mentioned); the material is now undergoing examination, and it is too early to make definite statements of date. See Peters in American Journal of Archaeology for January-March, 1895, and July-September, 1895; and Hilprecht, 'The Babylonian Expedition of the University of Pennsylvania,' Vol. i., Part 2, 1896.
The Babylonian literature mentioned above should be understood to include the Assyrian. Civilization first took root in Babylonia, where the epic poems and legends were created. However, when Assyria took over leadership of the Mesopotamian valley in the twelfth century B.C., they adopted the literature from their southern neighbor. Much of the old poetry was found in the library of Assurbanipal at Nineveh (seventh century B.C.), where many scribes focused on studying ancient literature. They seemed to have had nearly all the tools of modern critical research. Tablets were edited, sometimes revised. There are bilingual tablets that display the older texts (called Sumerian-Accadian) alongside the modern version. Numerous grammatical and lexicographical lists exist. The records were accessible and frequently referenced. Assurbanipal, when he brought back a statue of the goddess Nana from the Elamite area, noted that it had been taken by the Elamites 1635 years earlier; and Nabonidus, the last king of Babylon (around B.C. 550), who was dedicated to restoring temples, mentioned an inscription from King Naram-Sin of Agane, stating that he reigned 3200 years prior. Recent discoveries at Nippur by the American Babylonian Expedition have led some Assyriologists to find evidence of a Babylonian civilization many centuries before B.C. 4000 (dates like B.C. 5000 and B.C. 6000 have been suggested); this material is currently under examination, and it’s too soon to make definite statements about the dates. See Peters in American Journal of Archaeology for January-March 1895, and July-September 1895; and Hilprecht, 'The Babylonian Expedition of the University of Pennsylvania,' Vol. i., Part 2, 1896.
The Assyrian and Babylonian historical inscriptions, covering as they do the whole period of Jewish history down to the capture of Babylon by Cyrus, are of very great value for the illustration of the Old Testament. They have a literary interest also. Many of them are written in semi-rhythmical style, a form which was favored by the inscriptional mode of writing. The sentences are composed of short parallel clauses, and the nature of the material induced a division into paragraphs which resemble strophes. They are characterized also by precision and pithiness of statement, and are probably as trust-worthy as official records ever are.
The Assyrian and Babylonian historical inscriptions, which cover the entire span of Jewish history up until Cyrus' capture of Babylon, are extremely valuable for understanding the Old Testament. They also hold literary significance. Many of them are written in a semi-rhythmic style, a format that was popular in inscriptional writing. The sentences consist of short, parallel clauses, and the content encourages a division into paragraphs that look like strophes. They are marked by precise and concise statements, and are likely as reliable as official records can be.
In the time when above the heaven was not named,
In the time before heaven had a name,
The earth beneath bore no name,
The ground below had no name,
When the ocean, the primeval parent of both,
When the ocean, the ancient source of both,
The abyss Tiamat the mother of both....
The abyss Tiamat, the mother of both...
The waters of both mingled in one.
The waters of both combined into one.
No fields as yet were tilled, no moors to be seen,
No fields had been plowed yet, and there were no moors in sight,
When as yet of the gods not one had been produced,
When none of the gods had been created yet,
No names they bore, no titles they had,
No names they had, no titles they carried,
Then were born of the gods....
Then the gods gave birth to....
Lachmu Lachamu came into existence.
Lachmu Lachamu was created.
Many ages past....
Long ago....
Anshar, Kishar were born.
Anshar and Kishar were born.
Many days went by. Anu....
Many days passed. Anu....
[Here there is a long lacuna. The lost lines completed the history of the creation of the gods, and gave the reason for the uprising of Tiamat with her hosts. What it was that divided the divine society into two hostile camps can only be conjectured; probably Tiamat, who represents the unfriendly or chaotic forces of nature, saw that her domain was being encroached on by the light-gods, who stand for cosmic order.]
[Here there is a long gap. The missing lines finished the story of the creation of the gods and explained why Tiamat rose up with her forces. What caused the division of the divine society into two opposing groups can only be guessed; likely Tiamat, who symbolizes the hostile or chaotic forces of nature, realized that her territory was being invaded by the light-gods, who represent cosmic order.]
To her came flocking all the gods,
To her came all the gods,
They gathered together, they came to Tiamat;
They all came together and approached Tiamat;
Angry they plan, restless by night and by day,
Angry, they make their plans, unable to relax both day and night,
Prepare for war with gestures of rage and hate,
Prepare for war with expressions of anger and hatred,
With combined might to begin the battle.
With our strength combined, we’ll start the battle.
The mother of the abyss, she who created them all,
The mother of the void, the one who created them all,
Unconquerable warriors, gave them giant snakes,
Unconquerable warriors, gave them huge snakes,
Sharp of tooth, pitiless in might,
Sharp of tooth, relentless in strength,
With poison like blood she filled their bodies,
With poison like blood, she filled their bodies,
Huge poisonous adders raging, she clothed them with dread,
Huge poisonous adders in a frenzy, she filled them with fear,
Filled them with splendor....
Filled them with beauty....
He who sees them shuddering shall seize him,
He who sees them trembling shall grab him,
They rear their bodies, none can resist their breast.
They stand tall, and no one can resist their presence.
Vipers she made, terrible snakes....
Vipers she created, deadly snakes....
... raging dogs, scorpion-men ... fish men....
... raging dogs, scorpion men ... fish men....
Bearing invincible arms, fearless in the fight.
Bearing unbeatable weapons, fearless in battle.
Stern are her commands, not to be resisted.
Her commands are strict and shouldn't be defied.
Of all the first-born gods, because he gave her help,
Of all the first-born gods, since he helped her,
She raised up Kingu in the midst, she made him the greatest,
She lifted Kingu up in the center and made him the greatest,
To march in front of the host, to lead the whole,
To march at the front of the group, to lead everyone,
To begin the war of arms, to advance the attack,
To start the armed conflict, to launch the attack,
Forward in the fight to be the triumpher.
Forward in the fight to be the victor.
This she gave into his hand, made him sit on the throne:--
This she handed to him, making him sit on the throne:--
By my command I make thee great in the circle of the gods;
By my command, I elevate you among the gods;
Rule over all the gods I have given to thee,
Rule over all the gods I have given to you,
The greatest shalt thou be, thou my chosen consort;
The greatest you will be, my chosen partner;
Be thy name made great over all the earth.
May your name be honored throughout the whole world.
She gave him the tablets of fate, laid them on his breast.
She gave him the tablets of destiny and placed them on his chest.
Thy command be not gainsaid, thy word stand fast.
Your command will not be denied, your word remains solid.
Thus lifted up on high, endued with Anu's rank,
Thus raised up high, endowed with Anu's status,
Among the gods her children Kingu did bear rule.
Among the gods, her children Kingu ruled.
[The gods, dismayed, first appeal to Anu for aid against Tiamat, but he refuses to lead the attack. Anshar then sends to invite the gods to a feast.]
[The gods, feeling distressed, first turn to Anu for help against Tiamat, but he declines to lead the fight. Anshar then sends out invitations to the gods for a feast.]
Anshar opened his mouth,
Anshar spoke,
To Gaga, his servant, spake he:--
To Gaga, his servant, he said:--
Go, O Gaga, my servant thou who delightest my soul,
Go, oh Gaga, my servant who brings joy to my soul,
To Lachmu Lachamu I will send thee...
To Lachmu Lachamu, I will send you...
That the gods may sit at the feast,
That the gods may join the feast,
Bread to eat, wine to drink,
Bread to eat, wine to drink,
To give the rule to Marduk.
To give the power to Marduk.
Up Gaga, to them go,
Go up, Gaga!
And tell what I say to thee:--
And let me tell you what I'm about to say:--
Anshar, your son, has sent me,
Anshar, your son, has sent me,
Told me the desire of his heart.
Told me what he really wanted.
[He repeats the preceding description of Tiamat's preparations, and announces that Marduk has agreed to face the foe.]
[He repeats the earlier description of Tiamat's preparations and announces that Marduk has agreed to confront the enemy.]
I sent Anu, naught can he against her.
I sent Anu; he can't do anything against her.
Nudimmud was afraid and turned cowering back,
Nudimmud was scared and turned back, cowering.
Marduk accepted the task, the ruler of gods, your son,
Marduk accepted the challenge, the ruler of the gods, your son,
Against Tiamat to march his heart impels him.
Against Tiamat, his heart drives him to march.
So speaks he to me:
So he speaks to me:
If I succeed, I, your avenger,
If I succeed, I, your avenger,
Conquer Tiamat and save your lives.
Defeat Tiamat and save yourselves.
Come, ye all, and declare me supreme,
Come, everyone, and declare me supreme,
In Upsukkenaku enter ye joyfully all.
In Upsukkenaku, come in joyfully, everyone.
With my mouth will I bear rule,
With my words, I will take charge,
Unchangeable be whate'er I do,
Unchangeable be whatever I do,
The word of my lips be never reversed or gainsaid.
The words I speak will never be taken back or denied.
Come and to him give over the rule,
Come and give him the power,
That he may go and meet the evil foe.
That he can go and face the evil enemy.
Gaga went, strode on his way,
Gaga walked confidently on his way,
Humbly before Lachmu and Lachamu, the gods, his fathers,
Humbly before Lachmu and Lachamu, the gods, his fathers,
He paid his homage and kissed the ground,
He showed his respect and kissed the ground,
Bent lowly down and to them spake:--
Bent down low and spoke to them:--
Anshar, your son, has sent me,
Anshar, your son, has sent me,
Told me the desire of his heart.
Told me what he really wanted.
[Gaga then repeats Anshar's message at length, and the narrative proceeds.]
[Gaga then repeats Anshar's message in detail, and the story continues.]
Lachmu and Lachamu heard and were afraid,
Lachmu and Lachamu heard and were scared,
The Igigi all lamented sore:
The Igigi all mourned deeply:
What change has come about that she thus hates us?
What happened that made her hate us like this?
We cannot understand this deed of Tiamat.
We can't grasp what Tiamat did.
With hurry and haste they went,
With urgency and speed, they left,
The great gods, all the dealers of fate,
The powerful gods, all the masters of destiny,
... with eager tongue, sat themselves down to the feast.
... with eager tongues, they sat down to the feast.
Bread they ate, wine they drank,
Bread they ate, wine they drank,
The sweet wine entered their souls,
The sweet wine filled their souls,
They drank their fill, full were their bodies.
They drank their fill; their bodies were full.
[In this happy state they were ready to accept Marduk's conditions.]
[In this happy state they were ready to accept Marduk's terms.]
To Marduk, their avenger, they gave over the rule.
To Marduk, their protector, they entrusted the leadership.
They lifted him up on a lofty throne,
They raised him up on a high throne,
Above his fathers he took his place as judge:--
Above his fathers, he took his place as judge:--
Most honored be thou among the great gods,
Most honored are you among the great gods,
Unequaled thy rule, thy word is Anu.
Your rule is unmatched, your word is Anu.
From this time forth thy command be not gainsaid;
From now on, your command won't be denied;
To lift up and cast down be the work of thy hand;
To raise up and bring down be the work of your hand;
The speech of thy mouth stand fast, thy word be irresistible,
The words you speak are strong, and your message is powerful,
None of the gods shall intrude on thy domain,
None of the gods will intrude on your domain,
Fullness of wealth, the desire of the temples of the gods,
Fullness of wealth, the desire of the gods' temples,
Be the portion of thy shrine, though they be in need.
Be part of your shrine, even if they are in need.
Marduk, thou, our avenger,
Marduk, you, our avenger,
Thine be the kingdom over all forever.
Yours is the kingdom forever and always.
Sit thee down in might, noble be thy word,
Sit down with strength, let your words be noble,
Thy arms shall never yield, the foes they shall crush.
Your arms will never give in; they will defeat your enemies.
O lord, he who trusts in thee, him grant thou life,
O Lord, grant life to those who trust in you,
But the deity who set evil on foot, her life pour out.
But the goddess who initiated evil, let her life be poured out.
Then in the midst they placed a garment.
Then in the middle, they placed a garment.
To Marduk their first-born thus spake they:--
To Marduk, their first-born, they spoke:--
Thy rule, O lord, be chief among the gods,
Thy rule, O lord, be chief among the gods,
To destroy and to create--speak and let it be.
To destroy and to create—speak and let it happen.
Open thy mouth, let the garment vanish.
Open your mouth, and let the garment disappear.
Utter again thy command, let the garment appear.
Say your command again, and let the garment show up.
He spake with his mouth, vanished the garment;
He spoke with his mouth and made the garment disappear;
Again he commanded, and the garment appeared.
Again he commanded, and the clothing appeared.
When the gods, his fathers, saw thus his word fulfilled,
When the gods, his ancestors, saw his words come to pass,
Joyful were they and did homage: Marduk is king.
They were joyful and paid their respects: Marduk is king.
On him conferred sceptre and throne....
On him conferred scepter and throne....
Gave him invincible arms to crush them that hate him.
Gave him unbeatable strength to defeat those who oppose him.
Now go and cut short the life of Tiamat,
Now go and end Tiamat's life,
May the winds into a secret place carry her blood.
May the winds carry her blood to a hidden place.
The ruler of the gods they made him, the gods, his fathers,
The gods made him the ruler, the gods, his creators,
Wished him success and glory in the way on which he went.
Wished him success and glory on the path he chose.
He made ready a bow, prepared it for use,
He got a bow ready and set it up for use,
Made ready a spear to be his weapon.
Prepared a spear to be his weapon.
He took the ... seized it in his right hand,
He took the ... grabbed it in his right hand,
Bow and quiver hung at his side,
Bow and quiver hung at his side,
Lightning he fashioned flashing before him,
Lightning he created flashing before him,
With glowing flame he filled its body,
With a bright flame, he filled its body,
A net he prepared to seize Tiamat,
A net he set up to capture Tiamat,
Guarded the four corners of the world that nothing of her should escape,
Guarded the four corners of the world so that nothing of hers would slip away,
On South and North, on East and West
On the South and North, on the East and West
He laid the net, his father Anu's gift.
He set out the net, a gift from his father Anu.
He fashioned the evil wind, the south blast, the tornado,
He created the wicked wind, the southern gust, the tornado,
The four-and-seven wind, the wind of destruction and woe,
The four-and-seven wind, the wind of destruction and sorrow,
Sent forth the seven winds which he had made
Sent out the seven winds that he had created.
Tiamat's body to destroy, after him they followed.
Tiamat's body to destroy, after him they followed.
Then seized the lord the thunderbolt, his mighty weapon,
Then the lord grabbed the thunderbolt, his powerful weapon,
The irresistible chariot, the terrible, he mounted,
The unstoppable chariot, the fearsome one, he got on.
To it four horses he harnessed, pitiless, fiery, swift,
To it, he harnessed four horses: merciless, fiery, and fast.
Their teeth were full of venom covered with foam.
Their teeth were filled with venom, covered in foam.
On it mounted Marduk the mighty in battle.
On it rode Marduk, the powerful in battle.
To right and left he looked, lifting his eye.
To his right and left, he looked, raising his gaze.
His terrible brightness surrounded his head.
His intense brightness surrounded his head.
Against her he advanced, went on his way,
Against her, he moved forward, continued on his path,
To Tiamat lifted his face.
To Tiamat raised his face.
They looked at him, at him looked the gods,
The gods, his fathers, looked at him; at him looked the gods.
And nearer pressed the lord, with his eye piercing Tiamat.
On Kingu her consort rested his look.
As he so looked, every way is stopped.
His senses Kingu loses, vanishes his thought,
And the gods, his helpers, who stood by his side
Saw their leader powerless....
But Tiamat stood, not turning her back.
With fierce lips to him she spake:--
Then grasped the lord his thunderbolt, his mighty weapon,
Angry at Tiamat he hurled his words:--
When Tiamat heard these words,
She fell into fury, beside herself was she.
Tiamat cried wild and loud
Till through and through her body shook.
She utters her magic formula, speaks her word,
And the gods of battle rush to arms.
Then advance Tiamat, and Marduk the ruler of the gods
To battle they rush, come on to the fight.
His wide-stretched net over her the lord did cast,
The evil wind from behind him he let loose in her face.
Tiamat opened her throat as wide as she might,
Into it he sent the evil wind before she could close her lips.
The terrible winds filled her body,
Her senses she lost, wide open stood her throat.
He seized his spear, through her body he ran it,
Her inward parts he hewed, cut to pieces her heart.
Her he overcame, put an end to her life,
Cast away her corpse and on it stood.
So he, the leader, slew Tiamat,
Her power he crushed, her might he destroyed.
Then the gods, her helpers, who stood at her side,
Fear and trembling seized them, their backs they turned,
Away they fled to save their lives.
Fast were they girt, escape they could not,
Captive he took them, broke in pieces their arms.
They were caught in the net, sat in the toils,
All the earth they filled with their cry.
Their doom they bore, held fast in prison,
And the eleven creatures, clothed with dread,
A herd of demons who with her went,
These he subdued, destroyed their power,
Crushed their valor, trod them under foot;
And Kingu, who had grown great over them all,
Him he overcame with the god Kugga,
Took from him the tablets of fate which were not rightfully his,
Stamped thereon his seal, and hung them on his breast.
When thus the doughty Marduk had conquered his foes,
His proud adversary to shame had brought,
Had completed Anshar's triumph over the enemy,
Had fulfilled Nudimmud's will,
Then the conquered gods he put in prison,
And to Tiamat, whom he had conquered, returned.
Under his foot the lord Tiamat's body trod,
With his irresistible club he shattered her skull,
Through the veins of her blood he cut;
Commanded the north wind to bear it to a secret place.
His fathers saw it, rejoiced and shouted.
Gifts and offerings to him they brought.
The lord was appeased seeing her corpse.
Dividing her body, wise plans he laid.
Into two halves like a fish he divided her,
Out of one half he made the vault of heaven,
A bar he set and guards he posted,
Gave them command that the waters pass not through.
Through the heaven he strode, viewed its spaces,
Near the deep placed Nudimmud's dwelling.
And the lord measured the domain of the deep,
A palace like it, Eshara, he built,
The palace Eshara which he fashioned as heaven.
Therein made he Anu, Bel, and Ea to dwell.
He established the station of the great gods,
Stars which were like them, constellations he set,
The year he established, marked off its parts,
Divided twelve months by three stars,
From the day that begins the year to the day that ends it
He established the station Nibir to mark its limits.
That no harm come, no one go astray,
The stations of Bel and Ea be set by its side.
Great doors he made on this side and that,
Closed them fast on left and right.
The moon-god he summoned, to him committed the night.
[Here the account breaks off; there probably followed the history of the creation of the earth and of man.]
[Here the account stops; it likely continued with the story of the creation of the earth and humanity.]
I spread my wings like a bird,
I descend to the house of darkness, to the dwelling of Irkalla,
To the house from which there is no exit,
The road on which there is no return,
To the house whose dwellers long for light,
Dust is their nourishment and mud their food,
Whose chiefs are like feathered birds,
Where light is never seen, in darkness they dwell.
In the house which I will enter
There is treasured up for me a crown,
With the crowned ones who of old ruled the earth,
To whom Anu and Bel have given terrible names,
Carrion is their food, their drink stagnant water.
There dwell the chiefs and unconquered ones,
There dwell the bards and the mighty men,
Monsters of the deep of the great gods.
It is the dwelling of Etana, the dwelling of Ner,
Of Ninkigal, the queen of the underworld....
Her I will approach and she will see me.
ISHTAR'S DESCENT TO THE UNDERWORLD
Ishtar's Descent to the Underworld
[After a description substantially identical with the first half of the preceding poem, the story goes on:--]
[After a description that is basically the same as the first half of the previous poem, the story continues:--]
[He goes and gets the terrible queen's permission for Ishtar to enter on certain conditions.]
[He goes and gets the awful queen's approval for Ishtar to enter under specific conditions.]
[And so at each gate till she is stripped of clothing. A long time Ninkigal holds her prisoner, and in the upper world love vanishes and men and gods mourn. Ea sees that Ishtar must return, and sends his messenger to bring her.]
[And so at each gate until she is stripped of her clothes. For a long time, Ninkigal keeps her captive, and in the world above, love fades away and both men and gods grieve. Ea realizes that Ishtar must come back and sends his messenger to bring her back.]
[And so through the seven gates till all her ornaments are restored. The result of the visit to the underworld is not described.]
[And so through the seven gates until all her ornaments are restored. The result of the visit to the underworld is not described.]
[The hero Gilgamesh (Izdubar), wandering in search of healing for his sickness, finds Hasisadra (Xisuthros), the Babylonian Noah, who tells him the story of the Flood.]
[The hero Gilgamesh (Izdubar), wandering in search of healing for his sickness, finds Hasisadra (Xisuthros), the Babylonian Noah, who tells him the story of the Flood.]
[Here follows a statement of the dimensions of the ship, but the numbers are lost.]
[Here follows a statement of the dimensions of the ship, but the numbers are lost.]
[The text is here mutilated: Hasisadra is ordered to threaten the mockers with Ea's vengeance.]
[The text is here mutilated: Hasisadra is told to warn the mockers of Ea's wrath.]
[Hasisadra tells how he built the ship according to Ea's directions.]
[Hasisadra shares how he constructed the ship following Ea's instructions.]
Assyrian Clay Tablet (Fac-simile).
Assyrian Clay Tablet Replica.
Down went the sea, ceased storm and flood.
Through the sea I rode lamenting.
The upper dwellings of men were ruined,
Corpses floated like trees.
A window I opened, on my face the daylight fell.
I shuddered and sat me down weeping,
Over my face flowed my tears.
I rode over regions of land, on a terrible sea.
Then rose one piece of land twelve measures high.
To the land Nizir the ship was steered,
The mountain Nizir held the ship fast, and let it no more go.
I took a dove and sent it forth.
Hither and thither flew the dove,
No resting-place it found, back to me it came.
A swallow I took and sent it forth,
No resting-place it found, and back to me it came.
A raven I took and sent it forth,
Forth flew the raven and saw that the water had fallen,
Carefully waded on but came not back.
All the animals then to the four winds I sent.
A sacrifice I offered,
An altar I built on the mountain-top,
By sevens I placed the vessels,
Under them spread sweet cane and cedar.
The gods inhaled the smoke, inhaled the sweet-smelling smoke,
Like flies the gods collected over the offering.
Thither then came Ishtar,
Lifted on high her bow, which Anu had made:--
These days I will not forget, will keep them in remembrance,
Them I will never forget.
Let the gods come to the altar,
But let not Bel to the altar come,
Because he heedlessly wrought, the flood he brought on,
To destruction my people gave over.
Thither came Bel and saw the ship,
Full of anger was he
Against the gods and the spirits of heaven:--
What soul has escaped!
In the destruction no man shall live.
Then Adar opened his mouth and spake,
Spake to the warlike Bel:--
Who but Ea knew it?
He knew and all he hath told.
Then Ea opened his mouth,
Spake to the warlike Bel:--
Thou art the valiant leader of the gods,
Why hast thou heedlessly wrought, and brought on the flood?
Let the sinner bear his sin, the wrongdoer his wrong;
Yield to our request, that he be not wholly destroyed.
Instead of sending a flood, send lions that men be reduced;
Instead of sending a flood, send hyenas that men be reduced;
Instead of sending a flood, send flames to waste the land;
Instead of sending a flood, send pestilence that men be reduced.
The counsel of the great gods to him I did not impart;
A dream to Hasisadra I sent, and the will of the gods he learned.
Then came right reason to Bel,
Into the ship he entered,
Took my hand and lifted me up,
Raised my wife and laid her hand in mine,
To us he turned, between us he stepped,
His blessing he gave.
Human Hasisadra has been,
But he and his wife united
Now to the gods shall be raised,
And Hasisadra shall dwell far off at the mouth of the streams.
Then they took me and placed me
Far off at the mouth of the streams.
[The rest is lost.]
[The rest is lost.]
[Etana, frightened, begs the eagle to ascend no further; then, as it seems, the bird's strength is exhausted.]
[Etana, scared, pleads with the eagle not to go any higher; then, it appears, the bird is too tired to continue.]
[The rest is lost.]
[The rest is lost.]
[Ea, the ocean-god, then directs his son how to proceed in order to avert Anu's wrath. Some lines are mutilated.]
[Ea, the ocean god, then tells his son how to move forward to avoid Anu's anger. Some lines are damaged.]
[By this speech Ann's anger is turned away.]
[By this speech, Ann's anger is cooled.]
I
I
The Suppliant:
The Suppliant
The Priest:
The Priest:
The Suppliant:
Beside thee there is no god to guide me.
Look in mercy on me, accept my sigh,
Say why do I wait so long.
Let thy face be softened!
How long, O my lady!
May thy kindness be turned to me!
Like a dove I mourn, full of sighing.
The Suppliant:
There’s no one else here to guide me.
Please have mercy on me, hear my sigh,
Tell me why I have to wait so long.
Let your expression be warm!
How much longer, my lady?
I hope your kindness is directed towards me!
Like a dove, I grieve, overwhelmed with sighs.
The Priest:
With sorrow and woe
His soul is full of sighing,
Tears he sheds, he pours out laments.
The Priest:
With sadness and grief
His soul is filled with sighs,
He sheds tears and expresses his sorrow.
II
II
[The intercession of a number of gods is here invoked.]
[The intervention of several gods is called upon here.]
III
III
IV
IV
[These phrases are repeated many times.]
[These phrases are repeated many times.]
V
V
(Taylor-cylinder, B.C. 701. Cf. 2 Kings xviii., xix.)
(Taylor-cylinder, B.C. 701. See 2 Kings 18, 19.)
(B.C. 680-668)
(B.C. 680-668)
ABIGAIL ADAMS
(1744-1818)
BY LUCIA GILBERT RUNKLE
he Constitution of the State of Massachusetts, adopted in the year 1780, contains an article for the Encouragement of Literature, which, it declares, should be fostered because its influence is "to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in dealings, sincerity and good humor, and all social affections and generous sentiments among the people." In these words, as in a mirror, is reflected the Massachusetts of the eighteenth century, where households like the Adamses', the Warrens', the Otises', made the standard of citizenship. Six years before this remarkable document was framed, Abigail Adams had written to her husband, then engaged in nation-making in Philadelphia:--"I most sincerely wish that some more liberal plan might be laid and executed for the benefit of the rising generation, and that our new Constitution may be distinguished for encouraging learning and virtue." And he, spending his days and nights for his country, sacrificing his profession, giving up the hope of wealth, writes her:--"I believe my children will think that I might as well have labored a little, night and day, for their benefit. But I will tell them that I studied and labored to procure a free constitution of government for them to solace themselves under; and if they do not prefer this to ample fortune, to ease and elegance, they are not my children. They shall live upon thin diet, wear mean clothes, and work hard with cheerful hearts and free spirits, or they may be the children of the earth, or of no one, for me."
The Constitution of the State of Massachusetts, adopted in 1780, includes an article promoting Literature, stating that it should be encouraged because its influence is "to support and teach the principles of humanity and general kindness, both public and private charity, hard work and thrift, honesty and punctuality in transactions, sincerity and good humor, and all social feelings and generous sentiments among the people." These words reflect the Massachusetts of the eighteenth century, where families like the Adamses, the Warrens, and the Otises set the standard for citizenship. Six years before this remarkable document was created, Abigail Adams wrote to her husband, who was busy with nation-building in Philadelphia: "I truly hope that a more progressive plan can be established and carried out for the benefit of the upcoming generation and that our new Constitution will be known for promoting learning and virtue." He, dedicating his days and nights to the country, sacrificing his career and giving up the hope for wealth, replied to her: "I believe my children will think I could have worked a little, day and night, for their benefit. But I will tell them that I studied and worked to create a free government for them to take comfort in; and if they don't prefer this over great wealth, comfort, and luxury, then they are not my children. They will live on simple food, wear plain clothes, and work hard with happy hearts and free spirits, or they may as well be the children of the earth, or of no one, as far as I'm concerned."
In old Weymouth, one of those quiet Massachusetts towns, half-hidden among the umbrageous hills, where the meeting-house and the school-house rose before the settlers' cabins were built, where the one elm-shaded main street stretches its breadth between two lines of self-respecting, isolated frame houses, each with its grassy dooryard, its lilac bushes, its fresh-painted offices, its decorous wood-pile laid with architectural balance and symmetry,--there, in the dignified parsonage, on the 11th of November, 1744, was born to Parson William Smith and Elizabeth his wife, Abigail, the second of three beautiful daughters. Her mother was a Quincy, of a distinguished line, and her mother was a Norton, of a strain not less honorable. Nor were the Smiths unimportant.
In old Weymouth, one of those quiet Massachusetts towns, half-hidden among the shaded hills, where the meeting house and the schoolhouse were established before the settlers' cabins were built, where the elm-lined main street runs its length between two rows of proud, standalone frame houses, each with its grassy front yard, lilac bushes, newly painted offices, and neatly organized woodpile arranged with care and symmetry—there, in the dignified parsonage, on November 11, 1744, Abigail was born to Parson William Smith and his wife Elizabeth, the second of their three beautiful daughters. Her mother was a Quincy, from a distinguished lineage, and her mother was a Norton, from an equally respectable family. The Smiths were also notable.
In that day girls had little instruction. Abigail says of herself, in one of her letters:--"I never was sent to any school. Female education, in the best families, went no further than writing and arithmetic; in some few and rare instances, music and dancing. It was fashionable to ridicule female learning." But the household was bookish. Her mother knew the "British Poets" and all the literature of Queen Anne's Augustan age. Her beloved grandmother Quincy, at Mount Wollaston, seems to have had both learning and wisdom, and to her father she owed the sense of fun, the shrewdness, the clever way of putting things which make her letters so delightful.
In that era, girls received very little education. Abigail writes in one of her letters, “I was never sent to school. In the best families, girls' education was limited to writing and basic math; sometimes, they might learn music and dancing, but that was rare. It was considered trendy to mock women's education.” However, her household was filled with books. Her mother was familiar with the "British Poets" and all the literature from Queen Anne's time. Her cherished grandmother Quincy, at Mount Wollaston, seemed to possess both knowledge and wisdom, and from her father, she inherited a sense of humor, sharp insight, and a clever way of expressing herself, which made her letters so enjoyable.
The good parson was skillful in adapting Scripture to special exigencies, and throughout the Revolution he astonished his hearers by the peculiar fitness of his texts to political uses. It is related of him that when his eldest daughter married Richard Cranch, he preached to his people from Luke, tenth chapter, forty-second verse: "And Mary hath chosen that good part which shall not be taken away from her." When, a year later, young John Adams came courting the brilliant Abigail, the parish, which assumed a right to be heard on the question of the destiny of the minister's daughter, grimly objected. He was upright, singularly abstemious, studious; but he was poor, he was the son of a small farmer, and she was of the gentry. He was hot-headed and somewhat tactless, and offended his critics. Worst of all, he was a lawyer, and the prejudice of colonial society reckoned a lawyer hardly honest. He won this most important of his cases, however, and Parson Smith's marriage sermon for the bride of nineteen was preached from the text, "For John came neither eating bread nor drinking wine, and ye say, He hath a devil."
The good parson was skilled at adapting Scripture to specific situations, and throughout the Revolution, he amazed his listeners with how well his texts applied to political issues. It's said that when his eldest daughter married Richard Cranch, he preached to his congregation from Luke, chapter 10, verse 42: "And Mary has chosen that good part which will not be taken away from her." A year later, when young John Adams started courting the brilliant Abigail, the parish, feeling entitled to voice their opinions on the future of the minister's daughter, sternly objected. He was honest, unusually self-disciplined, and studious; however, he was poor, the son of a small farmer, while she came from a prominent family. He had a quick temper and was somewhat blunt, which turned his critics against him. Worst of all, he was a lawyer, and the bias of colonial society viewed lawyers as hardly trustworthy. Nevertheless, he won this crucial case, and Parson Smith's wedding sermon for the nineteen-year-old bride was based on the text, "For John came neither eating bread nor drinking wine, and you say, He has a devil."
For ten years Mrs. Adams seems to have lived a most happy life, either in Boston or Braintree, her greatest grief being the frequent absences of her husband on circuit. His letters to her are many and delightful, expressing again and again, in the somewhat formal phrases of the period, his affection and admiration. She wrote seldom, her household duties and the care of the children, of whom there were four in ten years, occupying her busy hands.
For ten years, Mrs. Adams appears to have lived a very happy life, whether in Boston or Braintree, her biggest sorrow being her husband’s frequent trips. His letters to her are numerous and charming, repeatedly expressing his love and admiration in the somewhat formal language of the time. She wrote rarely, as her household responsibilities and the care of their four children kept her hands full.
Meanwhile, the clouds were growing black in the political sky. Mr. Adams wrote arguments and appeals in the news journals over Latin signatures, papers of instructions to Representatives to the General Court, and legal portions of the controversy between the delegates and Governor Hutchinson. In all this work Mrs. Adams constantly sympathized and advised. In August, 1774, he went to Philadelphia as a delegate to a general council of the colonies called to concert measures for united action. And now begins the famous correspondence, which goes on for a period of nine years, which was intended to be seen only by the eyes of her husband, which she begs him, again and again, to destroy as not worth the keeping, yet which has given her a name and place among the world's most charming letter-writers.
Meanwhile, the clouds were darkening in the political landscape. Mr. Adams wrote arguments and appeals in the newspapers, along with letters of instruction to Representatives in the General Court, and legal documents related to the dispute between the delegates and Governor Hutchinson. Throughout all this work, Mrs. Adams always offered her support and advice. In August 1774, he went to Philadelphia as a delegate to a general council of the colonies, which was called to coordinate efforts for united action. This is when the famous correspondence began, lasting for nine years, meant only for her husband's eyes, which she repeatedly urged him to destroy as it wasn't worth keeping, yet it ultimately earned her a reputation as one of the world's most delightful letter-writers.
Her courage, her cheerfulness, her patriotism, her patience never fail her. Braintree, where, with her little brood, she is to stay, is close to the British lines. Raids and foraging expeditions are imminent. Hopes of a peaceful settlement grow dim. "What course you can or will take," she writes her husband, "is all wrapped in the bosom of futurity. Uncertainty and expectation leave the mind great scope. Did ever any kingdom or State regain its liberty, when once it was invaded, without bloodshed? I cannot think of it without horror. Yet we are told that all the misfortunes of Sparta were occasioned by their too great solicitude for present tranquillity, and, from an excessive love of peace, they neglected the means of making it sure and lasting. They ought to have reflected, says Polybius, that, 'as there is nothing more desirable or advantageous than peace, when founded in justice and honor, so there is nothing more shameful, and at the same time more pernicious, when attained by bad measures, and purchased at the price of liberty.'"
Her bravery, her optimism, her love for her country, and her patience never let her down. Braintree, where she is staying with her little ones, is close to the British lines. Raids and foraging missions are on the horizon. Hopes for a peaceful resolution are fading. "The path you can or will choose," she writes to her husband, "is shrouded in the uncertainty of the future. Uncertainty and anticipation grant the mind a lot of room to think. Has any kingdom or state ever regained its freedom after being invaded without bloodshed? I can't imagine it without feeling horror. Yet, we are told that all the problems faced by Sparta were caused by their excessive concern for immediate peace, and from a misguided love of peace, they neglected to ensure it was secure and lasting. They should have considered, as Polybius said, that 'while nothing is more desirable or beneficial than peace, when based on justice and honor, nothing is more disgraceful and harmful when achieved through bad means and bought at the cost of liberty.'"
Thus in the high Roman fashion she faces danger; yet her sense of fun never deserts her, and in the very next letter she writes, parodying her husband's documents:--"The drouth has been very severe. My poor cows will certainly prefer a petition to you, setting forth their grievances, and informing you that they have been deprived of their ancient privileges, whereby they are become great sufferers, and desiring that these may be restored to them. More especially as their living, by reason of the drouth, is all taken from them, and their property which they hold elsewhere is decaying, they humbly pray that you would consider them, lest hunger should break through stone walls."
Thus, in typical Roman style, she confronts danger; yet her playful spirit never leaves her, and in the very next letter she writes, making fun of her husband's documents: "The drought has been really severe. My poor cows would definitely prefer to send you a petition outlining their complaints and letting you know that they’ve been stripped of their long-held privileges, which has made them great sufferers, and they’re hoping that these can be restored to them. Especially since, due to the drought, all their food has been taken away, and their land elsewhere is going to waste, they humbly ask you to consider their plight, lest hunger break through stone walls."
By midsummer the small hardships entailed by the British occupation of Boston were most vexatious. "We shall very soon have no coffee, nor sugar, nor pepper, but whortleberries and milk we are not obliged to commerce for," she writes, and in letter after letter she begs for pins. Needles are desperately needed, but without pins how can domestic life go on, and not a pin in the province!
By midsummer, the little annoyances caused by the British occupation of Boston were really frustrating. "We’ll soon have no coffee, sugar, or pepper, but we don't have to trade for whortleberries and milk," she writes, and in letter after letter, she pleads for pins. Needles are urgently needed, but without pins, how can we manage daily life, and there isn’t a single pin in the whole province!
On the 14th of September she describes the excitement in Boston, the Governor mounting cannon on Beacon Hill, digging intrenchments on the Neck, planting guns, throwing up breastworks, encamping a regiment. In consequence of the powder being taken from Charlestown, she goes on to say, a general alarm spread through all the towns and was soon caught in Braintree. And then she describes one of the most extraordinary scenes in history. About eight o'clock on Sunday evening, she writes to her husband, at least two hundred men, preceded by a horse-cart, passed by her door in dead silence, and marched down to the powder-house, whence they took out the town's powder, because they dared not trust it where there were so many Tories, carried it into the other parish, and there secreted it. On their way they captured a notorious "King's man," and found on him two warrants aimed at the Commonwealth. When their patriotic trust was discharged, they turned their attention to the trembling Briton. Profoundly excited and indignant though they were, they never thought of mob violence, but, true to the inherited instincts of their race, they resolved themselves into a public meeting! The hostile warrants being produced and exhibited, it was put to a vote whether they should be burned or preserved. The majority voted for burning them. Then the two hundred gathered in a circle round the single lantern, and maintained a rigid silence while the offending papers were consumed. That done--the blazing eyes in that grim circle of patriots watching the blazing writs--"they called a vote whether they should huzza; but, it being Sunday evening, it passed in the negative!"
On September 14th, she describes the excitement in Boston, with the Governor setting up cannons on Beacon Hill, digging trenches on the Neck, positioning guns, building defensive walls, and camping a regiment. Due to the powder being taken from Charlestown, a general alarm spread through all the towns and quickly reached Braintree. Then she recounts one of the most extraordinary scenes in history. Around eight o'clock on Sunday evening, she writes to her husband, at least two hundred men, led by a horse-cart, quietly passed by her door and marched down to the powder house, where they retrieved the town’s powder because they didn’t trust leaving it with so many Tories. They took it into the other parish and hid it there. On the way, they captured a notorious "King's man" and found two warrants against the Commonwealth on him. Once their patriotic duty was fulfilled, they focused on the frightened British loyalist. Though they were deeply excited and outraged, they didn’t resort to mob violence. Staying true to their heritage, they organized themselves into a public meeting! The hostile warrants were presented and discussed, and it was put to a vote whether to burn them or keep them. The majority voted to burn them. Then the two hundred formed a circle around a single lantern and maintained complete silence while the offending documents were burned. Once that was done—looking with fierce intensity at the burning papers—“they called for a vote on whether they should cheer; but since it was Sunday evening, the motion was turned down!”
Only in the New England of John Winthrop and the Mathers, of John Quincy and the Adamses, would such a scene have been possible: a land of self-conquest and self-control, of a deep love of the public welfare and a willingness to take trouble for a public object.
Only in New England, with figures like John Winthrop and the Mathers, John Quincy and the Adamses, could such a scene have happened: a place of self-discipline and self-restraint, where there was a strong commitment to the common good and a readiness to put in effort for a public cause.
A little later Mrs. Adams writes her husband that there has been a conspiracy among the negroes, though it has been kept quiet, "I wish most sincerely," she adds, "that there was not a slave in the province. It always appeared a most iniquitous scheme to me--to fight ourselves for what we are daily robbing and plundering from those who have as good a right to freedom as we have."
A little later, Mrs. Adams writes to her husband that there has been a conspiracy among the Black people, though it has been kept quiet. "I sincerely wish," she adds, "that there were no slaves in the province. It always seemed like a really unfair scheme to me—to fight for what we are daily stealing and taking from those who have as much right to freedom as we do."
Nor were the sympathies of this clever logician confined to the slaves. A month or two before the Declaration of Independence was made she writes her constructive statesman:--"I long to hear that you have declared an independence. And by the way, in the new code of laws which I suppose it will be necessary for you to make, I desire you would remember the ladies, and be more generous and favorable to them than your ancestors. Do not put such unlimited power into the hands of the husbands! Remember, all men would be tyrants if they could! If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice or representation. That your sex are naturally tyrannical is a truth so thoroughly established as to admit of no dispute; but such of you as wish to be happy willingly give up the harsh title of master for the more tender and endearing one of friend. Why, then, not put it out of the power of the vicious and the lawless to use us with cruelty and indignity with impunity? Men of sense in all ages abhor those customs which treat us only as the vassals of your sex. Regard us, then, as being placed by Providence under your protection; and in imitation of the Supreme Being, make use of that power only for our happiness."--a declaration of principles which the practical housewife follows up by saying:--"I have not yet attempted making salt-petre, but after soap-making, believe I shall make the experiment. I find as much as I can do to manufacture clothing for my family, which would else be naked. I have lately seen a small manuscript describing the proportions of the various sorts of powder fit for cannon, small arms, and pistols. If it would be of any service your way, I will get it transcribed and send it to you."
Nor were the sympathies of this clever logician limited to the slaves. A month or two before the Declaration of Independence was made, she writes to her constructive statesman: "I can't wait to hear that you've declared independence. And while you're at it, in the new set of laws that I'm sure you'll have to create, I hope you remember the ladies and treat them better than your ancestors did. Don’t give unlimited power to the husbands! Remember, all men would be tyrants if they could! If particular care and attention aren't given to the ladies, we are determined to start a rebellion and won't obey any laws in which we have no voice or representation. It’s a well-established truth that your sex is naturally tyrannical, but those of you who want to be happy willingly trade the harsh title of master for the more caring and affectionate one of friend. Why, then, not prevent the cruel and lawless from treating us with cruelty and disrespect without consequences? Sensible men throughout history despise customs that treat us only as servants of your sex. So see us as being under your protection by Providence; and like the Supreme Being, use that power only for our happiness."—a declaration of principles that the practical housewife follows up by saying: "I haven't tried making saltpeter yet, but after soap-making, I believe I will give it a shot. I find I have as much as I can do to make clothing for my family, who would otherwise be naked. I recently came across a small manuscript detailing the proportions of the various kinds of gunpowder suitable for cannons, small arms, and pistols. If it would be helpful to you, I will get it transcribed and send it your way."
She is interested in everything, and she writes about everything in the same whole-hearted way,--farming, paper money, the making of molasses from corn-stalks, the new remedy of inoculation, 'Common Sense' and its author, the children's handwriting, the state of Harvard College, the rate of taxes, the most helpful methods of enlistment, Chesterfield's Letters, the town elections, the higher education of women, and the getting of homespun enough for Mr. Adams's new suit.
She’s curious about everything and writes about it all with the same enthusiasm—farming, paper money, making molasses from corn stalks, the new inoculation treatment, 'Common Sense' and its author, children’s handwriting, the situation at Harvard College, tax rates, effective enlistment methods, Chesterfield's Letters, local elections, women’s higher education, and how to get enough homespun for Mr. Adams’s new suit.
She manages, with astonishing skill, to keep the household in comfort. She goes through trials of sickness, death, agonizing suspense, and ever with the same heroic cheerfulness, that her anxious husband may be spared the pangs which she endures. When he is sent to France and Holland, she accepts the new parting as another service pledged to her country. She sees her darling boy of ten go with his father, aware that at the best she must bear months of silence, knowing that they may perish at sea or fall into the hands of privateers; but she writes with indomitable cheer, sending the lad tender letters of good advice, a little didactic to modern taste, but throbbing with affection. "Dear as you are to me," says this tender mother, "I would much rather you should have found your grave in the ocean you have crossed than see you an immoral, profligate, or graceless child."
She manages, with incredible skill, to keep the household comfortable. She goes through hardships of illness, death, and intense anxiety, always maintaining the same heroic cheerfulness so her worried husband can be spared the pain she endures. When he is sent to France and Holland, she views the separation as another sacrifice for her country. She watches her beloved ten-year-old son go with his father, knowing that at best she will face months of silence, fully aware that they could drown at sea or fall into the hands of pirates; yet she writes with unwavering cheer, sending her son heartfelt letters filled with advice, which may seem a bit preachy by today's standards, but are filled with love. "As dear as you are to me," says this caring mother, "I would much rather you find your grave in the ocean you have crossed than see you turn into an immoral, reckless, or unprincipled child."
It was the lot of this country parson's daughter to spend three years in London as wife of the first American minister, to see her husband Vice-President of the United States for eight years and President for four, and to greet her son as the eminent Monroe's valued Secretary of State, though she died, "seventy-four years young," before he became President. She could not, in any station, be more truly a lady than when she made soap and chopped kindling on her Braintree farm. At Braintree she was no more simply modest than at the Court of St. James or in the Executive Mansion. Her letters exactly reflect her ardent, sincere, energetic nature. She shows a charming delight when her husband tells her that his affairs could not possibly be better managed than she manages them, and that she shines not less as a statesman than as a farmeress. And though she was greatly admired and complimented, no praise so pleased her as his declaration that for all the ingratitude, calumnies, and misunderstandings that he had endured,--and they were numberless,--her perfect comprehension of him had been his sufficient compensation.
It was the fate of this country parson's daughter to spend three years in London as the wife of the first American minister, to see her husband serve as Vice-President of the United States for eight years and as President for four, and to welcome her son as the esteemed Monroe's valued Secretary of State, though she passed away, "seventy-four years young," before he became President. Regardless of her position, she embodied true ladyhood when she made soap and chopped firewood on her Braintree farm. At Braintree, she was just as genuinely modest as she was at the Court of St. James or in the Executive Mansion. Her letters perfectly reflect her passionate, sincere, and energetic nature. She expresses charming delight when her husband tells her that his affairs could not possibly be better managed than how she manages them, and that she shines just as much as a statesman as she does as a farmer. And although she was greatly admired and complimented, no praise pleased her as much as his declaration that for all the ingratitude, slanders, and misunderstandings he had faced—and there were countless—her complete understanding of him had been his enough compensation.
BRAINTREE, May 24th, 1775.
Braintree, May 24, 1775.
My Dearest Friend:
My Best Friend:
Our house has been, upon this alarm, in the same scene of confusion that it was upon the former. Soldiers coming in for a lodging, for breakfast, for supper, for drink, etc. Sometimes refugees from Boston, tired and fatigued, seek an asylum for a day, a night, a week. You can hardly imagine how we live; yet--
Our house has been, with this alarm, just as chaotic as it was before. Soldiers come in looking for a place to stay, to eat breakfast, to have supper, to grab a drink, and so on. Sometimes, refugees from Boston, exhausted and worn out, seek shelter for a day, a night, or even a week. You can hardly imagine how we manage to get by; yet--
"To the houseless child of want,
Our doors are open still;
And though our portions are but scant,
We give them with good will."
"To the homeless child in need,
Our doors are still open;
And even though our resources are limited,
We give them with goodwill."
My best wishes attend you, both for your health and happiness, and that you may be directed into the wisest and best measures for our safety and the security of our posterity. I wish you were nearer to us: we know not what a day will bring forth, nor what distress one hour may throw us into. Hitherto I have been able to maintain a calmness and presence of mind, and hope I shall, let the exigency of the time be what it will. Adieu, breakfast calls.
My best wishes are with you for your health and happiness, and that you find the wisest and best ways to ensure our safety and the security of our future. I wish you were closer to us; we never know what a day may bring or what troubles an hour can bring us. So far, I have managed to stay calm and collected, and I hope to keep it together, no matter what the situation is. Goodbye, breakfast is ready.
Your affectionate
PORTIA.
Your loving
PORTIA.
WEYMOUTH, June 15th, 1775.
WEYMOUTH, June 15, 1775.
I hope we shall see each other again, and rejoice together in happier days; the little ones are well, and send duty to papa. Don't fail of letting me hear from you by every opportunity. Every line is like a precious relic of the saints.
I hope we’ll see each other again and celebrate together in better times; the kids are doing well and send their love to dad. Please make sure to write to me whenever you can. Every message feels like a treasured keepsake.
I have a request to make of you; something like the barrel of sand, I suppose you will think it, but really of much more importance to me. It is, that you would send out Mr. Bass, and purchase me a bundle of pins and put them in your trunk for me. The cry for pins is so great that what I used to buy for seven shillings and sixpence are now twenty shillings, and not to be had for that. A bundle contains six thousand, for which I used to give a dollar; but if you can procure them for fifty shillings, or three pounds, pray let me have them. I am, with the tenderest regard,
I have a favor to ask of you; it might seem trivial, like asking for a barrel of sand, but it’s actually much more important to me. Please send Mr. Bass to buy me a bundle of pins and put them in your trunk for me. The demand for pins is so high that what I used to buy for seven shillings and sixpence now costs twenty shillings, and even that’s hard to come by. A bundle usually contains six thousand, which I used to get for a dollar; but if you can find them for fifty shillings or three pounds, I would really appreciate it. I send my warmest regards,
Your PORTIA.
Your PORTIA.
BRAINTREE, June 18th, 1775.
BRAINTREE, June 18, 1775.
My Dearest Friend:
My Best Friend:
The day--perhaps the decisive day is come, on which the fate of America depends. My bursting heart must find vent at my pen. I have just heard that our dear friend, Dr. Warren, is no more, but fell gloriously fighting for his country, saying, "Better to die honorably in the field than ignominiously hang upon the gallows." Great is our loss. He has distinguished himself in every engagement by his courage and fortitude, by animating the soldiers, and leading them on by his own example. A particular account of these dreadful but, I hope, glorious days, will be transmitted you, no doubt, in the exactest manner.
The day—maybe the pivotal day has arrived, on which America's fate hangs in the balance. My overflowing heart must express itself through my pen. I just learned that our dear friend, Dr. Warren, is gone, but he fell bravely fighting for his country, saying, "It's better to die honorably in battle than shamefully hang from the gallows." Our loss is immense. He stood out in every battle with his courage and strength, inspiring the soldiers and leading them by his own example. A detailed account of these terrible yet, I hope, triumphant days will be sent to you, undoubtedly in the most accurate way possible.
"The race is not to the swift, nor the battle to the strong; but the God of Israel is He that giveth strength and power unto His people. Trust in Him at all times, ye people: pour out your hearts before Him; God is a refuge for us." Charlestown is laid in ashes. The battle began upon our intrenchments upon Bunker's Hill, Saturday morning about three o'clock, and has not ceased yet, and it is now three o'clock Sabbath afternoon.
"The race doesn’t always go to the fast, nor does victory always belong to the strong; but the God of Israel grants strength and power to His people. Trust in Him at all times, everyone: share your hearts with Him; God is our refuge." Charlestown is in ruins. The battle started at our fortifications on Bunker Hill, Saturday morning around three o'clock, and hasn’t stopped since; it is now three o'clock on Sunday afternoon.
It is expected they will come out over the Neck to-night, and a dreadful battle must ensue. Almighty God, cover the heads of our countrymen, and be a shield to our dear friends! How many have fallen we know not. The constant roar of the cannon is so distressing that we cannot eat, drink, or sleep. May we be supported and sustained in the dreadful conflict. I shall tarry here till it is thought unsafe by my friends, and then I have secured myself a retreat at your brother's, who has kindly offered me part of his house. I cannot compose myself to write any further at present. I will add more as I hear further.
It’s expected they will come out over the Neck tonight, and a terrible battle will follow. Almighty God, protect our countrymen, and be a shield to our dear friends! We don’t know how many have fallen. The constant roar of the cannons is so distressing that we can’t eat, drink, or sleep. May we be supported and sustained in this awful conflict. I will stay here until my friends think it’s unsafe, and then I have a retreat set up at your brother’s, who has kindly offered me part of his house. I can’t focus on writing any more right now. I’ll add more as I hear more.
Your PORTIA.
Your PORTIA.
BRAINTREE, November 27th, 1775.
BRAINTREE, November 27, 1775.
Colonel Warren returned last week to Plymouth, so that I shall not hear anything from you until he goes back again, which will not be till the last of this month. He damped my spirits greatly by telling me that the court had prolonged your stay another month. I was pleasing myself with the thought that you would soon be upon your return. It is in vain to repine. I hope the public will reap what I sacrifice.
Colonel Warren came back to Plymouth last week, so I won’t hear anything from you until he leaves again, which won't be until the end of this month. He really brought me down by saying that the court has extended your stay for another month. I was looking forward to your return. There's no point in complaining. I hope the public benefits from what I’m giving up.
I wish I knew what mighty things were fabricating. If a form of government is to be established here, what one will be assumed? Will it be left to our Assemblies to choose one? And will not many men have many minds? And shall we not run into dissensions among ourselves?
I wish I knew what great things were being created. If a form of government is going to be set up here, which one will be chosen? Will it be up to our Assemblies to decide? And won't many people have different opinions? And won't we end up disagreeing with each other?
I am more and more convinced that man is a dangerous creature; and that power, whether vested in many or a few, is ever grasping, and, like the grave, cries, "Give, give!" The great fish swallow up the small; and he who is most strenuous for the rights of the people, when vested with power, is as eager after the prerogatives of government. You tell me of degrees of perfection to which human nature is capable of arriving, and I believe it, but at the same time lament that our admiration should arise from the scarcity of the instances.
I’m increasingly convinced that humans are a dangerous species; and that power, whether held by many or just a few, is always reaching for more and, like the grave, demands, "Give, give!" The big fish eat the smaller ones; and the person who fights hardest for the people's rights, once in power, is just as eager for the privileges of government. You mention the levels of perfection that human nature can achieve, and I believe it, but I also regret that our admiration comes from how rare those examples are.
The building up a great empire, which was only hinted at by my correspondent, may now, I suppose, be realized even by the unbelievers; yet will not ten thousand difficulties arise in the formation of it? The reins of government have been so long slackened that I fear the people will not quietly submit to those restraints which are necessary for the peace and security of the community. If we separate from Britain, what code of laws will be established? How shall we be governed so as to retain our liberties? Can any government be free which is not administered by general stated laws? Who shall frame these laws? Who will give them force and energy? It is true, your resolutions, as a body, have hitherto had the force of laws; but will they continue to have?
The idea of building a great empire, which was only suggested by my correspondent, might now be seen as achievable even by skeptics; however, won't there be countless challenges when trying to make it happen? The government's control has been so relaxed for so long that I worry the people won't easily accept the limits necessary for the peace and safety of the community. If we break away from Britain, what laws will we establish? How will we be governed in a way that preserves our freedoms? Can any government be considered free if it's not run by established laws? Who will create these laws? Who will enforce and empower them? It's true that your resolutions, as a group, have so far acted like laws; but will they keep doing that?
When I consider these things, and the prejudices of people in favor of ancient customs and regulations, I feel anxious for the fate of our monarchy, or democracy, or whatever is to take place. I soon get lost in the labyrinth of perplexities; but, whatever occurs, may justice and righteousness be the stability of our times, and order arise out of confusion. Great difficulties may be surmounted by patience and perseverance.
When I think about these things and the biases people have towards old customs and rules, I worry about the future of our monarchy, democracy, or whatever happens next. I quickly feel overwhelmed by the maze of uncertainties; but, no matter what happens, I hope that justice and fairness will be the foundation of our times, and that order will emerge from chaos. We can overcome great challenges with patience and determination.
I believe I have tired you with politics. As to news, we have not any at all. I shudder at the approach of winter, when I think I am to remain desolate.
I think I’ve worn you out with politics. As for news, we have none at all. I dread the arrival of winter, thinking about how lonely I’m going to feel.
I must bid you good-night; 'tis late for me, who am much of an invalid. I was disappointed last week in receiving a packet by post, and, upon unsealing it, finding only four newspapers. I think you are more cautious than you need be. All letters, I believe, have come safe to hand. I have sixteen from you, and wish I had as many more.
I have to say goodnight; it’s late for me, and I’m basically an invalid. I was let down last week when I got a package in the mail, and when I opened it, all I found were four newspapers. I think you're being more careful than necessary. As far as I know, all the letters have arrived safely. I have sixteen from you, and I wish I had just as many more.
Your PORTIA.
Your PORTIA.
BRAIN TREE, April 20th, 1777.
Braintree, April 20, 1777.
There is a general cry against the merchants, against monopolizers, etc., who, 'tis said, have created a partial scarcity. That a scarcity prevails of every article, not only of luxury but even the necessaries of life, is a certain fact. Everything bears an exorbitant price. The Act, which was in some measure regarded and stemmed the torrent of oppression, is now no more heeded than if it had never been made. Indian corn at five shillings; rye, eleven and twelve shillings, but scarcely any to be had even at that price; beef, eightpence; veal, sixpence and eightpence; butter, one and sixpence; mutton, none; lamb, none; pork, none; mean sugar, four pounds per hundred; molasses, none; cotton-wool, none; New England rum, eight shillings per gallon; coffee, two and sixpence per pound; chocolate, three shillings.
There’s a widespread complaint against the merchants and monopolizers who, it’s said, have created a partial shortage. The fact is, there’s a shortage of every item, not just luxury goods but even basic necessities. Everything is ridiculously overpriced. The law that once somewhat addressed the wave of oppression is now ignored as if it never existed. Corn is five shillings; rye is eleven or twelve shillings, but there's barely any available even at that price; beef is eight pence; veal is six and eight pence; butter is one and six pence; there’s no mutton; no lamb; no pork; common sugar is four pounds per hundred; no molasses; no cotton; New England rum is eight shillings per gallon; coffee is two and six pence per pound; chocolate is three shillings.
What can be done? Will gold and silver remedy this evil? By your accounts of board, housekeeping, etc., I fancy you are not better off than we are here. I live in hopes that we see the most difficult time we have to experience. Why is Carolina so much better furnished than any other State, and at so reasonable prices?
What can be done? Will gold and silver solve this problem? From your reports about the board, housekeeping, etc., I think you’re not any better off than we are here. I hope we’re going through the hardest times we’ll face. Why is Carolina so much better supplied than any other state, and at such reasonable prices?
Your PORTIA.
Your PORTIA.
BRAINTREE, June 8th, 1779.
BRAINTREE, June 8, 1779.
Six months have already elapsed since I heard a syllable from you or my dear son, and five since I have had one single opportunity of conveying a line to you. Letters of various dates have lain months at the Navy Board, and a packet and frigate, both ready to sail at an hour's warning, have been months waiting the orders of Congress. They no doubt have their reasons, or ought to have, for detaining them. I must patiently wait their motions, however painful it is; and that it is so, your own feelings will testify. Yet I know not but you are less a sufferer than you would be to hear from us, to know our distresses, and yet be unable to relieve them. The universal cry for bread, to a humane heart, is painful beyond description, and the great price demanded and given for it verifies that pathetic passage of Sacred Writ, "All that a man hath will he give for his life." Yet He who miraculously fed a multitude with five loaves and two fishes has graciously interposed in our favor, and delivered many of the enemy's supplies into our hands, so that our distresses have been mitigated. I have been able as yet to supply my own family, sparingly, but at a price that would astonish you. Corn is sold at four dollars, hard money, per bushel, which is equal to eighty at the rate of exchange.
Six months have already passed since I heard anything from you or my dear son, and five since I had even one chance to send you a message. Letters of various dates have been sitting at the Navy Board for months, and a packet and a frigate, both ready to sail on short notice, have been waiting for Congress's orders for months. They must have their reasons, or at least should, for holding them up. I must patiently wait for their decisions, no matter how painful it is; and your own feelings will confirm how painful it is. Still, I can’t help but think you might suffer less than you would if you heard from us, if you knew of our troubles, and yet couldn't help us. The desperate need for food is unbearable for a compassionate person, and the high price being paid for it proves the saying from Sacred Writ, "All that a man has will he give for his life." Yet, He who miraculously fed a crowd with five loaves and two fish has kindly intervened in our favor and delivered some of the enemy's supplies into our hands, easing our hardships somewhat. So far, I’ve been able to provide for my family, though just barely, and at a price that would shock you. Corn is selling for four dollars in hard currency per bushel, which is equivalent to eighty at the current exchange rate.
Labor is at eight dollars per day, and in three weeks it will be at twelve, it is probable, or it will be more stable than anything else. Goods of all kinds are at such a price that I hardly dare mention it. Linens are sold at twenty dollars per yard; the most ordinary sort of calicoes at thirty and forty; broadcloths at forty pounds per yard; West India goods full as high; molasses at twenty dollars per gallon; sugar, four dollars per pound; Bohea tea at forty dollars; and our own produce in proportion; butcher's meat at six and eight shillings per pound; board at fifty and sixty dollars per week; rates high. That, I suppose, you will rejoice at; so would I, did it remedy the evil. I pay five hundred dollars, and a new Continental rate has just appeared, my proportion of which will be two hundred more. I have come to this determination,--to sell no more bills, unless I can procure hard money for them, although I shall be obliged to allow a discount. If I sell for paper, I throw away more than half, so rapid is the depreciation; nor do I know that it will be received long. I sold a bill to Blodget at five for one, which was looked upon as high at that time. The week after I received it, two emissions were taken out of circulation, and the greater part of what I had proved to be of that sort; so that those to whom I was indebted are obliged to wait, and before it becomes due, or is exchanged, it will be good for--as much as it will fetch, which will be nothing, if it goes on as it has done for this three months past. I will not tire your patience any longer. I have not drawn any further upon you. I mean to wait the return of the Alliance, which with longing eyes I look for. God grant it may bring me comfortable tidings from my dear, dear friend, whose welfare is so essential to my happiness that it is entwined around my heart, and cannot be impaired or separated from it without rending it asunder.
Labor is eight dollars a day, and in three weeks it will probably be twelve, or it will be more stable than anything else. Prices for goods are so high that I hardly dare mention them. Linens are selling for twenty dollars per yard; basic calicoes are going for thirty and forty; broadcloths at forty pounds per yard; West India goods are just as expensive; molasses is twenty dollars per gallon; sugar is four dollars per pound; Bohea tea is forty dollars; and our own produce is priced similarly; butcher's meat is six to eight shillings per pound; board costs fifty to sixty dollars per week; everything is expensive. I suppose that you will be pleased to hear that; I would be too, if it actually solved the problem. I pay five hundred dollars, and a new Continental rate has just come out, meaning my portion will be an additional two hundred. I've decided not to sell any more bills unless I can get hard cash for them, even if I have to offer a discount. If I sell for paper, I'm losing more than half due to how quickly it’s dropping in value; I’m not even sure it will be accepted for much longer. I sold a bill to Blodget at five for one, which was considered high at that time. The week after I got it, two newly issued currencies were taken out of circulation, and most of what I had turned out to be that kind; so now the people I owe have to wait, and by the time it’s due or exchanged, it will only be worth what it can fetch, which could be nothing if the trend continues as it has for the past three months. I won’t take up any more of your time. I haven’t drawn any further on you. I’m planning to wait for the return of the Alliance, which I’m eagerly anticipating. God grant it brings me good news about my dear friend, whose well-being is so crucial to my happiness that it’s tied to my heart, and I can't be separated from it without feeling it tear apart.
I cannot say that I think our affairs go very well here. Our currency seems to be the source of all our evils. We cannot fill up our Continental army by means of it. No bounty will prevail with them. What can be done with it? It will sink in less than a year. The advantage the enemy daily gains over us is owing to this. Most truly did you prophesy, when you said that they would do all the mischief in their power with the forces they had here.
I can't say I believe things are going very well for us here. Our currency seems to be the root of all our problems. We can't recruit for our Continental army with it. No bonus will convince them. What can we do with it? It'll be worthless in less than a year. The advantage the enemy is gaining over us every day is because of this. You were right when you predicted they would do everything they could to harm us with the forces they have here.
My tenderest regards ever attend you. In all places and situations, know me to be ever, ever yours.
My warmest regards are always with you. In every place and situation, remember that I am always yours.
AUTEUIL, 5th September, 1784.
AUTEUIL, September 5, 1784.
My, Dear Sister:
My Dear Sister:
Auteuil is a village four miles distant from Paris, and one from Passy. The house we have taken is large, commodious, and agreeably situated near the woods of Boulogne, which belong to the King, and which Mr. Adams calls his park, for he walks an hour or two every day in them. The house is much larger than we have need of; upon occasion, forty beds may be made in it. I fancy it must be very cold in winter. There are few houses with the privilege which this enjoys, that of having the salon, as it is called, the apartment where we receive company, upon the first floor. This room is very elegant, and about a third larger than General Warren's hall. The dining-room is upon the right hand, and the salon upon the left, of the entry, which has large glass doors opposite to each other, one opening into the court, as they call it, the other into a large and beautiful garden. Out of the dining-room you pass through an entry into the kitchen, which is rather small for so large a house. In this entry are stairs which you ascend, at the top of which is a long gallery fronting the street, with six windows, and opposite to each window you open into the chambers, which all look into the garden.
Auteuil is a village four miles from Paris and one mile from Passy. The house we’ve rented is spacious, comfortable, and nicely located near the Boulogne woods, which belong to the King. Mr. Adams calls it his park since he walks there for an hour or two every day. The house is much larger than we need; it can accommodate up to forty beds if necessary. I imagine it gets quite cold in the winter. Few houses have the privilege that this one does, which is having the salon—the room where we host guests—on the first floor. This room is very elegant and about a third larger than General Warren's hall. The dining room is to the right of the entry, and the salon is to the left, with large glass doors opposite each other: one leads to the courtyard and the other to a lovely garden. From the dining room, you go through an entry to the kitchen, which is a bit small for such a large house. In this entry, there are stairs that lead up to a long gallery facing the street, with six windows, and opposite each window, you can enter the bedrooms, all of which overlook the garden.
But with an expense of thirty thousand livres in looking-glasses, there is no table in the house better than an oak board, nor a carpet belonging to the house. The floors I abhor, made of red tiles in the shape of Mrs. Quincy's floor-cloth tiles. These floors will by no means bear water, so that the method of cleaning them is to have them waxed, and then a manservant with foot brushes drives round your room, dancing here and there like a Merry Andrew. This is calculated to take from your foot every atom of dirt, and leave the room in a few moments as he found it. The house must be exceedingly cold in winter. The dining-rooms, of which you make no other use, are laid with small stones, like the red tiles for shape and size. The servants' apartments are generally upon the first floor, and the stairs which you commonly have to ascend to get into the family apartments are so dirty that I have been obliged to hold up my clothes as though I was passing through a cow-yard.
But with an expense of thirty thousand livres on mirrors, there's no table in the house better than an oak board, nor any carpet that actually belongs to the house. I can't stand the floors, which are made of red tiles that look just like Mrs. Quincy's floor-cloth tiles. These floors can’t handle water at all, so the way to clean them is to have them waxed, and then a servant with foot brushes dances around your room, moving here and there like a clown. This is meant to wipe away every speck of dirt from your feet and leave the room just as it was in a matter of moments. I bet the house is freezing in winter. The dining rooms, which you don’t use for anything else, are covered with small stones that are shaped and sized just like the red tiles. The servants' quarters are usually on the first floor, and the stairs you have to climb to get to the family rooms are so dirty that I’ve had to hold up my clothes as if I were walking through a cow yard.
I have been but little abroad. It is customary in this country for strangers to make the first visit. As I cannot speak the language, I think I should make rather an awkward figure. I have dined abroad several times with Mr. Adams's particular friends, the Abbés, who are very polite and civil,--three sensible and worthy men. The Abbé de Mably has lately published a book, which he has dedicated to Mr. Adams. This gentleman is nearly eighty years old; the Abbé Chalut, seventy-five; and Arnoux about fifty, a fine sprightly man, who takes great pleasure in obliging his friends. Their apartments were really nice. I have dined once at Dr. Franklin's, and once at Mr. Barclay's, our consul, who has a very agreeable woman for his wife, and where I feel like being with a friend. Mrs. Barclay has assisted me in my purchases, gone with me to different shops, etc. To-morrow I am to dine at Monsieur Grand's; but I have really felt so happy within doors, and am so pleasingly situated, that I have had little inclination to change the scene. I have not been to one public amusement as yet, not even the opera, though we have one very near us.
I haven’t been out much. It’s common in this country for visitors to make the first move. Since I can’t speak the language, I think I’d look pretty awkward. I’ve had dinner several times with Mr. Adams's close friends, the Abbés, who are very polite and courteous—three reasonable and decent men. Abbé de Mably recently published a book dedicated to Mr. Adams. This gentleman is almost eighty years old; Abbé Chalut is seventy-five; and Arnoux is about fifty, a lively guy who loves to help his friends. Their places were really nice. I’ve had dinner once at Dr. Franklin's and once at Mr. Barclay's, our consul, who has a very pleasant wife, and where I feel like I’m with a friend. Mrs. Barclay has helped me with my shopping, taken me to different stores, etc. Tomorrow, I’m supposed to have dinner at Monsieur Grand's; but honestly, I’ve felt so happy indoors and am so comfortably settled that I haven’t had much desire to change things up. I haven’t been to any public events yet, not even the opera, even though there’s one very close by.
You may easily suppose I have been fully employed, beginning housekeeping anew, and arranging my family to our no small expenses and trouble; for I have had bed-linen and table-linen to purchase and make, spoons and forks to get made of silver,--three dozen of each,--besides tea furniture, china for the table, servants to procure, etc. The expense of living abroad I always supposed to be high, but my ideas were nowise adequate to the thing. I could have furnished myself in the town of Boston with everything I have, twenty or thirty per cent, cheaper than I have been able to do it here. Everything which will bear the name of elegant is imported from England, and if you will have it, you must pay for it, duties and all. I cannot get a dozen handsome wineglasses under three guineas, nor a pair of small decanters for less than a guinea and a half. The only gauze fit to wear is English, at a crown a yard; so that really a guinea goes no further than a copper with us. For this house, garden, stables, etc., we give two hundred guineas a year. Wood is two guineas and a half per cord; coal, six livres the basket of about two bushels; this article of firing we calculate at one hundred guineas a year. The difference between coming upon this negotiation to France, and remaining at the Hague, where the house was already furnished at the expense of a thousand pounds sterling, will increase the expense here to six or seven hundred guineas; at a time, too, when Congress has cut off five hundred guineas from what they have heretofore given. For our coachman and horses alone (Mr. Adams purchased a coach in England) we give fifteen guineas a month. It is the policy of this country to oblige you to a certain number of servants, and one will not touch what belongs to the business of another, though he or she has time enough to perform the whole. In the first place, there is a coachman who does not an individual thing but attend to the carriages and horses; then the gardener, who has business enough; then comes the cook; then the maitre d'hotel,--his business is to purchase articles in the family, and oversee that nobody cheats but himself; a valet de chambre,--John serves in this capacity; a femme de chambre,--Esther serves for this, and is worth a dozen others; a coiffeuse,--for this place I have a French girl about nineteen, whom I have been upon the point of turning-away, because madam will not brush a chamber: "it is not de fashion, it is not her business." I would not have kept her a day longer, but found, upon inquiry, that I could not better myself, and hair-dressing here is very expensive unless you keep such a madam in the house. She sews tolerably well, so I make her as useful as I can. She is more particularly devoted to mademoiselle. Esther diverted me yesterday evening by telling me that she heard her go muttering by her chamber door, after she had been assisting Abby in dressing. "Ah, mon Dieu, 'tis provoking"--(she talks a little English).--"Why, what is the matter, Pauline: what is provoking?"--"Why, Mademoiselle look so pretty, I so mauvais." There is another indispensable servant, who is called a frotteur: his business is to rub the floors.
You might assume I’ve been really busy starting over with housekeeping and setting up my family, which has been quite costly and troublesome for me. I had to buy and make bed linens and table linens, order silver spoons and forks—three dozen of each—plus tea sets, china for the table, hire staff, etc. I always thought living abroad would be expensive, but I was far off in my estimates. I could have gotten everything I needed in Boston for twenty or thirty percent less than what I've had to pay here. Everything considered elegant is imported from England, and if you want it, you have to pay all the duties too. I can’t find a nice set of wine glasses for less than three guineas, nor a small pair of decanters for less than a guinea and a half. The only decent gauze to wear is English, at a crown a yard, so a guinea doesn’t stretch very far here. We pay two hundred guineas a year for this house, garden, stables, etc. Wood costs two and a half guineas a cord; coal is six livres for a basket of about two bushels; we estimate the cost for heating at a hundred guineas a year. The difference between coming to France and staying in the Hague, where the house was already furnished at a cost of a thousand pounds sterling, will raise my expenses here by six or seven hundred guineas, especially since Congress has cut five hundred guineas from what they were previously giving us. Just for our coachman and horses (Mr. Adams bought a coach in England), we pay fifteen guineas a month. This country requires you to have a specific number of servants, and no one will do tasks that belong to someone else, even if they have the time to finish everything. First, there’s a coachman who only takes care of the carriages and horses; next is the gardener, who has plenty to do; then the cook; and then the maitre d'hotel—his job is to buy groceries and make sure no one cheats but him. Then there’s a valet de chambre—John is in this role; a femme de chambre—Esther takes care of this and is worth a dozen others; a coiffeuse—I have a French girl of about nineteen for this job, but I've almost let her go because she won’t tidy a room: "that’s not the fashion, it’s not her job." I wouldn’t have kept her another day, but after checking around, I realized I couldn't find anyone better, and hair styling here is very pricey unless you have someone like her in the house. She sews pretty well, so I make the most of her skills. She’s especially devoted to mademoiselle. Esther entertained me last night by saying she heard mademoiselle muttering outside her room after helping Abby get dressed. "Ah, mon Dieu, it’s frustrating”—(she speaks a little English). —"What’s the matter, Pauline: what’s frustrating?" —"Well, Mademoiselle looks so pretty, and I look so mauvais." There’s also another essential servant called a frotteur: their job is to scrub the floors.
We have a servant who acts as maitre d'hotel, whom I like at present, and who is so very gracious as to act as footman too, to save the expense of another servant, upon condition that we give him a gentleman's suit of clothes in lieu of a livery. Thus, with seven servants and hiring a charwoman upon occasion of company, we may possibly make out to keep house; with less, we should be hooted at as ridiculous, and could not entertain any company. To tell this in our own country would be considered as extravagance; but would they send a person here in a public character to be a public jest? At lodgings in Paris last year, during Mr. Adams's negotiation for a peace, it was as expensive to him as it is now at housekeeping, without half the accommodations.
We have a servant who acts as maitre d'hotel, whom I currently like, and who is kind enough to also serve as footman to save the cost of another servant, on the condition that we provide him a gentleman's suit instead of a uniform. So, with seven servants and occasionally hiring a cleaning lady when we have guests, we can manage to run our household; with fewer, we would be laughed at as ridiculous and unable to host any company. Saying this in our own country would be seen as extravagant; but would they really send someone here in a public role to become a public joke? Last year, while Mr. Adams was negotiating for peace, staying at lodgings in Paris cost him as much as it does now to run a household, without half the amenities.
Washing is another expensive article: the servants are all allowed theirs, besides their wages; our own costs us a guinea a week. I have become steward and bookkeeper, determined to know with accuracy what our expenses are, to prevail with Mr. Adams to return to America if he finds himself straitened, as I think he must be. Mr. Jay went home because he could not support his family here with the whole salary; what then can be done, curtailed as it now is, with the additional expense? Mr. Adams is determined to keep as little company as he possibly can; but some entertainments we must make, and it is no unusual thing for them to amount to fifty or sixty guineas at a time. More is to be performed by way of negotiation, many times, at one of these entertainments, than at twenty serious conversations; but the policy of our country has been, and still is, to be penny-wise and pound-foolish. We stand in sufficient need of economy, and in the curtailment of other salaries I suppose they thought it absolutely necessary to cut off their foreign ministers. But, my own interest apart, the system is bad; for that nation which degrades their own ministers by obliging them to live in narrow circumstances, cannot expect to be held in high estimation themselves. We spend no evenings abroad, make no suppers, attend very few public entertainments,--or spectacles, as they are called,--and avoid every expense that is not held indispensable. Yet I cannot but think it hard that a gentleman who has devoted so great a part of his life to the service of the public, who has been the means, in a great measure, of procuring such extensive territories to his country, who saved their fisheries, and who is still laboring to procure them further advantages, should find it necessary so cautiously to calculate his pence, for fear of overrunning them. I will add one more expense. There is now a court mourning, and every foreign minister, with his family, must go into mourning for a Prince of eight years old, whose father is an ally to the King of France. This mourning is ordered by the Court, and is to be worn eleven days only. Poor Mr. Jefferson had to his away for a tailor to get a whole black-silk suit made up in two days; and at the end of eleven days, should another death happen, he will be obliged to have a new suit of mourning, of cloth, because that is the season when silk must be left off. We may groan and scold, but these are expenses which cannot be avoided; for fashion is the deity every one worships in this country, and from the highest to the lowest, you must submit. Even poor John and Esther had no comfort among the servants, being constantly the subjects of ridicule, until we were obliged to direct them to have their hair dressed. Esther had several crying fits upon the occasion, that she should be forced to be so much of a fool; but there was no way to keep them from being trampled upon but this, and now that they are à la mode de Paris, they are much respected. To be out of fashion is more criminal than to be seen in a state of nature, to which the Parisians are not averse.
Washing is another pricey expense: the servants get theirs on top of their wages; our own costs us a guinea a week. I’ve taken on the role of steward and bookkeeper, determined to keep track of our expenses accurately, to persuade Mr. Adams to return to America if he finds himself in a tight spot, which I think he will. Mr. Jay went back because he couldn’t support his family here on his whole salary; what can be done now, given the smaller salary plus the extra costs? Mr. Adams aims to socialize as little as possible; however, we have to host some events, and it’s not uncommon for them to total fifty or sixty guineas at a time. More can be achieved in terms of negotiation at one of these gatherings than in twenty serious talks; yet, the policy of our country has been, and still is, to be penny-wise and pound-foolish. We desperately need to save money, and in cutting other salaries, I guess they thought it was necessary to reduce the salaries of foreign ministers. But aside from my personal interests, this approach is flawed; a nation that forces its ministers to live on a tight budget shouldn’t expect to be held in high regard. We don’t go out in the evenings, host dinners, attend very few public events—or spectacles, as they call them—and avoid any expenses that aren’t absolutely necessary. Still, it seems unfair that a gentleman who has dedicated so much of his life to public service, who has significantly contributed to acquiring vast territories for his country, who saved their fisheries, and who is still working to secure further benefits, should have to carefully count his pennies for fear of going over budget. Let me mention another cost. There’s currently a court mourning, and every foreign minister, along with their family, must wear mourning for a Prince who was only eight years old, whose father is allied with the King of France. The Court has dictated this mourning, and it only lasts for eleven days. Poor Mr. Jefferson had to rush to get a tailor to make him a full black-silk suit in two days; and after those eleven days, if there’s another death, he’ll have to get a new mourning suit made of cloth, since that’s when silk must be set aside. We can complain and grumble, but these expenses are unavoidable; fashion is the religion everyone follows in this country, and from the highest to the lowest, you have to conform. Even poor John and Esther faced ridicule among the servants until we had to tell them to style their hair. Esther had several crying fits over having to be so foolish, but there was no way to keep them from being looked down upon except for this, and now that they’re dressed à la mode de Paris, they are well regarded. Being out of fashion is more scandalous than being seen in one’s natural state, which the Parisians don’t mind at all.
AUTEUIL, NEAR PARIS, 10th May, 1785.
AUTEUIL, NEAR PARIS, May 10, 1785.
Did you ever, my dear Betsey, see a person in real life such as your imagination formed of Sir Charles Grandison? The Baron de Staël, the Swedish Ambassador, comes nearest to that character, in his manners and personal appearance, of any gentleman I ever saw. The first time I saw him I was prejudiced in his favor, for his countenance commands your good opinion: it is animated, intelligent, sensible, affable, and without being perfectly beautiful, is most perfectly agreeable; add to this a fine figure, and who can fail in being charmed with the Baron de Staël? He lives in a grand hotel, and his suite of apartments, his furniture, and his table, are the most elegant of anything I have seen. Although you dine upon plate in every noble house in France, I cannot say that you may see your face in it; but here the whole furniture of the table was burnished, and shone with regal splendor. Seventy thousand livres in plate will make no small figure; and that is what his Majesty gave him. The dessert was served on the richest china, with knives, forks, and spoons of gold. As you enter his apartments, you pass through files of servants into his ante-chamber, in which is a throne covered with green velvet, upon which is a chair of state, over which hangs the picture of his royal master. These thrones are common to all ambassadors of the first order, as they are immediate representatives of the king. Through this ante-chamber you pass into the grand salon, which is elegantly adorned with architecture, a beautiful lustre hanging from the middle. Settees, chairs, and hangings of the richest silk, embroidered with gold; marble slabs upon Muted pillars, round which wreaths of artificial flowers in gold entwine. It is usual to find in all houses of fashion, as in this, several dozens of chairs, all of which have stuffed backs and cushions, standing in double rows round the rooms. The dining-room was equally beautiful, being hung with Gobelin tapestry, the colors and figures of which resemble the most elegant painting. In this room were hair-bottom mahogany-backed chairs, and the first I have seen since I came to France. Two small statues of a Venus de Medicis, and a Venus de ---- (ask Miss Paine for the other name), were upon the mantelpiece. The latter, however, was the most modest of the kind, having something like a loose robe thrown partly over her. From the Swedish Ambassador's we went to visit the Duchess d'Enville, who is mother to the Duke de Rochefoucault. We found the old lady sitting in an easy-chair; around her sat a circle of Academicians, and by her side a young lady. Your uncle presented us, and the old lady rose, and, as usual, gave us a salute. As she had no paint, I could put up with it; but when she approached your cousin I could think of nothing but Death taking hold of Hebe. The duchess is near eighty, very tall and lean. She was dressed in a silk chemise, with very large sleeves, coming half-way down her arm, a large cape, no stays, a black-velvet girdle round her waist, some very rich lace in her chemise, round her neck, and in her sleeves; but the lace was not sufficient to cover the upper part of her neck, which old Time had harrowed; she had no cap on, but a little gauze bonnet, which did not reach her ears, and tied under her chin, her venerable white hairs in full view. The dress of old women and young girls in this country is detestable, to speak in the French style; the latter at the age of seven being clothed exactly like a woman of twenty, and the former have such a fantastical appearance that I cannot endure it. The old lady has all the vivacity of a young one. She is the most learned woman in France; her house is the resort of all men of literature, with whom she converses upon the most abstruse subjects. She is of one of the most ancient, as well as the richest families in the kingdom. She asked very archly when Dr. Franklin was going to America. Upon being told, says she, "I have heard that he is a prophet there;" alluding to that text of Scripture, "A prophet is not without honor," etc. It was her husband who commanded the fleet which once spread such terror in our country.
Did you ever, my dear Betsey, meet someone in real life like the idea you have of Sir Charles Grandison? The Baron de Staël, the Swedish Ambassador, is the closest match to that character in terms of his demeanor and appearance of anyone I've ever seen. The first time I laid eyes on him, I was already inclined to like him; his face invites admiration: it’s lively, smart, sensible, friendly, and while not perfectly beautiful, is extremely charming. On top of that, he has a great build, so who wouldn’t be enchanted by the Baron de Staël? He lives in a grand hotel, and his living quarters, furnishings, and dining experience are the most elegant I've encountered. While you can dine with fine silverware at any noble house in France, I can’t promise you’ll see your reflection in it; but here, everything on the table was polished and gleamed with royal elegance. Seventy thousand livres in silverware makes quite the impression, and that’s what his Majesty bestowed upon him. The dessert was presented on the finest china, with gold knives, forks, and spoons. As you enter his quarters, you walk past rows of servants into his anteroom, which features a throne covered in green velvet with a state chair underneath a portrait of his royal master. These thrones are standard for all first-order ambassadors, as they are direct representatives of the king. Through this anteroom, you move into the grand salon, which is beautifully decorated with elegant architecture, a stunning chandelier hanging from the center. Settees, chairs, and drapes made from the richest silk, embroidered in gold; marble tables on muted columns, around which artificial flowers crafted in gold are intertwined. It’s typical to find several dozen chairs in fashionable homes, arranged in double rows around the rooms. The dining room was equally stunning, adorned with Gobelin tapestry, the colors and designs resembling exquisite paintings. In this room were mahogany chairs with woven seats, the first I’ve seen since arriving in France. Two small statues of a Venus de Medicis and another Venus (ask Miss Paine for the other name) were on the mantelpiece. The latter was notably modest, draped in a loose robe. After visiting the Swedish Ambassador, we went to see the Duchess d'Enville, the mother of the Duke de Rochefoucault. We found her seated in an armchair, surrounded by a group of Academicians and a young lady by her side. Your uncle introduced us, and the elderly lady stood up, greeting us as usual. Since she wasn't wearing makeup, I could tolerate her appearance; but when she approached your cousin, I couldn’t help but think of Death seizing Hebe. The duchess is nearly eighty, quite tall and thin. She wore a silk chemise with very wide sleeves that reached halfway down her arms, a big cape, no corset, a black velvet belt around her waist, and some lavish lace in her chemise, around her neck, and in her sleeves; but the lace wasn’t enough to cover the aging skin on her neck. She didn’t have a cap on, just a small gauzy bonnet that didn't cover her ears, tied under her chin, with her gray hair fully visible. The attire for older women and young girls in this country is terrible, to put it in French terms; the latter, at just seven years old, are dressed like women of twenty, while the former have such a bizarre style that I can’t stand it. The old lady, however, has all the energy of a young woman. She is the most knowledgeable woman in France; her home is a gathering place for all intellectuals, with whom she engages in discussions on the most complex subjects. She comes from one of the oldest and wealthiest families in the country. She teasingly asked when Dr. Franklin was returning to America. When told, she remarked, "I’ve heard he’s a prophet there," referencing the scripture, "A prophet is not without honor," and so on. It was her husband who led the fleet that once caused such fear in our country.
LONDON, Friday, 24th July 1784.
LONDON, Friday, July 24, 1784.
My Dear Sister:
My Dear Sis:
I am not a little surprised to find dress, unless upon public occasions, so little regarded here. The gentlemen are very plainly dressed, and the ladies much more so than with us. 'Tis true, you must put a hoop on and have your hair dressed; but a common straw hat, no cap, with only a ribbon upon the crown, is thought dress sufficient to go into company. Muslins are much in taste; no silks but lutestrings worn; but send not to London for any article you want: you may purchase anything you can name much lower in Boston. I went yesterday into Cheapside to purchase a few articles, but found everything higher than in Boston. Silks are in a particular manner so; they say, when they are exported, there is a drawback upon them, which makes them lower with us. Our country, alas, our country! they are extravagant to astonishment in entertainments compared with what Mr. Smith and Mr. Storer tell me of this. You will not find at a gentleman's table more than two dishes of meat, though invited several days beforehand. Mrs. Atkinson went out with me yesterday, and Mrs. Hay, to the shops. I returned and dined with Mrs. Atkinson, by her invitation the evening before, in company with Mr. Smith, Mrs. Hay, Mr. Appleton. We had a turbot, a soup, and a roast leg of lamb, with a cherry pie....
I’m a bit surprised to see how little people care about dress here, except for public events. The guys dress very casually, and the ladies are even more casual than we are. It’s true that you have to wear a hoop skirt and have your hair styled, but a basic straw hat, without a cap, just a ribbon on top, is considered good enough to go out in company. Muslins are quite popular; only lutestring silks are worn; but don’t bother ordering anything from London—you can find anything you need much cheaper in Boston. I went to Cheapside yesterday to buy a few things, but everything was pricier than in Boston. Silks are particularly expensive; they say when they’re exported, there’s a drawback on them, which makes them cheaper for us. Our country, oh our country! They are shockingly extravagant with their entertainments compared to what Mr. Smith and Mr. Storer have told me about this place. You won’t find more than two dishes of meat at a gentleman’s table, even if you’re invited days in advance. Mrs. Atkinson went out with me yesterday, along with Mrs. Hay, to the shops. I went back and had dinner with Mrs. Atkinson, as she invited me the night before, with Mr. Smith, Mrs. Hay, and Mr. Appleton. We had turbot, soup, and a roast leg of lamb, along with a cherry pie...
The wind has prevented the arrival of the post. The city of London is pleasanter than I expected; the buildings more regular, the streets much wider, and more sunshine than I thought to have found: but this, they tell me, is the pleasantest season to be in the city. At my lodgings I am as quiet as at any place in Boston; nor do I feel as if it could be any other place than Boston. Dr. Clark visits us every day; says he cannot feel at home anywhere else: declares he has not seen a handsome woman since he came into the city; that every old woman looks like Mrs. H----, and every young one like--like the D---l. They paint here nearly as much as in France, but with more art. The head-dress disfigures them in the eyes of an American. I have seen many ladies, but not one elegant one since I came; there is not to me that neatness in their appearance which you see in our ladies.
The wind has stopped the post from arriving. The city of London is nicer than I expected; the buildings are more uniform, the streets are much wider, and there’s more sunshine than I thought I’d find: but they tell me this is the best time to be in the city. At my lodging, I’m as comfortable as I am anywhere in Boston; I don’t feel like I could be anywhere other than Boston. Dr. Clark visits us every day; he says he can’t feel at home anywhere else: he claims he hasn’t seen a good-looking woman since he came to the city; that every old woman looks like Mrs. H----, and every young one like--like the D---l. They wear makeup here almost as much as in France, but with more skill. The hairstyles make them look less attractive in the eyes of an American. I’ve seen many women, but not one graceful one since I arrived; to me, they lack the neatness in their appearance that you see in our women.
The American ladies are much admired here by the gentlemen, I am told, and in truth I wonder not at it. Oh, my country, my country! preserve, preserve the little purity and simplicity of manners you yet possess. Believe me, they are jewels of inestimable value; the softness, peculiarly characteristic of our sex, and which is so pleasing to the gentlemen, is wholly laid aside here for the masculine attire and manners of Amazonians.
The American women are greatly admired here by the men, I’ve heard, and honestly, I’m not surprised. Oh, my country, my country! Keep, keep the little purity and simplicity of manners you still have. Trust me, they are treasures of immeasurable worth; the gentleness, that is so distinctive of our gender and pleasing to the men, is completely replaced here by the masculine clothing and behaviors of Amazons.
LONDON, BATH HOTEL, WESTMINSTER, 24th June, 1785.
LONDON, BATH HOTEL, WESTMINSTER, June 24, 1785.
My Dear Sister:
My Dear Sis:
I have been here a month without writing a single line to my American friends. On or about the twenty-eighth of May we reached London, and expected to have gone into our old quiet lodgings at the Adelphi; but we found every hotel full. The sitting of Parliament, the birthday of the King, and the famous celebration of the music of Handel, at Westminster Abbey, had drawn together such a concourse of people that we were glad to get into lodgings at the moderate price of a guinea per day, for two rooms and two chambers, at the Bath Hotel, Westminster, Piccadilly, where we yet are. This being the Court end of the city, it is the resort of a vast concourse of carriages. It is too public and noisy for pleasure, but necessity is without law. The ceremony of presentation, upon one week to the King, and the next to the Queen, was to take place, after which I was to prepare for mine. It is customary, upon presentation, to receive visits from all the foreign ministers; so that we could not exchange our lodgings for more private ones, as we might and should, had we been only in a private character. The foreign ministers and several English lords and earls have paid their compliments here, and all hitherto is civil and polite. I was a fortnight, all the time I could get, looking at different houses, but could not find any one fit to inhabit under £200, beside the taxes, which mount up to £50 or £60. At last my good genius carried me to one in Grosvenor Square, which was not let, because the person who had the care of it could let it only for the remaining lease, which was one year and three-quarters. The price, which is not quite two hundred pounds, the situation, and all together, induced us to close the bargain, and I have prevailed upon the person who lets it to paint two rooms, which will put it into decent order; so that, as soon as our furniture comes, I shall again commence housekeeping. Living at a hotel is, I think, more expensive than housekeeping, in proportion to what one has for his money. We have never had more than two dishes at a time upon our table, and have not pretended to ask any company, and yet we live at a greater expense than twenty-five guineas per week. The wages of servants, horse hire, house rent, and provisions are much dearer here than in France. Servants of various sorts, and for different departments, are to be procured; their characters are to be inquired into, and this I take upon me, even to the coachman, You can hardly form an idea how much I miss my son on this, as well as on many other accounts; but I cannot bear to trouble Mr. Adams with anything of a domestic kind, who, from morning until evening, has sufficient to occupy all his time. You can have no idea of the petitions, letters, and private applications for assistance, which crowd our doors. Every person represents his case as dismal. Some may really be objects of compassion, and some we assist; but one must have an inexhaustible purse to supply them all. Besides, there are so many gross impositions practiced, as we have found in more instances than one, that it would take the whole of a person's time to trace all their stories. Many pretend to have been American soldiers, some have served as officers. A most glaring instance of falsehood, however, Colonel Smith detected in a man of these pretensions, who sent to Mr. Adams from the King's Bench prison, and modestly desired five guineas; a qualified cheat, but evidently a man of letters and abilities: but if it is to continue in this way, a galley slave would have an easier task.
I’ve been here a month without writing a single line to my American friends. Around May 28, we arrived in London, expecting to go back to our usual quiet lodgings at the Adelphi, but we found every hotel full. The sitting of Parliament, the King’s birthday, and the famous celebration of Handel’s music at Westminster Abbey attracted such a large crowd that we were happy to secure lodgings at the reasonable rate of a guinea per day for two rooms at the Bath Hotel, Westminster, Piccadilly, where we are still staying. Since this is the Court end of the city, it's bustling with carriages. It's too public and noisy for comfort, but necessity knows no boundaries. The presentation ceremony, first to the King and then to the Queen, was about to happen, after which I needed to prepare for mine. It’s customary during the presentation to receive visits from all the foreign ministers; therefore, we couldn’t switch to a more private location as we might have otherwise done if we were just private individuals. Foreign ministers and several English lords and earls have visited us, and everything has been civil and polite so far. I spent two weeks searching for different houses but couldn’t find any suitable ones under £200, plus taxes, which add up to £50 or £60. Eventually, my good fortune led me to one in Grosvenor Square that wasn’t rented out because the person managing it could only offer it for the remaining lease of one year and three-quarters. The price, which is just under two hundred pounds, the location, and everything combined convinced us to finalize the deal, and I’ve persuaded the landlord to paint two rooms to make it livable, so as soon as our furniture arrives, I’ll start housekeeping again. Living in a hotel, I think, is more expensive than maintaining a home, considering what you get for your money. We’ve never had more than two dishes on our table at once and haven’t even tried to invite anyone over, yet we spend over twenty-five guineas a week. The costs of servants, horse hire, rent, and food are much higher here than in France. You can find various kinds of servants for different tasks, but you have to check their references, and I take that on myself, even for the driver. You can hardly imagine how much I miss my son, both for this and many other reasons; I can't burden Mr. Adams with domestic issues, as he has enough to deal with from morning till night. You wouldn’t believe the number of petitions, letters, and private requests for help that fill our doorway. Everyone presents their situation as desperate. Some may genuinely deserve compassion, and we help a few, but one would need an endless supply of money to assist them all. Additionally, there are so many blatant scams, as we’ve discovered more than once, that it would take a person’s full attention to investigate all their claims. Many claim to have been American soldiers, with some stating they served as officers. Colonel Smith caught a glaring case of deceit in a man who sent a request to Mr. Adams from the King’s Bench prison, modestly asking for five guineas; he’s clearly a con artist, but obviously someone educated and capable. If things continue like this, being a galley slave would feel like an easier job.
The Tory venom has begun to spit itself forth in the public papers, as I expected, bursting with envy that an American minister should be received here with the same marks of attention, politeness, and civility, which are shown to the ministers of any other power. When a minister delivers his credentials to the King, it is always in his private closet, attended only by the Minister for Foreign Affairs, which is called a private audience, and the minister presented makes some little address to his Majesty, and the same ceremony to the Queen, whose reply was in these words: "Sir, I thank you for your civility to me and my family, and I am glad to see you in this country;" then she very politely inquired whether he had got a house yet. The answer of his Majesty was much longer; but I am not at liberty to say more respecting it, than that it was civil and polite, and that his Majesty said he was glad the choice of his country had fallen upon him. The news-liars know nothing of the matter; they represent it just to answer their purpose. Last Thursday, Colonel Smith was presented at Court, and to-morrow, at the Queen's circle, my ladyship and your niece make our compliments. There is no other presentation in Europe in which I should feel as much as in this. Your own reflections will easily suggest the reasons.
The Tory resentment has started to show in the newspapers, as I expected, overflowing with envy that an American minister should be welcomed here with the same respect, politeness, and courtesy that is shown to the ministers of any other country. When a minister hands over his credentials to the King, it always takes place in his private study, attended only by the Minister for Foreign Affairs, which is known as a private audience. The minister then gives a brief address to His Majesty, and the same ceremony takes place with the Queen, whose response was: "Sir, I appreciate your kindness towards me and my family, and I'm pleased to see you in this country." She then politely asked if he had found a home yet. The King's response was much longer, but I can only say that it was courteous and kind, and that he expressed his happiness that his choice of representative had come to him. The gossipmongers know nothing about this; they spin the story to suit their own agendas. Last Thursday, Colonel Smith was introduced at Court, and tomorrow, at the Queen's gathering, my ladyship and your niece will extend our compliments. There's no other presentation in Europe that would affect me as much as this one. Your own thoughts will easily suggest the reasons.
I have received a very friendly and polite visit from the Countess of Effingham. She called, and not finding me at home, left a card. I returned her visit, but was obliged to do it by leaving my card too, as she was gone out of town; but when her ladyship returned, she sent her compliments and word that if agreeable she would take a dish of tea with me, and named her day. She accordingly came, and appeared a very polite, sensible woman. She is about forty, a good person, though a little masculine, elegant in her appearance, very easy and social. The Earl of Effingham is too well remembered by America to need any particular recital of his character. His mother is first lady to the Queen. When her ladyship took leave, she desired I would let her know the day I would favor her with a visit, as she should be loath to be absent. She resides, in summer, a little distance from town. The Earl is a member of Parliament, which obliges him now to be in town, and she usually comes with him, and resides at a hotel a little distance from this.
I had a very warm and polite visit from the Countess of Effingham. She stopped by, and since I wasn't home, she left a card. I returned her visit, but I had to leave my card too because she was out of town; when she got back, she sent her compliments and said that if it was convenient for me, she’d like to have tea with me and suggested a day. She came over as agreed and seemed like a very polite and insightful woman. She’s about forty, really nice, though a bit masculine, elegant in appearance, and very easygoing and friendly. The Earl of Effingham is well-remembered in America, so I won’t go into details about him. His mother is the first lady to the Queen. When she left, she asked me to let her know the day I would visit her, as she would hate to miss it. She spends the summer a bit outside the city. The Earl is a member of Parliament, which means he has to be in town now, and she usually comes with him and stays at a hotel not too far from here.
I find a good many ladies belonging to the Southern States here, many of whom have visited me; I have exchanged visits with several, yet neither of us have met. The custom is, however, here much more agreeable than in France, for it is as with us: the stranger is first visited.
I see a lot of ladies from the Southern States here, many of whom have come to see me; I've visited several of them, yet we haven't met in person. The custom here is much more pleasant than in France, as it is with us: the newcomer is the one who gets visited first.
The ceremony of presentation here is considered as indispensable. There are four minister-plenipotentiaries' ladies here; but one ambassador, and he has no lady. In France, the ladies of ambassadors only are presented. One is obliged here to attend the circles of the Queen, which are held in summer once a fortnight, but once a week the rest of the year; and what renders it exceedingly expensive is, that you cannot go twice the same season in the same dress, and a Court dress you cannot make use of anywhere else. I directed my mantuamaker to let my dress be elegant, but plain as I could possibly appear, with decency; accordingly, it is white lutestring, covered and full trimmed with white crape, festooned with lilac ribbon and mock point lace, over a hoop of enormous extent; there is only a narrow train of about three yards in length to the gown waist, which is put into a ribbon upon the left side, the Queen only having her train borne. Ruffle cuffs for married ladies, treble lace lappets, two white plumes, and a blond lace handkerchief. This is my rigging, I should have mentioned two pearl pins in my hair, earrings and necklace of the same kind.
The presentation ceremony here is considered essential. There are four ladies of minister-plenipotentiaries here, but only one ambassador, and he doesn’t have a lady. In France, only the ladies of ambassadors are presented. You're required to attend the Queen's circles, which occur every two weeks in the summer and once a week for the rest of the year; what makes it really costly is that you can't wear the same outfit twice in the same season, and a Court dress is not suitable for any other occasion. I instructed my dressmaker to make my outfit elegant but as simple as possible while still being decent; as a result, it’s made of white lutestring, fully trimmed with white crape, decorated with lilac ribbon and mock point lace, over a very large hoop skirt. The gown has only a narrow train of about three yards in length, which is tied with a ribbon on the left side, as only the Queen has her train carried. It features ruffle cuffs for married ladies, triple lace lappets, two white plumes, and a lace handkerchief. This is my outfit; I should also mention two pearl pins in my hair, and matching earrings and necklace.
THURSDAY MORNING.
Thursday morning.
My head is dressed for St. James's, and in my opinion looks very tasty. While my daughter's is undergoing the same operation, I set myself down composedly to write you a few lines. "Well," methinks I hear Betsey and Lucy say, "what is cousin's dress?" White, my dear girls, like your aunt's, only differently trimmed and ornamented: her train being wholly of white crape, and trimmed with white ribbon; the petticoat, which is the most showy part of the dress, covered and drawn up in what are called festoons, with light wreaths of beautiful flowers; the sleeves white crape, drawn over the silk, with a row of lace round the sleeve near the shoulder, another half-way down the arm, and a third upon the top of the ruffle, a little flower stuck between; a kind of hat-cap, with three large feathers and a bunch of flowers; a wreath of flowers upon the hair. Thus equipped, we go in our own carriage, and Mr. Adams and Colonel Smith in his. But I must quit my pen to put myself in order for the ceremony, which begins at two o'clock. When I return, I will relate to you my reception; but do not let it circulate, as there may be persons eager to catch at everything, and as much given to misrepresentation as here. I would gladly be excused the ceremony.
My head is done up for St. James's, and I think it looks quite nice. While my daughter is getting the same treatment, I sit down calmly to write you a few lines. "Well," I imagine I hear Betsey and Lucy asking, "what does cousin's outfit look like?" It's white, my dear girls, just like your aunt's, but styled differently: her train is all white crape and trimmed with white ribbon; the petticoat, which is the most striking part of the dress, is covered and gathered in what's called festoons, adorned with light wreaths of beautiful flowers; the sleeves are white crape over silk, with a row of lace near the shoulder, another halfway down the arm, and a third on top of the ruffle, with a little flower stuck in between; there's a kind of hat-cap with three large feathers and a bunch of flowers; and a wreath of flowers in her hair. Dressed like this, we’ll go in our own carriage, along with Mr. Adams and Colonel Smith in his. But I have to stop writing to get ready for the ceremony, which starts at two o'clock. When I come back, I'll tell you how I was received; but please don’t let it be circulated, as there are always people eager to grab onto everything, and just as likely to misrepresent it as they are here. I would gladly skip the ceremony.
FRIDAY MORNING.
Friday morning.
Congratulate me, my dear sister: it is over. I was too much fatigued to write a line last evening. At two o'clock we went to the circle, which is in the drawing-room of the Queen. We passed through several apartments, lined as usual with spectators upon these occasions. Upon entering the ante-chamber, the Baron de Lynden, the Dutch Minister, who has been often here, came and spoke with me. A Count Sarsfield, a French nobleman, with whom I was acquainted, paid his compliments. As I passed into the drawing-room, Lord Carmarthen and Sir Clement Cotterel Dormer were presented to me. Though they had been several times here, I had never seen them before. The Swedish and the Polish Ministers made their compliments, and several other gentlemen; but not a single lady did I know until the Countess of Effingham came, who was very civil. There were three young ladies, daughters of the Marquis of Lothian, who were to be presented at the same time, and two brides. We were placed in a circle round the drawing-room, which was very full; I believe two hundred persons present. Only think of the task! The royal family have to go round to every person and find small talk enough to speak to them all, though they very prudently speak in a whisper, so that only the person who stands next to you can hear what is said. The King enters the room and goes round to the right; the Queen and Princesses to the left. The lord-in-waiting presents you to the King; and the lady-in-waiting does the same to her Majesty. The King is a personable man; but, my dear sister, he has a certain countenance, which you and I have often remarked: a red face and white eyebrows. The Queen has a similar countenance, and the numerous royal family confirm the observation. Persons are not placed according to their rank in the drawing-room, but promiscuously; and when the King comes in, he takes persons as they stand. When he came to me, Lord Onslow said, "Mrs. Adams;" upon which I drew off my right-hand glove, and his Majesty saluted my left cheek; then asked me if I had taken a walk to-day. I could have told his Majesty that I had been all the morning preparing to wait upon him; but I replied, "No, Sire." "Why, don't you love walking?" says he. I answered that I was rather indolent in that respect. He then bowed, and passed on. It was more than two hours after this before it came to my turn to be presented to the Queen. The circle was so large that the company were four hours standing. The Queen was evidently embarrassed when I was presented to her. I had disagreeable feelings, too. She, however, said, "Mrs. Adams, have you got into your house? Pray, how do you like the situation of it?" While the Princess Royal looked compassionate, and asked me if I was not much fatigued; and observed, that it was a very full drawing-room. Her sister, who came next, Princess Augusta, after having asked your niece if she was ever in England before, and her answering "Yes," inquired of me how long ago, and supposed it was when she was very young. All this is said with much affability, and the ease and freedom of old acquaintance. The manner in which they make their tour round the room is, first, the Queen, the lady-in-waiting behind her, holding up her train; next to her, the Princess Royal; after her, Princess Augusta, and their lady-in-waiting behind them. They are pretty, rather than beautiful; well-shaped, fair complexions, and a tincture of the King's countenance. The two sisters look much alike; they were both dressed in black and silver silk, with silver netting upon the coat, and their heads full of diamond pins. The Queen was in purple and silver. She is not well shaped nor handsome. As to the ladies of the Court, rank and title may compensate for want of personal charms; but they are, in general, very plain, ill-shaped, and ugly; but don't you tell anybody that I say so. If one wants to see beauty, one must go to Ranelagh; there it is collected, in one bright constellation. There were two ladies very elegant, at Court,--Lady Salisbury and Lady Talbot; but the observation did not in general hold good that fine feathers make fine birds. I saw many who were vastly richer dressed than your friends, but I will venture to say that I saw none neater or more elegant: which praise I ascribe to the taste of Mrs. Temple and my mantuamaker; for, after having declared that I would not have any foil or tinsel about me, they fixed upon the dress I have described.
Congratulate me, my dear sister: it’s finally over. I was too tired to write even a line last night. At two o'clock, we went to the gathering in the Queen's drawing room. We walked through several rooms filled with spectators, as usual for these occasions. When I entered the ante-chamber, the Baron de Lynden, the Dutch Minister who has been here often, came over to speak with me. A Count Sarsfield, a French nobleman I knew, also greeted me. As I went into the drawing room, I was introduced to Lord Carmarthen and Sir Clement Cotterel Dormer. Although they had been here several times, I had never met them before. The Swedish and Polish Ministers extended their compliments, and several other gentlemen did as well, but I didn't recognize a single lady until the Countess of Effingham arrived and was very polite. There were three young ladies, daughters of the Marquis of Lothian, who were to be introduced at the same time, along with two brides. We stood in a circle around the drawing room, which was quite crowded; I believe there were around two hundred people there. Just think about the task! The royal family has to make their rounds and find enough small talk to chat with everyone, although very wisely they speak in whispers so that only the person next to them can hear. The King enters the room and moves to the right, while the Queen and Princesses go to the left. The lord-in-waiting introduces you to the King, and the lady-in-waiting does the same for her Majesty. The King is a good-looking man, but, my dear sister, he has a certain appearance that you and I have often noticed: a red face and white eyebrows. The Queen has a similar look, and many members of the royal family show the same traits. People aren't arranged in the drawing room based on rank, but rather at random; and when the King arrives, he greets people as they stand. When he came to me, Lord Onslow said, "Mrs. Adams;" so I took off my right-hand glove, and his Majesty kissed my left cheek; then he asked me if I had taken a walk today. I could have told him I spent all morning preparing to meet him, but I replied, "No, Sire." "Why, don't you enjoy walking?" he asked. I said I wasn't much into that. He then bowed and moved on. It was over two hours later before I was introduced to the Queen. The circle was so large that we stood for four hours. The Queen seemed obviously nervous when I was introduced. I felt uneasy, too. However, she asked, "Mrs. Adams, have you moved into your house? How do you like the location?" Meanwhile, the Princess Royal looked sympathetic and asked if I was very tired, noting how crowded the drawing room was. Her sister, Princess Augusta, then asked your niece if she had been to England before, and upon her answering "Yes," inquired how long ago and guessed it was when she was very young. All this was said with much friendliness, as if we were old friends. Their process of moving around the room is as follows: first, the Queen, with the lady-in-waiting behind her holding up her train; next is the Princess Royal; then Princess Augusta, with their lady-in-waiting behind them. They are attractive rather than beautiful; well-formed, with fair complexions, and a hint of the King's features. The two sisters look quite a bit alike; they both wore black and silver silk dresses, with silver lace on their coats, and their hair adorned with diamond pins. The Queen was in purple and silver. She's not well-proportioned or beautiful. Regarding the ladies of the Court, while rank and title might make up for lack of physical charms, they are, generally speaking, quite plain, poorly shaped, and unattractive; but don’t tell anyone I said that. If someone wants to see beauty, they should go to Ranelagh; that's where it’s all gathered, shining like a bright constellation. There were two elegant ladies at Court—Lady Salisbury and Lady Talbot—but the saying that fine feathers make fine birds didn’t really hold true. I saw many who were dressed far richer than your friends, but I can confidently say I saw none more neat or elegant; which credit I give to the taste of Mrs. Temple and my dressmaker, because after insisting that I wouldn't wear any foil or tinsel, they settled on the dress I described.
My Dear Betsey:
My Dear Betsey:
I believe I once promised to give you an account of that kind of visiting called a ladies' rout. There are two kinds; one where a lady sets apart a particular day in the week to see company. These are held only five months in the year, it being quite out of fashion to be seen in London during the summer. When a lady returns from the country she goes round and leaves a card with all her acquaintance, and then sends them an invitation to attend her routs during the season. The other kind is where a lady sends to you for certain evenings, and the cards are always addressed in her own name, both to gentlemen and ladies. The rooms are all set open, and card tables set in each room, the lady of the house receiving her company at the door of the drawing-room, where a set number of courtesies are given and received, with as much order as is necessary for a soldier who goes through the different evolutions of his exercise. The visitor then proceeds into the room without appearing to notice any other person, and takes her seat at the card table.
I think I promised to tell you about a type of gathering called a ladies' rout. There are two types: one where a lady picks a specific day of the week to host guests. These gatherings only happen for five months of the year since it's not fashionable to be seen in London during the summer. When a lady comes back from the countryside, she visits all her acquaintances and leaves them a card, then sends them an invitation to her routs during the season. The other type is when a lady invites you for certain evenings, and the invitations are always in her own name, for both men and women. The rooms are all open, with card tables set up in each room. The lady of the house greets her guests at the door of the drawing-room, where a specific number of polite exchanges occur, as orderly as a soldier performing his drills. The visitor then enters the room without acknowledging anyone else and takes a seat at the card table.
"Nor can the muse her aid impart,
Unskilled in all the terms of art,
Nor in harmonious numbers put
The deal, the shuffle, and the cut.
Go, Tom, and light the ladies up,
It must be one before we sup."
"The muse can't help us here,
She's not familiar with the art terms,
And can't express in rhymes
The deal, the shuffle, and the cut.
Go, Tom, and entertain the ladies,
We need to finish this before dinner."
At these parties it is usual for each lady to play a rubber, as it is termed, when you must lose or win a few guineas. To give each a fair chance, the lady then rises and gives her seat to another set. It is no unusual thing to have your rooms so crowded that not more than half the company can sit at once, yet this is called society and polite life. They treat their company with coffee, tea, lemonade, orgeat, and cake. I know of but one agreeable circumstance attending these parties, which is, that you may go away when you please without disturbing anybody. I was early in the winter invited to Madame de Pinto's, the Portuguese Minister's. I went accordingly. There were about two hundred persons present. I knew not a single lady but by sight, having met them at Court; and it is an established rule, though you were to meet as often as three nights in the week, never to speak together, or know each other unless particularly introduced. I was, however, at no loss for conversation, Madame de Pinto being very polite, and the foreign ministers being the most of them present, who had dined with us, and to whom I had been early introduced. It being Sunday evening, I declined playing cards; indeed, I always get excused when I can. And Heaven forbid I should
At these parties, it's common for each lady to play a round, as it's called, where you might win or lose a few guineas. To give everyone a fair chance, the lady then gets up and gives her seat to another group. It’s not unusual for the rooms to be so crowded that only about half the guests can sit at once, yet this is considered society and polite life. They serve coffee, tea, lemonade, orgeat, and cake to their guests. There's only one nice thing about these parties: you can leave whenever you want without bothering anyone. Early in the winter, I was invited to Madame de Pinto's, the Portuguese Minister's. I attended as planned. About two hundred people were there. I didn't know a single lady except by sight, having seen them at Court; and there's an unspoken rule that even if you meet three times a week, you shouldn’t talk or get to know each other unless formally introduced. However, I had no trouble finding conversation since Madame de Pinto was very polite, and most of the foreign ministers were present, with whom I had dined and to whom I had been introduced earlier. Since it was Sunday evening, I chose not to play cards; in fact, I always try to get out of it when I can. And Heaven forbid I should
"Catch the manners living as they rise."
"Observe good manners as they develop."
Yet I must submit to a party or two of this kind. Having attended several, I must return the compliment in the same way. Yesterday we dined at Mrs. Paradice's. I refer you to Mr. Storer for an account of this family. Mr. Jefferson, Colonel Smith, the Prussian and Venetian ministers, were of the company, and several other persons who were strangers. At eight o'clock we returned home in order to dress ourselves for the ball at the French Ambassador's, to which we had received an invitation a fortnight before. He has been absent ever since our arrival here, till three weeks ago. He has a levee every Sunday evening, at which there are usually several hundred persons. The Hotel de France is beautifully situated, fronting St. James's Park, one end of the house standing upon Hyde Park. It is a most superb building. About half-past nine we went, and found some company collected. Many very brilliant ladies of the first distinction were present. The dancing commenced about ten, and the rooms soon filled. The room which he had built for this purpose is large enough for five or six hundred persons. It is most elegantly decorated, hung with a gold tissue, ornamented with twelve brilliant cut lustres, each containing twenty-four candles. At one end there are two large arches; these were adorned with wreaths and bunches of artificial flowers upon the walls; in the alcoves were cornucopiae loaded with oranges, sweetmeats, and other trifles. Coffee, tea, lemonade, orgeat, and so forth, were taken here by every person who chose to go for them. There were covered seats all around the room for those who chose to dance. In the other rooms, card tables, and a large faro table, were set; this is a new kind of game, which is much practiced here. Many of the company who did not dance retired here to amuse themselves. The whole style of the house and furniture is such as becomes the ambassador from one of the first monarchies in Europe. He had twenty thousand guineas allowed him in the first instance to furnish his house, and an annual salary of ten thousand more. He has agreeably blended the magnificence and splendor of France with the neatness and elegance of England. Your cousin had unfortunately taken a cold a few days before, and was very unfit to go out. She appeared so unwell that about one we retired without staying for supper, the sight of which only I regretted, as it was, in style, no doubt, superior to anything I have seen. The Prince of Wales came about eleven o'clock. Mrs. Fitzherbert was also present, but I could not distinguish her. But who is this lady? methinks I hear you say. She is a lady to whom, against the laws of the realm, the Prince of Wales is privately married, as is universally believed. She appears with him in all public parties, and he avows his marriage wherever he dares. They have been the topic of conversation in all companies for a long time, and it is now said that a young George may be expected in the course of the summer. She was a widow of about thirty-two years of age, whom he a long time persecuted in order to get her upon his own terms; but finding he could not succeed, he quieted her conscience by matrimony, which, however valid in the eye of heaven, is set aside by the laws of the land, which forbids a prince of the blood to marry a subject. As to dresses, I believe I must leave them to be described to your sister. I am sorry I have nothing better to send you than a sash and a Vandyke ribbon. The narrow is to put round the edge of a hat, or you may trim whatever you please with it.
Yet I must attend a party or two of this sort. Having gone to several, I need to return the favor. Yesterday, we had dinner at Mrs. Paradice's house. I suggest you ask Mr. Storer for details about this family. Mr. Jefferson, Colonel Smith, the ministers from Prussia and Venice were there, along with several other people I didn’t recognize. At eight o'clock, we went home to get ready for the ball at the French Ambassador's, where we had been invited two weeks prior. He had been away since we got here, until three weeks ago. He holds a social event every Sunday evening, usually attended by several hundred people. The Hotel de France is beautifully located, overlooking St. James's Park, with one end of the building adjacent to Hyde Park. It’s a stunning structure. Around half-past nine, we arrived and found some guests already gathered. Many very glamorous ladies of high status were present. Dancing started around ten, and soon the rooms were packed. The dance hall he built is large enough for five or six hundred people. It’s elegantly decorated, draped in gold fabric, adorned with twelve sparkling chandeliers, each holding twenty-four candles. At one end, there are two large arches, beautifully decorated with wreaths and bunches of artificial flowers on the walls; in the alcoves, cornucopias overflowed with oranges, sweets, and other little treats. Coffee, tea, lemonade, orgeat, and other beverages were available to everyone who wanted them. There were seats around the room for those who didn’t want to dance. In the other rooms, card tables and a large faro table were set up; this is a new game that is quite popular here. Many guests who didn’t dance retreated there for entertainment. The entire style of the house and its furnishings is what you would expect from the ambassador of one of the leading monarchies in Europe. Initially, he was given twenty thousand guineas to furnish his residence, along with an annual salary of ten thousand more. He has nicely combined the grandeur of France with the neatness and elegance of England. Unfortunately, your cousin caught a cold a few days earlier and wasn’t well enough to go out. She looked so unwell that around one o’clock we left without staying for supper, which I regretted, as it surely would have been superior to anything I’ve seen. The Prince of Wales arrived around eleven o'clock. Mrs. Fitzherbert was also there, but I couldn’t pick her out in the crowd. But who is this lady? I can almost hear you asking. She is a woman to whom, against the laws of the realm, the Prince of Wales is privately married, as is widely believed. She attends all public events with him, and he acknowledges their marriage whenever he can. They’ve been the subject of much conversation for quite a while, and now it’s rumored that a young George might be on the way this summer. She’s a widow around thirty-two years old, whom he pursued for a long time in hopes of having her on his own terms; but finding he couldn’t win her over, he eased her conscience with marriage, which, while valid in the eyes of heaven, is not recognized by the laws of the land that forbids a prince from marrying a subject. As for the dresses, I think I’ll leave that to your sister to describe. I’m sorry I don’t have anything more impressive to send you than a sash and a Vandyke ribbon. The narrow ribbon can be used to trim a hat, or you can use it to adorn whatever you like.
HENRY ADAMS
(1838-)
he gifts of expression and literary taste which have always characterized the Adams family are most prominently represented by this historian. He has also its great memory, power of acquisition, intellectual independence, and energy of nature. The latter is tempered in him with inherited self-control, the moderation of judgment bred by wide historical knowledge, and a pervasive atmosphere of literary good-breeding which constantly substitutes allusive irony for crude statement, the rapier for the tomahawk.
The gifts of expression and literary taste that have always defined the Adams family are best embodied by this historian. He also possesses a remarkable memory, a talent for learning, intellectual independence, and natural energy. His energy is balanced by inherited self-control, the moderation of judgment shaped by extensive historical knowledge, and an atmosphere of literary refinement that consistently favors allusive irony over blunt statements, opting for a sharp wit instead of aggression.
Henry Adams is the third son of Charles Francis Adams, Sr.,--the able Minister to England during the Civil War,--and grandson of John Quincy Adams. He was born in Boston, February 16th, 1838, graduated from Harvard in 1858, and served as private secretary to his father in England. In 1870 he became editor of the North American Review and Professor of History at Harvard, in which place he won wide repute for originality and power of inspiring enthusiasm for research in his pupils. He has written several essays and books on historical subjects, and edited others,--'Essays on Anglo-Saxon Law' (1876), 'Documents Relating to New England Federalism' (1877), 'Albert Gallatin' (1879), 'Writings of Albert Gallatin' (1879), 'John Randolph' (1882) in the 'American Statesmen' Series, and 'Historical Essays'; but his great life-work and monument is his 'History of the United States, 1801-17' (the Jefferson and Madison administrations), to write which he left his professorship in 1877, and after passing many years in London, in other foreign capitals, in Washington, and elsewhere, studying archives, family papers, published works, shipyards, and many other things, in preparation for it, published the first volume in 1889, and the last in 1891. It is in nine volumes, of which the introductory chapters and the index make up one.
Henry Adams is the third son of Charles Francis Adams, Sr., who was a skilled Minister to England during the Civil War, and the grandson of John Quincy Adams. He was born in Boston on February 16, 1838, graduated from Harvard in 1858, and served as his father's private secretary in England. In 1870, he became the editor of the North American Review and a Professor of History at Harvard, where he gained a reputation for his originality and ability to inspire enthusiasm for research among his students. He has written several essays and books on historical topics and edited others, including 'Essays on Anglo-Saxon Law' (1876), 'Documents Relating to New England Federalism' (1877), 'Albert Gallatin' (1879), 'Writings of Albert Gallatin' (1879), 'John Randolph' (1882) in the 'American Statesmen' Series, and 'Historical Essays'; however, his major life work and legacy is his 'History of the United States, 1801-17' (covering the Jefferson and Madison administrations). To write this, he left his professorship in 1877 and spent many years in London, other foreign capitals, Washington, and elsewhere, studying archives, family papers, published works, shipyards, and a variety of other resources. He published the first volume in 1889 and the last in 1891. The work comprises nine volumes, with the introductory chapters and the index making up one volume.
The work in its inception (though not in its execution) is a polemic tract--a family vindication, an act of pious duty; its sub-title might be, 'A Justification of John Quincy Adams for Breaking with the Federalist Party.' So taken, the reader who loves historical fights and seriously desires truth should read the chapters on the Hartford Convention and its preliminaries side by side with the corresponding pages in Henry Cabot Lodge's 'Life of George Cabot.' If he cannot judge from the pleadings of these two able advocates with briefs for different sides, it is not for lack of full exposition.
The work, in its early stages (though not in its execution), is a debate piece—a defense of the family, an act of devoted duty; its subtitle could be, 'A Justification of John Quincy Adams for Breaking Away from the Federalist Party.' With that in mind, readers who enjoy historical debates and genuinely seek the truth should compare the chapters on the Hartford Convention and its background alongside the relevant sections in Henry Cabot Lodge's 'Life of George Cabot.' If they can’t draw conclusions from the arguments of these two skilled advocates presenting different perspectives, it won't be due to a lack of detailed explanation.
But the 'History' is far more and higher than a piece of special pleading. It is in the main, both as to domestic and international matters, a resolutely cool and impartial presentation of facts and judgments on all sides of a period where passionate partisanship lies almost in the very essence of the questions--a tone contrasting oddly with the political action and feeling of the two Presidents. Even where, as toward the New England Federalists, many readers will consider him unfair in his deductions, he never tampers with or unfairly proportions the facts.
But the 'History' is much more than just biased arguments. It mainly offers a calm and unbiased presentation of facts and perspectives on both domestic and international issues during a time when intense loyalty to one's side is almost inherent to the questions at hand—this tone is in stark contrast to the political actions and sentiments of the two Presidents. Even when he seems unfair in his conclusions regarding the New England Federalists, he never manipulates or misrepresents the facts.
The work is a model of patient study, not alone of what is conventionally accepted as historic material, but of all subsidiary matter necessary to expert discussion of the problems involved. He goes deeply into economic and social facts; he has instructed himself in military science like a West Point student, in army needs like a quartermaster, in naval construction, equipment, and management like a naval officer. Of purely literary qualities, the history presents a high order of constructive art in amassing minute details without obscuring the main outlines; luminous statement; and the results of a very powerful memory, which enables him to keep before his vision every incident of the long chronicle with its involved groupings, so that an armory of instructive comparisons, as well as of polemic missiles, is constantly ready to his hand. He follows the latest historical canons as to giving authorities.
The work is an example of thorough research, not just of what’s typically seen as historical material, but also of all relevant details needed for expert discussion of the issues at hand. He delves deeply into economic and social facts; he has educated himself in military science like a West Point student, understands army requirements like a quartermaster, and grasps naval construction, equipment, and management like a naval officer. In terms of purely literary qualities, the history shows a high level of craftsmanship in gathering intricate details without losing sight of the main narrative; clear expression; and the result of a very strong memory, which allows him to keep every incident of the long story and its complex connections in view, so that he always has a toolkit of insightful comparisons and argumentative points ready at his disposal. He adheres to the latest standards in historical citation.
The history advances many novel views, and controverts many accepted facts. The relation of Napoleon's warfare against Hayti and Toussaint to the great Continental struggle, and the position he assigns it as the turning point of that greater contest, is perhaps the most important of these. But almost as striking are his views on the impressment problem and the provocations to the War of 1812; wherein he leads to the most unexpected deduction,--namely, that the grievances on both sides were much greater than is generally supposed. He shows that the profit and security of the American merchant service drew thousands of English seamen into it, where they changed their names and passed for American citizens, greatly embarrassing English naval operations. On the other hand, he shows that English outrages and insults were so gross that no nation with spirit enough to be entitled to separate existence ought to have endured them. He reverses the severe popular judgment on Madison for consenting to the war--on the assumed ground of coveting another term as President--which every other historian and biographer from Hildreth to Sydney Howard Gay has pronounced, and which has become a stock historical convention; holds Jackson's campaign ending at New Orleans an imbecile undertaking redeemed only by an act of instinctive pugnacity at the end; gives Scott and Jacob Brown the honor they have never before received in fair measure; and in many other points redistributes praise and blame with entire independence, and with curious effect on many popular ideas. His views on the Hartford Convention of 1814 are part of the Federalist controversy already referred to.
The history presents numerous new perspectives and challenges many accepted facts. The connection between Napoleon's war against Haiti and Toussaint and the significant Continental struggle, along with how he considers it a turning point in that larger conflict, is possibly the most crucial of these. Just as striking are his insights on the impressment issue and the lead-up to the War of 1812; he arrives at the surprising conclusion that the grievances on both sides were much more significant than commonly believed. He illustrates how the profit and security of the American merchant service attracted thousands of English sailors, who adopted new identities to pose as American citizens, complicating English naval operations. Conversely, he argues that the English abuses and insults were so outrageous that no nation worthy of independence should have tolerated them. He overturns the harsh popular judgment on Madison for agreeing to the war—often assumed to be driven by a desire for another presidential term—an opinion echoed by every historian and biographer from Hildreth to Sydney Howard Gay, which has since become a widely accepted historical view. He characterizes Jackson's campaign that culminated at New Orleans as a foolish endeavor that was only redeemed by a moment of instinctive aggression at the end; he gives Scott and Jacob Brown the recognition they have previously lacked in a fair measure; and, in numerous other respects, he reallocates credit and blame with complete independence, creating intriguing effects on many popular beliefs. His thoughts on the Hartford Convention of 1814 are connected to the Federalist controversy mentioned earlier.
THE AUSPICES OF THE WAR OF 1812
The American declaration of war against England, July 18th, 1812, annoyed those European nations that were gathering their utmost resources for resistance to Napoleon's attack. Russia could not but regard it as an unfriendly act, equally bad for political and commercial interests. Spain and Portugal, whose armies were fed largely if not chiefly on American grain imported by British money under British protection, dreaded to see their supplies cut off. Germany, waiting only for strength to recover her freedom, had to reckon against one more element in Napoleon's vast military resources. England needed to make greater efforts in order to maintain the advantages she had gained in Russia and Spain. Even in America no one doubted the earnestness of England's wish for peace; and if Madison and Monroe insisted on her acquiescence in their terms, they insisted because they believed that their military position entitled them to expect it. The reconquest of Russia and Spain by Napoleon, an event almost certain to happen, could hardly fail to force from England the concessions, not in themselves unreasonable, which the United States required.
The American declaration of war against England on July 18, 1812, irritated the European nations that were gathering all their resources to resist Napoleon's attack. Russia saw it as an unfriendly act, harmful to both political and commercial interests. Spain and Portugal, whose armies relied heavily on American grain imported with British money under British protection, feared their supplies would be cut off. Germany, waiting for the strength to regain her freedom, had to contend with one more factor in Napoleon's vast military resources. England needed to put in more effort to maintain the advantages she had gained in Russia and Spain. Even in America, no one doubted England's genuine desire for peace; and if Madison and Monroe insisted on her acceptance of their terms, it was because they believed their military position justified their expectations. The reconquest of Russia and Spain by Napoleon, which seemed almost certain, could not help but compel England to make the concessions, which were not unreasonable, that the United States sought.
This was, as Madison to the end of his life maintained, "a fair calculation;" but it was exasperating to England, who thought that America ought to be equally interested with Europe in overthrowing the military despotism of Napoleon, and should not conspire with him for gain. At first the new war disconcerted the feeble Ministry that remained in office on the death of Spencer Perceval: they counted on preventing it, and did their utmost to stop it after it was begun. The tone of arrogance which had so long characterized government and press disappeared for the moment. Obscure newspapers, like the London Evening Star, still sneered at the idea that Great Britain was to be "driven from the proud pre-eminence which the blood and treasure of her sons have attained for her among the nations, by a piece of striped bunting flying at the mastheads of a few fir-built frigates, manned by a handful of bastards and outlaws,"--a phrase which had great success in America,--but such defiances expressed a temper studiously held in restraint previous to the moment when the war was seen to be inevitable.
This was, as Madison maintained until the end of his life, "a fair calculation;" but it frustrated England, who believed that America should be just as invested as Europe in overthrowing Napoleon's military dictatorship and shouldn't be colluding with him for profit. Initially, the new war threw off the weak government that remained after Spencer Perceval’s death: they expected to prevent it and did everything they could to stop it once it started. The attitude of arrogance that had long defined the government and the press disappeared for a moment. Lesser newspapers, like the London Evening Star, still mocked the idea that Great Britain would be "driven from the proud pre-eminence which the blood and treasure of her sons have attained for her among the nations, by a piece of striped bunting flying at the mastheads of a few fir-built frigates, manned by a handful of bastards and outlaws,"—a phrase that was quite popular in America—but such defiance reflected a mood that had been carefully suppressed up until the war was seen as unavoidable.
The realization that no escape could be found from an American war was forced on the British public at a moment of much discouragement. Almost simultaneously a series of misfortunes occurred which brought the stoutest and most intelligent Englishmen to the verge of despair. In Spain Wellington, after winning the battle of Salamanca in July, occupied Madrid in August, and obliged Soult to evacuate Andalusia; but his siege of Burgos failed, and as the French generals concentrated their scattered forces, Wellington was obliged to abandon Madrid once more. October 21st he was again in full retreat on Portugal. The apparent failure of his campaign was almost simultaneous with the apparent success of Napoleon's; for the Emperor entered Moscow September 14th, and the news of this triumph, probably decisive of Russian submission, reached England about October 3d. Three days later arrived intelligence of William Hull's surrender at Detroit; but this success was counterbalanced by simultaneous news of Isaac Hull's startling capture of the Guerrière, and the certainty of a prolonged war.
The realization that there was no way to escape the American war hit the British public at a time of deep discouragement. Almost at the same moment, a series of setbacks pushed even the strongest and smartest Englishmen to the brink of despair. In Spain, Wellington, after winning the Battle of Salamanca in July, took over Madrid in August and forced Soult to leave Andalusia; however, his siege of Burgos failed, and as the French generals regrouped their forces, Wellington had to abandon Madrid once again. By October 21st, he was in full retreat to Portugal. The apparent failure of his campaign coincided with what seemed to be Napoleon's success; the Emperor entered Moscow on September 14th, and news of this triumph, likely leading to Russian submission, reached England around October 3rd. Three days later, news came of William Hull's surrender at Detroit, but this was offset by the simultaneous report of Isaac Hull's dramatic capture of the Guerrière, confirming that the war would drag on.
In the desponding condition of the British people,--with a deficient harvest, bad weather, wheat at nearly five dollars a bushel, and the American supply likely to be cut off; consols at 57 1/2, gold at thirty per cent premium; a Ministry without credit or authority, and a general consciousness of blunders, incompetence, and corruption,--every new tale of disaster sank the hopes of England and called out wails of despair. In that state of mind the loss of the Guerrière assumed portentous dimensions. The Times was especially loud in lamenting the capture:--
In the dismal situation of the British people—with a poor harvest, bad weather, wheat prices nearing five dollars a bushel, and the American supply possibly being cut off; consols at 57 1/2, gold at a thirty percent premium; a government lacking credibility and power, and a widespread awareness of mistakes, incompetence, and corruption—every new story of disaster crushed England's hopes and triggered wails of despair. In that mindset, the loss of the Guerrière took on significant importance. The Times was particularly vocal in mourning the capture:—
"We witnessed the gloom which that event cast over high and honorable minds.... Never before in the history of the world did an English frigate strike to an American; and though we cannot say that Captain Dacres, under all circumstances, is punishable for this act, yet we do say there are commanders in the English navy who would a thousand times rather have gone down with their colors flying, than have set their fellow sailors so fatal an example."
"We saw the darkness that this event brought over noble minds. Never before in history did an English frigate surrender to an American; while we can't definitively say that Captain Dacres deserves punishment for this act under the circumstances, we can say that there are commanders in the English navy who would prefer to go down with their colors flying rather than set such a disastrous example for their fellow sailors."
No country newspaper in America, railing at Hull's cowardice and treachery, showed less knowledge or judgment than the London Times, which had written of nothing but war since its name had been known in England. Any American could have assured the English press that British frigates before the Guerrière had struck to American; and even in England men had not forgotten the name of the British frigate Serapis, or that of the American captain Paul Jones. Yet the Times's ignorance was less unreasonable than its requirement that Dacres should have gone down with his ship,--a cry of passion the more unjust to Dacres because he fought his ship as long as she could float. Such sensitiveness seemed extravagant in a society which had been hardened by centuries of warfare; yet the Times reflected fairly the feelings of Englishmen. George Canning, speaking in open Parliament not long afterward, said that the loss of the Guerrière and the Macedonian produced a sensation in the country scarcely to be equaled by the most violent convulsions of nature. "Neither can I agree with those who complain of the shock of consternation throughout Great Britain as having been greater than the occasion required.... It cannot be too deeply felt that the sacred spell of the invincibility of the British navy was broken by those unfortunate captures."
No local newspaper in America, criticizing Hull's cowardice and betrayal, showed less understanding or judgment than the London Times, which had only written about war since it became known in England. Any American could have told the English press that British frigates before the Guerrière had surrendered to Americans; and even in England, people hadn’t forgotten the name of the British frigate Serapis or the American captain Paul Jones. Yet, the Times's ignorance was less unreasonable than its insistence that Dacres should have gone down with his ship—a demand fueled by passion that was even more unfair to Dacres because he fought to keep his ship afloat for as long as possible. Such sensitivity seemed excessive in a society hardened by centuries of war; yet the Times accurately reflected the feelings of the English people. George Canning, speaking in open Parliament not long after, said that the loss of the Guerrière and the Macedonian stirred a sensation in the country that was scarcely matched by the most violent natural disasters. "I also cannot agree with those who say that the shock of fear throughout Great Britain was greater than the situation warranted.... It cannot be emphasized enough that the sacred belief in the invincibility of the British navy was shattered by those unfortunate captures."
Of all spells that could be cast on a nation, that of believing itself invincible was perhaps the one most profitably broken; but the process of recovering its senses was agreeable to no nation, and to England, at that moment of distress, it was as painful as Canning described. The matter was not mended by the Courier and Morning Post, who, taking their tone from the Admiralty, complained of the enormous superiority of the American frigates, and called them "line-of-battle ships in disguise." Certainly the American forty-four was a much heavier ship than the British thirty-eight, but the difference had been as well known in the British navy before these actions as it was afterward; and Captain Dacres himself, the Englishman who best knew the relative force of the ships, told his court of inquiry a different story:--"I am so well aware that the success of my opponent was owing to fortune, that it is my earnest wish, and would be the happiest period of my life, to be once more opposed to the Constitution, with them [the old crew] under my command, in a frigate of similar force with the Guerrière." After all had been said, the unpleasant result remained that in future, British frigates, like other frigates, could safely fight only their inferiors in force. What applied to the Guerrière and Macedonian against the Constitution and United States, where the British force was inferior, applied equally to the Frolic against the Wasp, where no inferiority could be shown. The British newspapers thenceforward admitted what America wished to prove, that, ship for ship, British were no more than the equals of Americans.
Of all the spells that could be cast on a nation, the belief in its own invincibility was perhaps the one that was most beneficial to dispel; however, the process of regaining perspective was not pleasant for any nation, and for England, during that moment of crisis, it was as painful as Canning described. The situation was not improved by the Courier and Morning Post, which, echoing the Admiralty's view, complained about the overwhelming superiority of the American frigates, calling them "line-of-battle ships in disguise." It was true that the American forty-four was a much heavier ship than the British thirty-eight, but this difference had been well-known in the British navy long before these encounters, just as it was afterward. Captain Dacres, the Englishman who understood the relative strength of the ships best, told his inquiry a different story: "I am well aware that my opponent's success was due to luck, and I sincerely wish, and it would be the happiest moment of my life, to face the Constitution again, with the same crew, in a frigate of similar strength to the Guerrière." After all was said and done, the unfortunate reality remained that in the future, British frigates, like other frigates, could only safely engage those of lesser strength. What was true for the Guerrière and Macedonian against the Constitution and United States, where the British force was weaker, was equally true for the Frolic against the Wasp, where no inferiority could be shown. From that point on, British newspapers acknowledged what America wanted to prove: that, ship for ship, the British were no more than equals to the Americans.
Society soon learned to take a more sensible view of the subject; but as the first depression passed away, a consciousness of personal wrong took its place. The United States were supposed to have stabbed England in the back at the moment when her hands were tied, when her existence was in the most deadly peril and her anxieties were most heavy. England never could forgive treason so base and cowardice so vile. That Madison had been from the first a tool and accomplice of Bonaparte was thenceforward so fixed an idea in British history that time could not shake it. Indeed, so complicated and so historical had the causes of war become that no one even in America could explain or understand them, while Englishmen could see only that America required England as the price of peace to destroy herself by abandoning her naval power, and that England preferred to die fighting rather than to die by her own hand. The American party in England was extinguished; no further protest was heard against the war; and the British people thought moodily of revenge.
Society soon started to have a more sensible perspective on the issue; however, once the initial depression faded, feelings of personal betrayal took over. The United States was believed to have stabbed England in the back at a time when her hands were tied, her survival was in serious jeopardy, and her worries were overwhelming. England could never forgive such a disgraceful act of treachery and cowardice. The notion that Madison had been a puppet and ally of Bonaparte became deeply ingrained in British history and remained unshakeable over time. In fact, the reasons for the war became so intricate and historical that even people in America struggled to explain or comprehend them, while the English could only see that America wanted England to sacrifice itself by giving up its naval power in exchange for peace, and that England would rather fight to the end than perish by its own hand. The American faction in England was wiped out; there were no more protests against the war, and the British public brooded over revenge.
This result was unfortunate for both parties, but was doubly unfortunate for America, because her mode of making the issue told in her enemy's favor. The same impressions which silenced in England open sympathy with America, stimulated in America acute sympathy with England. Argument was useless against people in a passion, convinced of their own injuries. Neither Englishmen nor Federalists were open to reasoning. They found their action easy from the moment they classed the United States as an ally of France, like Bavaria or Saxony; and they had no scruples of conscience, for the practical alliance was clear, and the fact proved sufficiently the intent....
This outcome was unfortunate for both sides, but it was even more so for America, because the way she presented the issue played into her enemy's hands. The feelings that shut down open support for America in England sparked intense sympathy for England among Americans. There was no point in arguing with people who were passionate and convinced they had been wronged. Neither the English nor the Federalists were open to discussion. They found it easy to justify their actions once they categorized the United States as an ally of France, like Bavaria or Saxony; and they felt no moral conflict, because the practical alliance was obvious, and the evidence clearly showed the intent...
The loss of two or three thirty-eight-gun frigates on the ocean was a matter of trifling consequence to the British government, which had a force of four ships-of-the-line and six or eight frigates in Chesapeake Bay alone, and which built every year dozens of ships-of-the-line and frigates to replace those lost or worn out; but although American privateers wrought more injury to British interests than was caused or could be caused by the American navy, the pride of England cared little about mercantile losses, and cared immensely for its fighting reputation. The theory that the American was a degenerate Englishman--a theory chiefly due to American teachings--lay at the bottom of British politics. Even the late British minister at Washington, Foster, a man of average intelligence, thought it manifest good taste and good sense to say of the Americans in his speech of February 18th, 1813, in Parliament, that "generally speaking, they were not a people we should be proud to acknowledge as our relations." Decatur and Hull were engaged in a social rather than in a political contest, and were aware that the serious work on their hands had little to do with England's power, but much to do with her manners. The mortification of England at the capture of her frigates was the measure of her previous arrogance....
The loss of two or three thirty-eight-gun frigates on the ocean was a minor issue for the British government, which had four ships-of-the-line and six or eight frigates in Chesapeake Bay alone, and which built dozens of ships-of-the-line and frigates every year to replace those lost or worn out. However, even though American privateers caused more damage to British interests than the American navy ever could, England’s pride was less concerned about financial losses and much more focused on its reputation for fighting. The belief that Americans were just degenerate Englishmen—an idea largely promoted by American sources—was a foundation of British politics. Even the recent British minister in Washington, Foster, a man of average intelligence, thought it appropriate to declare in his speech on February 18th, 1813, in Parliament, that "generally speaking, they were not a people we should be proud to acknowledge as our relations." Decatur and Hull were involved in a social rather than a political battle, knowing that their real challenges had little to do with England’s power and a lot to do with its manners. England's embarrassment over the loss of its frigates reflected its earlier arrogance...
Every country must begin war by asserting that it will never give way; and of all countries England, which had waged innumerable wars, knew best when perseverance cost more than concession. Even at that early moment Parliament was evidently perplexed, and would willingly have yielded had it seen means of escape from its naval fetich, impressment. Perhaps the perplexity was more evident in the Commons than in the Lords; for Castlereagh, while defending his own course with elaborate care, visibly stumbled over the right of impressment. Even while claiming that its abandonment would have been "vitally dangerous if not fatal" to England's security, he added that he "would be the last man in the world to underrate the inconvenience which the Americans sustained in consequence of our assertion of the right of search." The embarrassment became still plainer when he narrowed the question to one of statistics, and showed that the whole contest was waged over the forcible retention of some eight hundred seamen among one hundred and forty-five thousand employed in British service. Granting the number were twice as great, he continued, "would the House believe that there was any man so infatuated, or that the British empire was driven to such straits that for such a paltry consideration as seventeen hundred sailors, his Majesty's government would needlessly irritate the pride of a neutral nation or violate that justice which was due to one country from another?" If Liverpool's argument explained the causes of war, Castlereagh's explained its inevitable result; for since the war must cost England at least 10,000,000 pounds a year, could Parliament be so infatuated as to pay 10,000 pounds a year for each American sailor detained in service, when one-tenth of the amount, if employed in raising the wages of the British sailor, would bring any required number of seamen back to their ships? The whole British navy in 1812 cost 20,000,000 pounds; the pay-roll amounted to only 3,000,000 pounds; the common sailor was paid four pounds bounty and eighteen pounds a year, which might have been trebled at half the cost of an American war.
Every country has to start a war by insisting it won’t back down; and of all countries, England, which had fought countless wars, knew best when holding out was more expensive than giving in. Even back then, Parliament was clearly confused and would have been happy to compromise if there was a way out of its obsession with impressment. This confusion seemed more apparent in the Commons than in the Lords; Castlereagh, while carefully justifying his stance, clearly struggled with the issue of impressment. While arguing that giving it up would be "vitally dangerous if not fatal" for England's security, he also noted that he "would be the last person in the world to minimize the discomfort that the Americans experienced because of our claim to the right of search." The awkwardness was even more obvious when he narrowed the matter down to numbers, showing that the whole conflict revolved around the forced retention of about eight hundred sailors among one hundred and forty-five thousand working in British service. Even if the number were double that, he continued, "would the House really believe that any person could be so misguided, or that the British empire was in such desperate circumstances that for such a trivial matter as seventeen hundred sailors, his Majesty's government would unnecessarily provoke the pride of a neutral nation or violate the fairness due between countries?" If Liverpool's argument explained the reasons for war, Castlereagh's explained its unavoidable consequence; since the war would cost England at least 10 million pounds a year, could Parliament be foolish enough to pay 10,000 pounds a year for each American sailor held in service when one-tenth of that amount spent on increasing British sailors' wages could easily bring back any needed number of seamen? The entire British navy in 1812 cost 20 million pounds; the payroll was only 3 million pounds; a common sailor earned a four-pound bounty and eighteen pounds a year, which could have been tripled at half the cost of an American war.
WHAT THE WAR OF 1812 DEMONSTRATED
A people whose chief trait was antipathy to war, and to any system organized with military energy, could scarcely develop great results in national administration; yet the Americans prided themselves chiefly on their political capacity. Even the war did not undeceive them, although the incapacity brought into evidence by the war was undisputed, and was most remarkable among the communities which believed themselves to be most gifted with political sagacity. Virginia and Massachusetts by turns admitted failure in dealing with issues so simple that the newest societies, like Tennessee and Ohio, understood them by instinct. That incapacity in national politics should appear as a leading trait in American character was unexpected by Americans, but might naturally result from their conditions. The better test of American character was not political but social, and was to be found not in the government but in the people.
A group of people whose main characteristic was a dislike for war and any system driven by military power could hardly achieve significant results in national administration; yet Americans took pride primarily in their political abilities. Even the war didn't change their minds, even though the incompetence highlighted by the war was undeniable and was especially evident in the communities that thought they were the most politically savvy. Virginia and Massachusetts alternately acknowledged their failures in handling issues that were so straightforward that even the newer states, like Tennessee and Ohio, grasped them instinctively. The fact that a lack of competence in national politics was seen as a key feature of American character was surprising to Americans, but it could naturally stem from their circumstances. The better measure of American character wasn't political but social, and could be found not in the government but in the people.
The sixteen years of Jefferson and Madison's rule furnished international tests of popular intelligence upon which Americans could depend. The ocean was the only open field for competition among nations. Americans enjoyed there no natural or artificial advantages over Englishmen, Frenchmen, or Spaniards; indeed, all these countries possessed navies, resources, and experience greater than were to be found in the United States. Yet the Americans developed, in the course of twenty years, a surprising degree of skill in naval affairs. The evidence of their success was to be found nowhere so complete as in the avowals of Englishmen who knew best the history of naval progress. The American invention of the fast-sailing schooner or clipper was the more remarkable because, of all American inventions, this alone sprang from direct competition with Europe. During ten centuries of struggle the nations of Europe had labored to obtain superiority over each other in ship-construction; yet Americans instantly made improvements which gave them superiority, and which Europeans were unable immediately to imitate even after seeing them. Not only were American vessels better in model, faster in sailing, easier and quicker in handling, and more economical in working than the European, but they were also better equipped. The English complained as a grievance that the Americans adopted new and unwarranted devices in naval warfare; that their vessels were heavier and better constructed, and their missiles of unusual shape and improper use. The Americans resorted to expedients that had not been tried before, and excited a mixture of irritation and respect in the English service, until "Yankee smartness" became a national misdemeanor.
The sixteen years of Jefferson and Madison's leadership provided international tests of popular intelligence that Americans could rely on. The ocean was the only open field for competition among nations. Americans had no natural or artificial advantages over the English, French, or Spanish; in fact, all these countries had navies, resources, and experience that exceeded what was available in the United States. Yet, over the course of twenty years, Americans developed an impressive level of skill in naval matters. The best evidence of their success was found in the statements of Englishmen who had the most knowledge of naval history. The American creation of the fast-sailing schooner or clipper was particularly noteworthy because, among all American inventions, this one emerged directly from competition with Europe. For ten centuries, European nations had worked hard to achieve superiority in shipbuilding; however, Americans quickly made improvements that gave them an advantage, which Europeans were unable to replicate immediately, even after observing them. Not only were American vessels better in design, faster in sailing, easier and quicker to handle, and more economical to operate than European ships, but they were also better equipped. The English complained that Americans had adopted new and unwarranted tactics in naval warfare; that their vessels were heavier and better built, and their projectiles had unusual shapes and improper uses. Americans employed strategies that had never been tried before, causing a blend of irritation and respect within the English navy, until "Yankee smartness" became recognized as a national issue.
The English admitted themselves to be slow to change their habits, but the French were both quick and scientific; yet Americans did on the ocean what the French, under stronger inducements, failed to do. The French privateer preyed upon British commerce for twenty years without seriously injuring it; but no sooner did the American privateer sail from French ports than the rates of insurance doubled in London, and an outcry for protection arose among English shippers which the Admiralty could not calm. The British newspapers were filled with assertions that the American cruiser was the superior of any vessel of its class, and threatened to overthrow England's supremacy on the ocean.
The English acknowledged that they were slow to change their habits, while the French were both quick and scientific; however, Americans did at sea what the French, with stronger incentives, could not achieve. The French privateers targeted British trade for twenty years without causing significant damage; but as soon as the American privateers set sail from French ports, insurance rates in London doubled, and there was a huge demand for protection among English shippers that the Admiralty couldn't satisfy. British newspapers were filled with claims that the American cruisers were superior to any vessel in their class and posed a threat to England's dominance at sea.
Another test of relative intelligence was furnished by the battles at sea. Instantly after the loss of the Guerrière the English discovered and complained that American gunnery was superior to their own. They explained their inferiority by the length of time that had elapsed since their navy had found on the ocean an enemy to fight. Every vestige of hostile fleets had been swept away, until, after the battle of Trafalgar, British frigates ceased practice with their guns. Doubtless the British navy had become somewhat careless in the absence of a dangerous enemy, but Englishmen were themselves aware that some other cause must have affected their losses. Nothing showed that Nelson's line-of-battle ships, frigates, or sloops were, as a rule, better fought than the Macedonian and Java, the Avon and Reindeer. Sir Howard Douglas, the chief authority on the subject, attempted in vain to explain British reverses by the deterioration of British gunnery. His analysis showed only that American gunnery was extraordinarily good. Of all vessels, the sloop-of-war--on account of its smallness, its quick motion, and its more accurate armament of thirty-two-pound carronades--offered the best test of relative gunnery, and Sir Howard Douglas in commenting upon the destruction of the Peacock and Avon could only say:--"In these two actions it is clear that the fire of the British vessels was thrown too high, and that the ordnance of their opponents were expressly and carefully aimed at and took effect chiefly in the hull."
Another test of relative intelligence came from the battles at sea. Right after the Guerrière was lost, the English noticed and complained that American gunnery was better than their own. They attributed their disadvantage to the long time since their navy had encountered an enemy on the ocean. All traces of rival fleets had been eliminated, and after the battle of Trafalgar, British frigates stopped practicing with their guns. It's true that the British navy had become a bit careless without a serious threat, but the English knew that something else must have contributed to their losses. There was no evidence that Nelson's line-of-battle ships, frigates, or sloops were, in general, better operated than the Macedonian and Java, the Avon and Reindeer. Sir Howard Douglas, the leading expert on the matter, tried unsuccessfully to explain British defeats by the decline of British gunnery. His analysis only indicated that American gunnery was remarkably good. Of all ships, the sloop-of-war—due to its small size, speed, and more precise armament of thirty-two-pound carronades—provided the best test of relative gunnery, and Sir Howard Douglas, commenting on the destruction of the Peacock and Avon, could only state: "In these two actions, it is clear that the fire from the British vessels was aimed too high, and that their opponents’ cannons were deliberately and accurately aimed and primarily hit the hull."
The battle of the Hornet and Penguin, as well as those of the Reindeer and Avon, showed that the excellence of American gunnery continued till the close of the war. Whether at point-blank range or at long-distance practice, the Americans used guns as they had never been used at sea before.
The battles of the Hornet and Penguin, along with those of the Reindeer and Avon, demonstrated that American gunnery remained top-notch until the war ended. Whether at close range or during long-distance drills, the Americans operated their guns like never before at sea.
None of the reports of former British victories showed that the British fire had been more destructive at any previous time than in 1812, and no report of any commander since the British navy existed showed so much damage inflicted on an opponent in so short a time as was proved to have been inflicted on themselves by the reports of British commanders in the American war. The strongest proof of American superiority was given by the best British officers, like Broke, who strained every nerve to maintain an equality with American gunnery. So instantaneous and energetic was the effort that according to the British historian of the war, "A British forty-six-gun frigate of 1813 was half as effective again as a British forty-six-gun frigate of 1812;" and as he justly said, "the slaughtered crews and the shattered hulks" of the captured British ships proved that no want of their old fighting qualities accounted for their repeated and almost habitual mortifications.
None of the reports of previous British victories indicated that British fire was more destructive at any time than in 1812, and no report from any commander since the British navy began showed so much damage inflicted on an enemy in such a short period as demonstrated by the accounts of British commanders during the American war. The clearest evidence of American superiority came from the top British officers, like Broke, who did everything possible to match American gunfire. The effort was so swift and intense that, according to the British historian of the war, "A British forty-six-gun frigate of 1813 was one and a half times as effective as a British forty-six-gun frigate of 1812;" and as he rightly noted, "the slaughtered crews and the shattered hulks" of the captured British ships showed that their usual fighting capabilities were not to blame for their ongoing and almost routine defeats.
Unwilling as the English were to admit the superior skill of Americans on the ocean, they did not hesitate to admit it, in certain respects, on land. The American rifle in American hands was affirmed to have no equal in the world. This admission could scarcely be withheld after the lists of killed and wounded which followed almost every battle; but the admission served to check a wider inquiry. In truth, the rifle played but a small part in the war. Winchester's men at the river Raisin may have owed their over-confidence, as the British Forty-first owed its losses, to that weapon, and at New Orleans five or six hundred of Coffee's men, who were out of range, were armed with the rifle; but the surprising losses of the British were commonly due to artillery and musketry fire. At New Orleans the artillery was chiefly engaged. The artillery battle of January 1st, according to British accounts, amply proved the superiority of American gunnery on that occasion, which was probably the fairest test during the war. The battle of January 8th was also chiefly an artillery battle: the main British column never arrived within fair musket range; Pakenham was killed by a grape-shot, and the main column of his troops halted more than one hundred yards from the parapet.
As reluctant as the English were to acknowledge the superior skill of Americans at sea, they didn’t shy away from recognizing it, in some ways, on land. The American rifle in the hands of Americans was said to be unmatched in the world. This acknowledgment was hard to avoid given the lists of casualties that followed nearly every battle; however, it also served to limit deeper inquiry. In reality, the rifle played only a minor role in the war. Winchester's troops at the River Raisin may have become overly confident due to that weapon, just as the British Forty-first suffered losses because of it. At New Orleans, five or six hundred of Coffee's men, who were out of range, were equipped with rifles; however, the significant losses suffered by the British were mostly caused by artillery and musket fire. At New Orleans, the artillery was primarily involved. The artillery battle on January 1st, according to British reports, clearly demonstrated American gunnery superiority that day, which was probably the fairest test during the war. The battle on January 8th was also mainly an artillery engagement: the main British column never came close enough for effective musket fire; Pakenham was killed by grape-shot, and his main troop column stopped more than one hundred yards from the parapet.
The best test of British and American military qualities, both for men and weapons, was Scott's battle of Chippawa. Nothing intervened to throw a doubt over the fairness of the trial. Two parallel lines of regular soldiers, practically equal in numbers, armed with similar weapons, moved in close order toward each other across a wide, open plain, without cover or advantage of position, stopping at intervals to load and fire, until one line broke and retired. At the same time two three-gun batteries, the British being the heavier, maintained a steady fire from positions opposite each other. According to the reports, the two infantry lines in the centre never came nearer than eighty yards. Major-General Riall reported that then, owing to severe losses, his troops broke and could not be rallied. Comparison of official reports showed that the British lost in killed and wounded four hundred and sixty-nine men; the Americans, two hundred and ninety-six. Some doubts always affect the returns of wounded, because the severity of the wound cannot be known; but dead men tell their own tale. Riall reported one hundred and forty-eight killed; Scott reported sixty-one. The severity of the losses showed that the battle was sharply contested, and proved the personal bravery of both armies. Marksmanship decided the result, and the returns proved that the American fire was superior to that of the British in the proportion of more than fifty per cent, if estimated by the entire loss, and of two hundred and forty-two to one hundred if estimated by the deaths alone.
The best test of British and American military capabilities, both in terms of soldiers and weapons, was Scott's battle of Chippawa. There was nothing to cast doubt on the fairness of the trial. Two parallel lines of regular soldiers, nearly equal in numbers and armed with similar weapons, moved closely toward each other across a wide, open plain, without any cover or positional advantage, stopping at intervals to load and fire until one line broke and retreated. At the same time, two three-gun batteries, with the British having the heavier artillery, provided steady fire from opposite positions. According to reports, the two infantry lines in the center never got closer than eighty yards. Major-General Riall reported that, due to heavy losses, his troops broke and couldn't be rallied. Comparison of official reports showed that the British lost four hundred sixty-nine men in killed and wounded, while the Americans lost two hundred ninety-six. Some uncertainty always surrounds the numbers of wounded since the severity of the injuries can't always be assessed, but the dead speak for themselves. Riall reported one hundred forty-eight killed, whereas Scott reported sixty-one. The heavy losses indicated that the battle was fiercely contested and demonstrated the personal bravery of both armies. Marksmanship determined the outcome, and the reports revealed that American fire was over fifty percent more effective than British fire when looking at total casualties, and two hundred forty-two to one hundred when considering only the deaths.
The conclusion seemed incredible, but it was supported by the results of the naval battles. The Americans showed superiority amounting in some cases to twice the efficiency of their enemies in the use of weapons. The best French critic of the naval war, Jurien de la Gravière, said:--"An enormous superiority in the rapidity and precision of their fire can alone explain the difference in the losses sustained by the combatants." So far from denying this conclusion, the British press constantly alleged it, and the British officers complained of it. The discovery caused great surprise, and in both British services much attention was at once directed to improvement in artillery and musketry. Nothing could exceed the frankness with which Englishmen avowed their inferiority. According to Sir Francis Head, "gunnery was in naval warfare in the extraordinary state of ignorance we have just described, when our lean children, the American people, taught us, rod in hand, our first lesson in the art." The English text-book on Naval Gunnery, written by Major-General Sir Howard Douglas immediately after the peace, devoted more attention to the short American war than to all the battles of Napoleon, and began by admitting that Great Britain had "entered with too great confidence on war with a marine much more expert than that of any of our European enemies." The admission appeared "objectionable" even to the author; but he did not add, what was equally true, that it applied as well to the land as to the sea service.
The conclusion seemed unbelievable, but it was backed by the results of the naval battles. The Americans demonstrated superiority, in some instances, with weapon efficiency that was nearly double that of their enemies. The leading French critic of the naval war, Jurien de la Gravière, stated: "An enormous superiority in the speed and accuracy of their fire can explain the difference in the losses suffered by the combatants." Instead of disputing this conclusion, the British press frequently claimed it, and British officers voiced their frustrations about it. The discovery was surprising, and both British services quickly shifted focus to improving artillery and marksmanship. Nothing could match the honesty with which the English admitted their inferiority. Sir Francis Head noted that "gunnery in naval warfare was in the extraordinary state of ignorance we have just described, when our lean children, the American people, taught us, rod in hand, our first lesson in the art." The English textbook on Naval Gunnery, written by Major-General Sir Howard Douglas right after the peace, dedicated more emphasis to the brief American war than to all of Napoleon's battles, and it began by acknowledging that Great Britain had "entered with too much confidence into a war with a navy far more skilled than that of any of our European foes." This admission seemed "objectionable" even to the author; however, he did not add, which was equally true, that it applied to land forces just as much as to naval ones.
No one questioned the bravery of the British forces, or the ease with which they often routed larger bodies of militia; but the losses they inflicted were rarely as great as those they suffered. Even at Bladensburg, where they met little resistance, their loss was several times greater than that of the Americans. At Plattsburg, where the intelligence and quickness of Macdonough and his men alone won the victory, his ships were in effect stationary batteries, and enjoyed the same superiority in gunnery. "The Saratoga," said his official report, "had fifty-five round-shot in her hull; the Confiance, one hundred and five. The enemy's shot passed principally just over our heads, as there were not twenty whole hammocks in the nettings at the close of the action."
No one doubted the courage of the British forces, or how easily they often defeated larger groups of militia; however, the damage they caused was rarely as significant as the losses they faced. Even at Bladensburg, where they encountered little resistance, their losses were several times greater than those of the Americans. At Plattsburg, where the skill and quick action of Macdonough and his crew secured the win, his ships functioned like stationary artillery and had the same advantage in firepower. "The Saratoga," his official report stated, "had fifty-five round-shot in her hull; the Confiance, one hundred and five. Most of the enemy's shots went just over our heads, as there were fewer than twenty intact hammocks in the nettings by the end of the battle."
The greater skill of the Americans was not due to special training; for the British service was better trained in gunnery, as in everything else, than the motley armies and fleets that fought at New Orleans and on the Lakes. Critics constantly said that every American had learned from his childhood the use of the rifle; but he certainly had not learned to use cannon in shooting birds or hunting deer, and he knew less than the Englishman about the handling of artillery and muskets. The same intelligence that selected the rifle and the long pivot-gun for favorite weapons was shown in handling the carronade, and every other instrument however clumsy.
The superior skill of the Americans wasn’t because of special training; the British military was better trained in gunnery, like in everything else, than the diverse armies and navies that fought at New Orleans and on the Lakes. Critics often claimed that every American learned to use a rifle from childhood, but they definitely didn’t learn to use cannons for shooting birds or hunting deer, and they knew less than the Englishman about handling artillery and muskets. The same intelligence that favored the rifle and the long pivot-gun as preferred weapons was also evident in the handling of the carronade and every other tool, no matter how awkward.
Another significant result of the war was the sudden development of scientific engineering in the United States. This branch of the military service owed its efficiency and almost its existence to the military school at West Point, established in 1802. The school was at first much neglected by government. The number of graduates before the year 1812 was very small; but at the outbreak of the war the corps of engineers was already efficient. Its chief was Colonel Joseph Gardner Swift, of Massachusetts, the first graduate of the academy: Colonel Swift planned the defenses of New York Harbor. The lieutenant-colonel in 1812 was Walker Keith Armistead, of Virginia,--the third graduate, who planned the defenses of Norfolk. Major William McRee, of North Carolina, became chief engineer to General Brown and constructed the fortifications at Fort Erie, which cost the British General Gordon Drummond the loss of half his army, besides the mortification of defeat. Captain Eleazer Derby Wood, of New York, constructed Fort Meigs, which enabled Harrison to defeat the attack of Proctor in May, 1813. Captain Joseph Gilbert Totten, of New York, was chief engineer to General Izard at Plattsburg, where he directed the fortifications that stopped the advance of Prevost's great army. None of the works constructed by a graduate of West Point was captured by the enemy; and had an engineer been employed at Washington by Armstrong and Winder, the city would have been easily saved.
Another major outcome of the war was the rapid advancement of scientific engineering in the United States. This area of the military was highly effective and nearly came into existence thanks to the military school at West Point, established in 1802. Initially, the school was largely overlooked by the government. The number of graduates before 1812 was quite small, but by the start of the war, the corps of engineers was already capable. Its leader was Colonel Joseph Gardner Swift from Massachusetts, the first graduate of the academy: Colonel Swift planned the defenses of New York Harbor. The lieutenant-colonel in 1812 was Walker Keith Armistead from Virginia—the third graduate—who designed the defenses of Norfolk. Major William McRee from North Carolina served as chief engineer to General Brown and built the fortifications at Fort Erie, which resulted in British General Gordon Drummond losing half his army, along with the humiliation of defeat. Captain Eleazer Derby Wood from New York created Fort Meigs, which allowed Harrison to overcome Proctor's attack in May 1813. Captain Joseph Gilbert Totten from New York was chief engineer to General Izard in Plattsburg, where he oversaw the fortifications that halted Prevost's massive army. None of the structures built by a West Point graduate were taken by the enemy; and if an engineer had been brought in at Washington by Armstrong and Winder, the city could have been easily saved.
Perhaps without exaggeration the West Point Academy might be said to have decided, next to the navy, the result of the war. The works at New Orleans were simple in character, and as far as they were due to engineering skill were directed by Major Latour, a Frenchman; but the war was already ended when the battle of New Orleans was fought. During the critical campaign of 1814, the West Point engineers doubled the capacity of the little American army for resistance, and introduced a new and scientific character into American life.
Perhaps without exaggeration, West Point Academy can be said to have determined, next to the navy, the outcome of the war. The fortifications at New Orleans were straightforward, and as far as they were influenced by engineering expertise, they were led by Major Latour, a Frenchman; however, the war was already over by the time the battle of New Orleans took place. During the crucial campaign of 1814, the West Point engineers doubled the little American army's ability to resist and brought a new, scientific approach to American life.
THE BATTLE BETWEEN THE CONSTITUTION AND THE GUERRIÈRE
As Broke's squadron swept along the coast it seized whatever it met, and on July 16th caught one of President Jefferson's sixteen-gun brigs, the Nautilus. The next day it came on a richer prize. The American navy seemed ready to outstrip the army in the race for disaster. The Constitution, the best frigate in the United States service, sailed into the midst of Broke's five ships. Captain Isaac Hull, in command of the Constitution, had been detained at Annapolis shipping a new crew until July 5th, the day when Broke's squadron left Halifax; then the ship got under way and stood down Chesapeake Bay on her voyage to New York. The wind was ahead and very light. Not until July 10th did the ship anchor off Cape Henry lighthouse, and not till sunrise of July 12th did she stand to the eastward and northward. Light head winds and a strong current delayed her progress till July 17th, when at two o'clock in the afternoon, off Barnegat on the New Jersey coast, the lookout at the masthead discovered four sails to the northward, and two hours later a fifth sail to the northeast. Hull took them for Rodgers's squadron. The wind was light, and Hull being to windward determined to speak the nearest vessel, the last to come in sight. The afternoon passed without bringing the ships together, and at ten o'clock in the evening, finding that the nearest ship could not answer the night signal, Hull decided to lose no time in escaping.
As Broke's squadron moved along the coast, it captured whatever it encountered, and on July 16th, it took one of President Jefferson's sixteen-gun brigs, the Nautilus. The following day, they came across an even bigger prize. The American navy seemed set to outpace the army in the race for disaster. The Constitution, the best frigate in the United States Navy, sailed right into the middle of Broke's five ships. Captain Isaac Hull, commanding the Constitution, had been held up in Annapolis getting a new crew until July 5th, the day Broke's squadron left Halifax; then the ship got underway and headed down Chesapeake Bay on her journey to New York. The wind was against them and very light. Not until July 10th did the ship anchor near Cape Henry lighthouse, and it wasn’t until sunrise on July 12th that she headed east and north. Light headwinds and a strong current slowed her down until July 17th, when at two o’clock in the afternoon, off Barnegat on the New Jersey coast, the lookout at the masthead spotted four sails to the north, and two hours later, a fifth sail to the northeast. Hull thought they were Rodgers's squadron. The wind was light, and since Hull was upwind, he decided to approach the nearest vessel, the last one to appear. The afternoon went by without the ships coming together, and at ten o'clock in the evening, realizing that the closest ship couldn’t respond to the night signal, Hull decided not to waste any time trying to escape.
Then followed one of the most exciting and sustained chases recorded in naval history. At daybreak the next morning one British frigate was astern within five or six miles, two more were to leeward, and the rest of the fleet some ten miles astern, all making chase. Hull put out his boats to tow the Constitution; Broke summoned the boats of the squadron to tow the Shannon. Hull then bent all his spare rope to the cables, dropped a small anchor half a mile ahead, in twenty-six fathoms of water, and warped his ship along. Broke quickly imitated the device, and slowly gained on the chase. The Guerrière crept so near Hull's lee beam as to open fire, but her shot fell short. Fortunately the wind, though slight, favored Hull. All night the British and American crews toiled on, and when morning came the Belvidera, proving to be the best sailer, got in advance of her consorts, working two kedge anchors, until at two o'clock in the afternoon she tried in her turn to reach the Constitution with her bow guns, but in vain. Hull expected capture, but the Belvidera could not approach nearer without bringing her boats under the Constitution's stern guns; and the wearied crews toiled on, towing and kedging, the ships barely out of gunshot, till another morning came. The breeze, though still light, then allowed Hull to take in his boats, the Belvidera being two and a half miles in his wake, the Shannon three and a half miles on his lee, and the three other frigates well to leeward. The wind freshened, and the Constitution drew ahead, until, toward seven o'clock in the evening of July 19th, a heavy rain squall struck the ship, and by taking skillful advantage of it Hull left the Belvidera and Shannon far astern; yet until eight o'clock the next morning they were still in sight, keeping up the chase.
Then came one of the most thrilling and prolonged chases recorded in naval history. At daybreak the next morning, one British frigate was trailing behind within five or six miles, two more were downwind, and the rest of the fleet was about ten miles back, all in pursuit. Hull sent out his boats to tow the Constitution; Broke called for the squadron's boats to tow the Shannon. Hull then tied all his spare rope to the cables, dropped a small anchor half a mile ahead in twenty-six fathoms of water, and moved his ship forward. Broke quickly copied this trick and gradually caught up to the chase. The Guerrière got so close to Hull's leeward side that it could open fire, but its shots fell short. Thankfully, the wind, though weak, was in Hull's favor. All night, the British and American crews worked hard, and when morning came, the Belvidera, being the best sailer, pulled ahead of her companions, using two kedge anchors, until at two o'clock in the afternoon she attempted to close in on the Constitution with her bow guns, but failed. Hull feared capture, but the Belvidera couldn't get any closer without putting her boats in range of the Constitution's stern guns; and the exhausted crews continued their efforts, towing and kedging, while the ships remained just out of gunshot, until another morning arrived. The breeze, still light, then allowed Hull to pull in his boats, while the Belvidera trailed two and a half miles behind him, the Shannon three and a half miles to his leeward, and the three other frigates well downwind. The wind picked up, and the Constitution surged ahead, until around seven o'clock in the evening of July 19th, a heavy rain squall hit the ship, and by skillfully using it, Hull left the Belvidera and Shannon far behind; yet until eight o'clock the next morning, they were still in sight, continuing the pursuit.
Perhaps nothing during the war tested American seamanship more thoroughly than these three days of combined skill and endurance in the face of the irresistible enemy. The result showed that Hull and the Constitution had nothing to fear in these respects. There remained the question whether the superiority extended to his guns; and such was the contempt of the British naval officers for American ships, that with this expedience before their eyes they still believed one of their thirty-eight-gun frigates to be more than a match for an American forty-four, although the American, besides the heavier armament, had proved his capacity to outsail and out-manoeuvre the Englishman. Both parties became more eager than ever for the test. For once, even the Federalists of New England felt their blood stir; for their own President and their own votes had called these frigates into existence, and a victory won by the Constitution, which had been built by their hands, was in their eyes a greater victory over their political opponents than over the British. With no half-hearted spirit the seagoing Bostonians showered well-weighed praises on Hull when his ship entered Boston Harbor, July 26th, after its narrow escape, and when he sailed again New England waited with keen interest to learn his fate.
Perhaps nothing during the war tested American seamanship more thoroughly than these three days of combined skill and endurance against the unstoppable enemy. The outcome showed that Hull and the Constitution had nothing to fear in these regards. The question remained whether their superiority extended to their guns; and British naval officers, despite the evidence before them, still believed that one of their thirty-eight-gun frigates could easily outmatch an American forty-four. This was in spite of the fact that the American ship, besides having the heavier firepower, had already demonstrated its ability to outrun and outmaneuver its English counterpart. Both sides became more eager than ever for the challenge. For once, even the Federalists in New England felt their excitement rise; their President and their votes had brought these frigates to life, and a victory by the Constitution, built by their own hands, was viewed as an even greater win over their political rivals than over the British. With enthusiasm, the seafaring Bostonians showered well-deserved praise on Hull when his ship entered Boston Harbor on July 26th after its narrow escape, and when he set sail again, New England waited with eager anticipation to learn about his fate.
Hull could not expect to keep command of the Constitution. Bainbridge was much his senior, and had the right to a preference in active service. Bainbridge then held and was ordered to retain command of the Constellation, fitting out at the Washington Navy Yard; but Secretary Hamilton, July 28th, ordered him to take command also of the Constitution on her arrival in port. Doubtless Hull expected this change, and probably the expectation induced him to risk a dangerous experiment; for without bringing his ship to the Charlestown Navy Yard, but remaining in the outer harbor, after obtaining such supplies as he needed, August 2d, he set sail without orders, and stood to the eastward. Having reached Cape Race without meeting an enemy, he turned southward, until on the night of August 18th he spoke a privateer, which told him of a British frigate near at hand. Following the privateersman's directions, the Constitution the next day, August 19th, [1812,] at two o'clock in the afternoon, latitude 41 deg. 42 min., longitude 55 deg. 48 min., sighted the Guerrière.
Hull could not expect to keep command of the Constitution. Bainbridge was much older and had the right to be prioritized for active service. Bainbridge was already in command of the Constellation, which was being prepared at the Washington Navy Yard; however, Secretary Hamilton, on July 28th, ordered him to also take command of the Constitution when it arrived in port. Hull likely anticipated this change, and this expectation may have prompted him to take a risky action; instead of bringing his ship to the Charlestown Navy Yard, he stayed in the outer harbor, got the supplies he needed, and on August 2nd, set sail without any orders, heading east. After reaching Cape Race without encountering any enemies, he turned south. On the night of August 18th, he spoke to a privateer who informed him of a nearby British frigate. Following the privateer's directions, the Constitution the next day, August 19th, [1812,] at two o'clock in the afternoon, latitude 41 deg. 42 min., longitude 55 deg. 48 min., spotted the Guerrière.
The meeting was welcome on both sides. Only three days before, Captain Dacres had entered on the log of a merchantman a challenge to any American frigate to meet him off Sandy Hook. Not only had the Guerrière for a long time been extremely offensive to every seafaring American, but the mistake which caused the Little Belt to suffer so seriously for the misfortune of being taken for the Guerrière had caused a corresponding feeling of anger in the officers of the British frigate. The meeting of August 19th had the character of a preconcerted duel.
The meeting was welcomed by both sides. Just three days earlier, Captain Dacres had logged a challenge to any American frigate to meet him off Sandy Hook. The Guerrière had long been a source of irritation for every American at sea, and the incident where the Little Belt was severely damaged due to being mistaken for the Guerrière had sparked significant anger among the officers of the British frigate. The meeting on August 19th felt like a planned duel.
The wind was blowing fresh from the northwest, with the sea running high. Dacres backed his main topsail and waited. Hull shortened sail, and ran down before the wind. For about an hour the two ships wore and wore again, trying to get advantage of position; until at last, a few minutes before six o'clock, they came together side by side, within pistol shot, the wind almost astern, and running before it, they pounded each other with all their strength. As rapidly as the guns could be worked, the Constitution poured in broadside after broadside, double-shotted with round and grape; and without exaggeration, the echo of these guns startled the world. "In less than thirty minutes from the time we got alongside of the enemy," reported Hull, "she was left without a spar standing, and the hull cut to pieces in such a manner as to make it difficult to keep her above water."
The wind was blowing fresh from the northwest, and the sea was high. Dacres adjusted his main topsail and waited. Hull shortened sail and ran down with the wind. For about an hour, the two ships maneuvered, trying to gain a positional advantage; until finally, a few minutes before six o'clock, they came together side by side, within pistol range, with the wind almost directly behind them. They blasted each other with all their force. As fast as the guns could be operated, the Constitution unleashed broadside after broadside, double-shot with cannonballs and grapeshot; and without exaggeration, the echo of these guns shocked the world. "In less than thirty minutes from the time we got alongside the enemy," reported Hull, "she was left without a spar standing, and the hull was damaged so badly that it was hard to keep her afloat."
That Dacres should have been defeated was not surprising; that he should have expected to win was an example of British arrogance that explained and excused the war. The length of the Constitution was one hundred and seventy-three feet, that of the Guerrière was one hundred and fifty-six feet; the extreme breadth of the Constitution was forty-four feet, that of the Guerrière was forty feet: or within a few inches in both cases. The Constitution carried thirty-two long twenty-four-pounders, the Guerrière thirty long eighteen-pounders and two long twelve-pounders; the Constitution carried twenty thirty-two-pound carronades, the Guerrière sixteen. In every respect, and in proportion of ten to seven, the Constitution was the better ship; her crew was more numerous in proportion of ten to six. Dacres knew this very nearly as well as it was known to Hull, yet he sought a duel. What he did not know was that in a still greater proportion the American officers and crew were better and more intelligent seamen than the British, and that their passionate wish to repay old scores gave them extraordinary energy. So much greater was the moral superiority than the physical, that while the Guerrière's force counted as seven against ten, her losses counted as though her force were only two against ten.
That Dacres should have been defeated wasn't surprising; that he thought he would win was a clear example of British arrogance that justified the war. The Constitution was one hundred seventy-three feet long, while the Guerrière was one hundred fifty-six feet. The widest point of the Constitution was forty-four feet, and that of the Guerrière was forty feet—only a few inches apart in both cases. The Constitution carried thirty-two long twenty-four-pounders, while the Guerrière had thirty long eighteen-pounders and two long twelve-pounders; the Constitution also had twenty thirty-two-pound carronades compared to the Guerrière's sixteen. In every aspect, the Constitution was the better ship, with a crew size ratio of ten to six compared to the Guerrière's. Dacres knew this almost as well as Hull did, yet he still wanted to fight. What he didn’t realize was that the American officers and crew were even better and smarter sailors than the British and their strong desire to settle old scores gave them amazing motivation. The moral superiority was so much greater than the physical that while the Guerrière’s force counted as seven against ten, her losses made it seem like her force was only two against ten.
Dacres's error cost him dear; for among the Guerrière's crew of two hundred and seventy-two, seventy-nine were killed or wounded, and the ship was injured beyond saving before Dacres realized his mistake, although he needed only thirty minutes of close fighting for the purpose. He never fully understood the causes of his defeat, and never excused it by pleading, as he might have done, the great superiority of his enemy.
Dacres's mistake cost him dearly; among the Guerrière's crew of two hundred and seventy-two, seventy-nine were killed or injured, and the ship was damaged beyond repair before Dacres realized his error, even though he only needed thirty minutes of close fighting to turn things around. He never fully grasped the reasons for his defeat and never justified it by claiming, as he could have, the overwhelming strength of his opponent.
Hull took his prisoners on board the Constitution, and after blowing up the Guerrière sailed for Boston, where he arrived on the morning of August 30th. The Sunday silence of the Puritan city broke into excitement as the news passed through the quiet streets that the Constitution was below in the outer harbor with Dacres and his crew prisoners on board. No experience of history ever went to the heart of New England more directly than this victory, so peculiarly its own: but the delight was not confined to New England, and extreme though it seemed, it was still not extravagant; for however small the affair might appear on the general scale of the world's battles, it raised the United States in one half-hour to the rank of a first class Power in the world.
Hull took his prisoners on board the Constitution, and after blowing up the Guerrière, he sailed for Boston, arriving on the morning of August 30th. The Sunday calm of the Puritan city was shattered by excitement as news spread through the quiet streets that the Constitution was in the outer harbor with Dacres and his crew as prisoners. No historical event ever resonated with New England as strongly as this victory, which was so uniquely its own; but the joy wasn’t limited to New England, and while it may have seemed extreme, it was still reasonable. For despite how minor the skirmish might seem in the grand scheme of global battles, it elevated the United States to the status of a major power in just thirty minutes.
Selections used by permission of Charles Scribner's Sons, Publishers.
Selections used by permission of Charles Scribner's Sons, Publishers.
JOHN ADAMS
(1735-1826)
ohn Adams, second President of the United States, was born at Braintree, Mass., October 19th, 1735, and died there July 4th, 1826, the year after his son too was inaugurated President. He was the first conspicuous member of an enduringly powerful and individual family. The Adams race have mostly been vehement, proud, pugnacious, and independent, with hot tempers and strong wills; but with high ideals, dramatic devotion to duty, and the intense democratic sentiment so often found united with personal aristocracy of feeling. They have been men of affairs first, with large practical ability, but with a deep strain of the man of letters which in this generation has outshone the other faculties; strong-headed and hard-working students, with powerful memories and fluent gifts of expression.
John Adams, the second President of the United States, was born in Braintree, Massachusetts, on October 19, 1735, and passed away there on July 4, 1826, the year after his son was inaugurated as President. He was the first prominent member of a family that has been enduringly powerful and distinctive. The Adams family has generally been passionate, proud, combative, and independent, characterized by fiery tempers and strong wills; yet they also held high ideals, a dramatic commitment to duty, and a deep democratic sentiment often found alongside a personal sense of aristocracy. They have primarily been practical, capable individuals, but there’s also a strong literary tradition in this generation that has outshone other abilities; they are strong-minded, hard-working scholars with remarkable memories and eloquent communication skills.
All these characteristics went to make up John Adams; but their enumeration does not furnish a complete picture of him, or reveal the virile, choleric, masterful man. And he was far more lovable and far more popular than his equally great son, also a typical Adams, from the same cause which produced some of his worst blunders and misfortunes,--a generous impulsiveness of feeling which made it impossible for him to hold his tongue at the wrong time and place for talking. But so fervid, combative, and opinionated a man was sure to gain much more hate than love; because love results from comprehension, which only the few close to him could have, while hate--toward an honest man--is the outcome of ignorance, which most of the world cannot avoid. Admiration and respect, however, he had from the majority of his party at the worst of times; and the best encomium on him is that the closer his public acts are examined, the more credit they reflect not only on his abilities but on his unselfishness.
All these traits made up John Adams, but listing them doesn't give a full picture of him or show the strong, fiery, commanding man he was. He was much more lovable and popular than his equally great son, who was also a typical Adams. This was due to the same generous impulsiveness of feeling that led to some of his biggest mistakes and misfortunes—he often couldn't hold his tongue at the wrong times. Yet, such a passionate, combative, and opinionated man was bound to attract more hate than love; love comes from understanding, which only a few close to him could offer, while hate towards an honest man stems from ignorance, something most of the world can't escape. However, he had admiration and respect from the majority of his party, even in tough times; and the best tribute to him is that the closer you examine his public actions, the more credit they reflect on both his abilities and his selflessness.
Born of a line of Massachusetts farmers, he graduated from Harvard in 1755. After teaching a grammar school and beginning to read theology, he studied law and began practice in 1758, soon becoming a leader at the bar and in public life. In 1764 he married the noble and delightful woman whose letters furnish unconscious testimony to his lovable qualities. All through the germinal years of the Revolution he was one of the foremost patriots, steadily opposing any abandonment or compromise of essential rights. In 1765 he was counsel for Boston with Otis and Gridley to support the town's memorial against the Stamp Act. In 1766 he was selectman. In 1768 the royal government offered him the post of advocate-general in the Court of Admiralty,--a lucrative bribe to desert the opposition; but he refused it. Yet in 1770, as a matter of high professional duty, he became counsel (successfully) for the British soldiers on trial for the "Boston Massacre." Though there was a present uproar of abuse, Mr. Adams was shortly after elected Representative to the General Court by more than three to one. In March, 1774, he contemplated writing the "History of the Contest between Britain and America!" On June 17th he presided over the meeting at Faneuil Hall to consider the Boston Port Bill, and at the same hour was elected Representative to the first Congress at Philadelphia (September 1) by the Provincial Assembly held in defiance of the government. Returning thence, he engaged in newspaper debate on the political issues till the battle of Lexington.
Born into a family of farmers in Massachusetts, he graduated from Harvard in 1755. After teaching at a grammar school and starting to study theology, he shifted to law and began practicing in 1758, quickly becoming a leader both at the bar and in public life. In 1764, he married a noble and charming woman whose letters provide unintentional proof of his likable nature. Throughout the early years of the Revolution, he was a key patriot, firmly opposing any surrender or compromise of essential rights. In 1765, he served as counsel for Boston alongside Otis and Gridley to support the town's memorial against the Stamp Act. By 1766, he was a selectman. In 1768, the royal government offered him the position of advocate-general in the Court of Admiralty—a lucrative incentive to abandon the opposition—but he turned it down. Nevertheless, in 1770, as a matter of professional duty, he represented (successfully) the British soldiers on trial for the "Boston Massacre." Despite facing a backlash of criticism, Mr. Adams was soon elected as a Representative to the General Court by a margin of more than three to one. In March 1774, he considered writing the "History of the Contest between Britain and America!" On June 17th, he chaired the meeting at Faneuil Hall to discuss the Boston Port Bill, and at the same time, he was elected as a Representative to the first Congress in Philadelphia (September 1) by the Provincial Assembly that met in defiance of the government. Upon returning, he engaged in newspaper debates on political issues until the battle of Lexington.
Shortly after, he again journeyed to Philadelphia to the Congress of May 5th, 1775; where he did on his own motion, to the disgust of his Northern associates and the reluctance even of the Southerners, one of the most important and decisive acts of the Revolution,--induced Congress to adopt the forces in New England as a national army and put George Washington of Virginia at its head, thus engaging the Southern colonies irrevocably in the war and securing the one man who could make it a success. In 1776 he was a chief agent in carrying a declaration of independence. He remained in Congress till November, 1777, as head of the War Department, very useful and laborious though making one dreadful mistake: he was largely responsible for the disastrous policy of ignoring the just claims and decent dignity of the military commanders, which lost the country some of its best officers and led directly to Arnold's treason. His reasons, exactly contrary to his wont, were good abstract logic but thorough practical nonsense.
Shortly after, he traveled to Philadelphia for the Congress on May 5, 1775, where he took the initiative, much to the annoyance of his Northern colleagues and even the Southern delegates' hesitance, to carry out one of the most crucial and defining actions of the Revolution—he convinced Congress to adopt the New England forces as a national army and appointed George Washington of Virginia as its leader, thereby permanently involving the Southern colonies in the war and securing the one person who could make it successful. In 1776, he played a key role in pushing through a declaration of independence. He stayed in Congress until November 1777, serving as the head of the War Department, where he was quite useful and hard-working, although he made one major mistake: he was largely responsible for the disastrous approach of disregarding the legitimate claims and proper dignity of the military leaders, which caused the country to lose some of its best officers and directly led to Arnold's betrayal. His reasoning, which was surprisingly poor in practice despite being sound in theory, was completely contrary to his usual approach.
In December, 1777, he was appointed commissioner to France to succeed Silas Deane, and after being chased by an English man-of-war (which he wanted to fight) arrived at Paris in safety. There he reformed a very bad state of affairs; but thinking it absurd to keep three envoys at one court (Dr. Franklin and Arthur Lee were there before him), he induced Congress to abolish his office, and returned in 1779. Chosen a delegate to the Massachusetts constitutional convention, he was called away from it to be sent again to France. There he remained as Franklin's colleague, detesting and distrusting him and the French foreign minister, Vergennes, embroiling himself with both and earning a cordial return of his warmest dislike from both, till July, 1780. He then went to Holland as volunteer minister, and in 1782 was formally recognized as from an independent nation. Meantime Vergennes intrigued with all his might to have Adams recalled, and actually succeeded in so tying his hands that half the advantages of independence would have been lost but for his contumacious persistence. In the final negotiations for peace, he persisted against his instructions in making the New England fisheries an ultimatum, and saved them. In 1783 he was commissioned to negotiate a commercial treaty with Great Britain, and in 1785 was made minister to that power. The wretched state of American affairs under the Confederation made it impossible to obtain any advantages for his country, and the vindictive feeling of the English made his life a purgatory, so that he was glad to come home in 1788.
In December 1777, he was appointed as a commissioner to France to replace Silas Deane. After evading an English warship (which he wanted to confront), he safely arrived in Paris. There, he improved a dire situation; however, finding it ridiculous to have three envoys at one court (Dr. Franklin and Arthur Lee were already there), he persuaded Congress to eliminate his position and returned in 1779. Selected as a delegate for the Massachusetts constitutional convention, he was called away to go back to France. He remained there as Franklin's colleague, despising and distrusting both Franklin and the French foreign minister, Vergennes, getting himself into conflicts with them and earning their mutual disdain until July 1780. He then went to Holland as a voluntary minister, and in 1782 was officially recognized as representing an independent nation. Meanwhile, Vergennes worked tirelessly to have Adams recalled and managed to restrict his actions so much that half the benefits of independence would have been lost if not for Adams's stubborn persistence. During the final peace negotiations, he defied his instructions by making the New England fisheries a non-negotiable demand, ensuring their preservation. In 1783, he was tasked with negotiating a commercial treaty with Great Britain, and in 1785, he became the minister to that country. The terrible state of American affairs under the Confederation made it impossible to secure any benefits for his country, and the hostile attitude of the English turned his life into a nightmare, leaving him relieved to return home in 1788.
In the first Presidential election of that year he was elected Vice-President on the ticket with Washington; and began a feud with Alexander Hamilton, the mighty leader of the Federalist party and chief organizer of our governmental machine, which ended in the overthrow of the party years before its time, and had momentous personal and literary results as well. He was as good a Federalist as Hamilton, and felt as much right to be leader if he could; Hamilton would not surrender his leadership, and the rivalry never ended till Hamilton's murder. In 1796 he was elected President against Jefferson. His Presidency is recognized as one of the ablest and most useful on the roll; but its personal memoirs are most painful and scandalous. The cabinet were nearly all Hamiltonians, regularly laid all the official secrets before Hamilton, and took advice from him to thwart the President. They disliked Mr. Adams's overbearing ways and obtrusive vanity, considered his policy destructive to the party and injurious to the country, and felt that loyalty to these involved and justified disloyalty to him. Finally his best act brought on an explosion. The French Directory had provoked a war with this country, which the Hamiltonian section of the leaders and much of the party hailed with delight; but showing signs of a better spirit, Mr. Adams, without consulting his Cabinet, who he knew would oppose it almost or quite unanimously, nominated a commission to frame a treaty with France. The storm of fury that broke on him from his party has rarely been surpassed, even in the case of traitors outright, and he was charged with being little better. He was renominated for President in 1800, but beaten by Jefferson, owing to the defections in his own party, largely of Hamilton's producing. The Federalist party never won another election; the Hamilton section laid its death to Mr. Adams, and American history is hot with the fires of this battle even yet.
In the first presidential election of that year, he was elected Vice President on the ticket with Washington and began a feud with Alexander Hamilton, the powerful leader of the Federalist party and chief architect of our government. This rivalry ultimately led to the party's early downfall and had significant personal and literary consequences. He was as committed a Federalist as Hamilton and believed he had just as much right to lead. Hamilton, however, refused to give up his leadership, and their rivalry continued until Hamilton's tragic death. In 1796, he was elected President against Jefferson. His presidency is regarded as one of the most capable and effective, but the personal memoirs from that time are painful and scandalous. Most of his cabinet members were Hamilton supporters, who regularly shared official secrets with Hamilton and sought his advice to undermine the President. They resented Adams's domineering behavior and apparent vanity, viewing his policies as harmful to the party and detrimental to the nation, ultimately believing that loyalty to their cause justified disloyalty to him. Eventually, his best decision led to a major backlash. The French Directory had instigated a conflict with the U.S., which many in the Hamilton faction and the party applauded. However, showing signs of reconciliation, Adams nominated a commission to negotiate a treaty with France without first consulting his Cabinet, who he knew would largely oppose it. The outrage from his party that followed was unprecedented, even rivaling the backlash against actual traitors, and he was accused of being almost as bad. He was renominated for President in 1800 but lost to Jefferson due to defections within his own party, mostly instigated by Hamilton. The Federalist party never won another election; the Hamilton faction blamed Adams for its demise, and the conflict from this struggle continues to resonate in American history.
Mr. Adams's later years were spent at home, where he was always interested in public affairs and sometimes much too free in comments on them; where he read immensely and wrote somewhat. He heartily approved his son's break with the Federalists on the Embargo. He died on the same day as Jefferson, both on the fiftieth anniversary of the Declaration of Independence.
Mr. Adams spent his later years at home, where he remained engaged in public issues and often expressed his opinions quite openly; he read extensively and wrote a bit. He fully supported his son's split from the Federalists over the Embargo. He passed away on the same day as Jefferson, both on the fiftieth anniversary of the Declaration of Independence.
As a writer, Mr. Adams's powers show best in the work which can hardly be classed as literature,--his forcible and bitter political letters, diatribes, and polemics. As in his life, his merits and defects not only lie side by side, but spring from the same source,--his vehemence, self-confidence, and impatience of obstruction. He writes impetuously because he feels impetuously. With little literary grace, he possesses the charm that belongs to clear and energetic thought and sense transfused with hot emotion. John Fiske goes so far as to say that "as a writer of English, John Adams in many respects surpassed all his American contemporaries." He was by no means without humor,--a characteristic which shows in some of his portraits,--and sometimes realized the humorous aspects of his own intense and exaggerative temperament. His remark about Timothy Pickering, that "under the simple appearance of a bald head and straight hair, he conceals the most ambitious designs," is perfectly self-conscious in its quaint naiveté.
As a writer, Mr. Adams's strengths are most evident in his work that barely fits into the category of literature—his powerful and harsh political letters, critiques, and arguments. Just like in his life, his strengths and weaknesses not only exist side by side but also stem from the same source—his intensity, confidence, and impatience with obstacles. He writes passionately because he feels passionately. While he may lack literary elegance, he has the appeal that comes from clear and vigorous thinking blended with strong emotion. John Fiske even claims that "as a writer of English, John Adams in many respects surpassed all his American contemporaries." He definitely had a sense of humor—a trait that can be seen in some of his portrayals—and at times, he recognized the humorous side of his own intense and exaggerated temperament. His comment about Timothy Pickering, that "under the simple appearance of a bald head and straight hair, he conceals the most ambitious designs," is perfectly self-aware in its charming simplicity.
His 'Life and Works,' edited by his grandson, Charles Francis Adams, Sr., in ten volumes, is the great storehouse of his writings. The best popular account of his life is by John T. Morse, Jr., in the 'American Statesmen' series.
His 'Life and Works,' edited by his grandson, Charles Francis Adams, Sr., in ten volumes, is the main collection of his writings. The best popular account of his life is by John T. Morse, Jr., in the 'American Statesmen' series.
AT THE FRENCH COURT
Went to Versailles, in company with Mr. Lee, Mr. Izard and his lady, Mr. Lloyd and his lady, and Mr. François. Saw the grand procession of the Knights du Saint-Esprit, or du Cordon Bleu. At nine o'clock at night, went to the grand convert, and saw the king, queen, and royal family, at supper; had a fine seat and situation close by the royal family, and had a distinct and full view of the royal pair.
Went to Versailles with Mr. Lee, Mr. Izard and his wife, Mr. Lloyd and his wife, and Mr. François. Witnessed the grand procession of the Knights du Saint-Esprit, or du Cordon Bleu. At nine o'clock at night, went to the grand convert and saw the king, queen, and royal family at supper; had a great seat close to the royal family and had a clear view of the royal couple.
[Our objects were to see the ceremonies of the knights, and in the evening the public supper of the royal family. The kneelings, the bows, and the courtesies of the knights, the dresses and decorations, the king seated on his throne, his investiture of a new created knight with the badges and ornaments of the order, and his majesty's profound and reverential bow before the altar as he retired, were novelties and curiosities to me, but surprised me much less than the patience and perseverance with which they all kneeled, for two hours together, upon the hard marble of which the floor of the chapel was made. The distinction of the blue ribbon was very dearly purchased at the price of enduring this painful operation four times in a year, The Count de Vergennes confessed to me that he was almost dead with the pain of it. And the only insinuation I ever heard, that the king was in any degree touched by the philosophy of the age, was, that he never discovered so much impatience, under any of the occurrences of his life, as in going through those tedious ceremonies of religion, to which so many hours of his life were condemned by the catholic church.
[Our goal was to witness the knights' ceremonies and, in the evening, the royal family's public dinner. The kneeling, bows, and courtesies of the knights, their outfits and decorations, the king sitting on his throne, his formal investiture of a new knight with the badges and ornaments of the order, and his majesty's deep and respectful bow before the altar as he left, were all new and curious to me. However, I was much less surprised by this than by the patience and perseverance everyone showed while kneeling for two hours on the hard marble floor of the chapel. The privilege of wearing the blue ribbon came at a steep cost of enduring this painful process four times a year. The Count de Vergennes admitted to me that it nearly killed him from the pain. The only hint I ever got that the king was influenced by the philosophy of his time was that he showed more impatience during those long religious ceremonies than in any other aspect of his life, as the Catholic Church condemned him to spend many hours on them.]
The queen was attended by her ladies to the gallery opposite to the altar, placed in the centre of the seat, and there left alone by the other ladies, who all retired. She was an object too sublime and beautiful for my dull pen to describe. I leave this enterprise to Mr. Burke. But in his description, there is more of the orator than of the philosopher. Her dress was everything that art and wealth could make it. One of the maids of honor told me she had diamonds upon her person to the value of eighteen millions of livres; and I always thought her majesty much beholden to her dress. Mr. Burke saw her probably but once. I have seen her fifty times perhaps, and in all the varieties of her dresses. She had a fine complexion, indicating perfect health, and was a handsome woman in her face and figure. But I have seen beauties much superior, both in countenance and form, in France, England, and America.
The queen was surrounded by her ladies in the gallery across from the altar, seated in the center, and then left alone as the other ladies stepped away. She was too magnificent and beautiful for my uninspired words to capture. I’ll leave that task to Mr. Burke. But in his portrayal, there’s more of the speaker than the thinker. Her dress was everything that art and wealth could create. One of the maids of honor told me that she wore diamonds worth eighteen million livres; I always thought her majesty relied heavily on her attire. Mr. Burke probably saw her only once. I’ve seen her maybe fifty times, in all sorts of her outfits. She had a lovely complexion that showed perfect health and was an attractive woman in both face and figure. However, I have seen beauties much greater, both in looks and shape, in France, England, and America.
After the ceremonies of this institution are over, there is a collection for the poor; and that this closing scene may be as elegant as any of the former, a young lady of some of the first families in France is appointed to present the box to the knights. Her dress must be as rich and elegant, in proportion, as the Queen's, and her hair, motions, and curtsies must have as much dignity and grace as those of the knights. It was a curious entertainment to observe the easy air, the graceful bow, and the conscious dignity of the knight, in presenting his contribution; and the corresponding ease, grace, and dignity of the lady, in receiving it, were not less charming. Every muscle, nerve, and fibre of both seemed perfectly disciplined to perform its functions. The elevation of the arm, the bend of the elbow, and every finger in the hand of the knight, in putting his louis d'ors into the box appeared to be perfectly studied, because it was perfectly natural. How much devotion there was in all this I know not, but it was a consummate school to teach the rising generation the perfection of the French air, and external politeness and good-breeding. I have seen nothing to be compared to it in any other country....
After the ceremonies at this institution are finished, there’s a collection for the poor. To make this final moment as elegant as the previous ones, a young lady from one of the top families in France is chosen to present the collection box to the knights. Her outfit needs to be just as rich and stylish as the Queen's, and her hair, movements, and curtsies must show as much dignity and grace as those of the knights. It’s quite entertaining to watch the relaxed demeanor, graceful bow, and composed dignity of the knight as he makes his donation; the corresponding ease, grace, and dignity of the lady receiving it are equally delightful. Every muscle, nerve, and fiber of both seemed perfectly trained to do its job. The way the knight raised his arm, bent his elbow, and positioned each finger while placing his louis d’or into the box appeared completely practiced, but it was entirely natural. I can't say how much devotion was behind it all, but it was a masterclass in teaching the younger generation the refinement of French charm, external politeness, and good manners. I haven’t seen anything like it in any other country…
At nine o'clock we went and saw the king, queen, and royal family, at the grand couvert. Whether M. François, a gentleman who undertook upon this occasion to conduct us, had contrived a plot to gratify the curiosity of the spectators, or whether the royal family had a fancy to see the raw American at their leisure, or whether they were willing to gratify him with a convenient seat, in which he might see all the royal family, and all the splendors of the place, I know not; but the scheme could not have been carried into execution, certainly, without the orders of the king. I was selected, and summoned indeed, from all my company, and ordered to a seat close beside the royal family. The seats on both sides of the hall, arranged like the seats in a theatre, were all full of ladies of the first rank and fashion in the kingdom, and there was no room or place for me but in the midst of them. It was not easy to make room for one more person. However, room was made, and I was situated between two ladies, with rows and ranks of ladies above and below me, and on the right hand and on the left, and ladies only. My dress was a decent French dress, becoming the station I held, but not to be compared with the gold, and diamonds, and embroidery, about me. I could neither speak nor understand the language in a manner to support a conversation, but I had soon the satisfaction to find it was a silent meeting, and that nobody spoke a word but the royal family to each other, and they said very little. The eyes of all the assembly were turned upon me, and I felt sufficiently humble and mortified, for I was not a proper object for the criticisms of such a company. I found myself gazed at, as we in America used to gaze at the sachems who came to make speeches to us in Congress; but I thought it very hard if I could not command as much power of face as one of the chiefs of the Six Nations, and therefore determined that I would assume a cheerful countenance, enjoy the scene around me, and observe it as coolly as an astronomer contemplates the stars. Inscriptions of Fructus Belli were seen on the ceiling and all about the walls of the room, among paintings of the trophies of war; probably done by the order of Louis XIV., who confessed in his dying hour, as his successor and exemplar Napoleon will probably do, that he had been too fond of war. The king was the royal carver for himself and all his family. His majesty ate like a king, and made a royal supper of solid beef, and other things in proportion. The queen took a large spoonful of soup, and displayed her fine person and graceful manners, in alternately looking at the company in various parts of the hall, and ordering several kinds of seasoning to be brought to her, by which she fitted her supper to her taste.]
At nine o'clock, we went to see the king, queen, and royal family during the grand couvert. I’m not sure if M. François, the gentleman who guided us, had a plan to entertain the onlookers, or if the royal family just wanted to watch the American in their midst, or perhaps they just wanted to give me a good view of them and the lavish surroundings. Whatever the case, this arrangement definitely required the king's approval. I was picked out from my group and directed to a seat right next to the royal family. Both sides of the hall were filled with ladies of high rank and fashion, leaving me no choice but to sit among them. Making room for one more wasn’t easy, but they managed to fit me in between two ladies, surrounded by rows of women above and below, and on both sides. I was dressed in a respectable French outfit appropriate for my position, though it paled in comparison to the gold, diamonds, and embroidery that adorned those around me. I couldn’t speak or understand the language well enough to engage in conversation, but I soon realized it was a quiet gathering, with the royal family being the only ones who exchanged a few words. All eyes were on me, and I felt quite humble and embarrassed, not being the right kind of person to be scrutinized by such an audience. I felt like I was being stared at the same way we Americans used to look at the sachems who came to speak in Congress. I thought it was unfair that I should lack the poise of a chief from the Six Nations, so I decided to keep a cheerful expression, enjoy the spectacle, and observe it coolly like an astronomer watching the stars. The ceiling and walls were decorated with inscriptions of Fructus Belli alongside paintings of war trophies, likely commissioned by Louis XIV, who, in his dying moments — much like his successor Napoleon probably will — admitted to having loved war too much. The king was the royal carver for himself and his family. He ate like royalty, enjoying a hearty meal of beef and other substantial dishes. The queen took a generous spoonful of soup and displayed her elegance and poise by alternating her gaze among the guests in different parts of the hall while ordering various seasonings to customize her meal to her liking.
THE CHARACTER OF FRANKLIN
Franklin had a great genius, original, sagacious, and inventive, capable of discoveries in science no less than of improvements in the fine arts and the mechanic arts. He had a vast imagination, equal to the comprehension of the greatest objects, and capable of a cool and steady comprehension of them. He had wit at will. He had humor that when he pleased was delicate and delightful. He had a satire that was good-natured or caustic, Horace or Juvenal, Swift or Rabelais, at his pleasure. He had talents for irony, allegory, and fable, that he could adapt with great skill to the promotion of moral and political truth. He was master of that infantine simplicity which the French call naiveté which never fails to charm in Phaedrus and La Fontaine, from the cradle to the grave. Had he been blessed with the same advantages of scholastic education in his early youth, and pursued a course of studies as unembarrassed with occupations of public and private life as Sir Isaac Newton, he might have emulated the first philosopher. Although I am not ignorant that most of his positions and hypotheses have been controverted, I cannot but think he has added much to the mass of natural knowledge, and contributed largely to the progress of the human mind, both by his own writings and by the controversies and experiments he has excited in all parts of Europe. He had abilities for investigating statistical questions, and in some parts of his life has written pamphlets and essays upon public topics with great ingenuity and success; but after my acquaintance with him, which commenced in Congress in 1775, his excellence as a legislator, a politician, or a negotiator most certainly never appeared. No sentiment more weak and superficial was ever avowed by the most absurd philosopher than some of his, particularly one that he procured to be inserted in the first constitution of Pennsylvania, and for which he had such a fondness as to insert it in his will. I call it weak, for so it must have been, or hypocritical; unless he meant by one satiric touch to ridicule his own republic, or throw it into everlasting contempt.
Franklin had a remarkable genius—original, sharp, and inventive—capable of making discoveries in science as well as enhancing the fine and mechanical arts. He had a vast imagination that could grasp the biggest ideas and maintain a cool and steady understanding of them. He possessed wit whenever he wanted it. His humor, when he chose, was subtle and delightful. He could use satire that was either friendly or biting, invoking Horace or Juvenal, Swift or Rabelais, at will. He had a knack for irony, allegory, and fable, which he could skillfully adapt to promote moral and political truths. He mastered that childlike simplicity that the French call naiveté, which always charms, from Phaedrus to La Fontaine, from birth to death. If he had been given the same advantages of academic education in his early years and had followed a less encumbered study path like Sir Isaac Newton, he might have been on par with the greatest philosophers. Although I know that many of his claims and theories have been challenged, I genuinely believe he has greatly contributed to the body of natural knowledge and has significantly advanced human thought, both through his own writings and through the debates and experiments he sparked across Europe. He had the ability to explore statistical issues and, at various points in his life, wrote pamphlets and essays on public issues with great creativity and success. However, after I got to know him, starting in Congress in 1775, his greatness as a legislator, politician, or negotiator never seemed to shine through. No sentiment more weak and superficial has ever been stated by the most absurd philosopher than some of his, particularly one that he managed to have included in the first constitution of Pennsylvania—one he cherished enough to include in his will. I call it weak because it must have been, or hypocritical; unless he meant to ridicule his own republic with one satirical jab, or to throw it into eternal disdain.
I must acknowledge, after all, that nothing in life has mortified or grieved me more than the necessity which compelled me to oppose him so often as I have. He was a man with whom I always wished to live in friendship, and for that purpose omitted no demonstration of respect, esteem, and veneration in my power, until I had unequivocal proofs of his hatred, for no other reason under the sun but because I gave my judgment in opposition to his in many points which materially affected the interests of our country, and in many more which essentially concerned our happiness, safety, and well-being. I could not and would not sacrifice the clearest dictates of my understanding and the purest principles of morals and policy in compliance to Dr. Franklin.
I have to admit that nothing in life has embarrassed or saddened me more than the need to oppose him as often as I have. He was someone I always wanted to be friends with, and I did everything I could to show him respect, admiration, and reverence until I had clear evidence of his hatred—simply because I disagreed with him on many issues that significantly impacted our country’s interests, and on many more that were crucial to our happiness, safety, and well-being. I couldn't and wouldn't compromise my clear understanding and my strong moral and policy principles just to please Dr. Franklin.
JOHN QUINCY ADAMS
(1767-1848)
he chief distinction in character between John Adams and his son is the strangest one imaginable, when one remembers that to the fiery, combative, bristling Adams blood was added an equal strain from the gay, genial, affectionate Abigail Smith. The son, though of deep inner affections, and even hungering for good-will if it would come without his help, was on the surface incomparably colder, harsher, and thornier than his father, with all the socially repellent traits of the race and none of the softer ones. The father could never control his tongue or his temper, and not always his head; the son never lost the bridle of either, and much of his terrible power in debate came from his ability to make others lose theirs while perfectly keeping his own. The father had plenty of warm friends and allies,--at the worst he worked with half a party; the son in the most superb part of his career had no friends, no allies, no party except the group of constituents who kept him in Congress. The father's self-confidence deepened in the son to a solitary and even contemptuous gladiatorship against the entire government of the country, for long years of hate and peril. The father's irritable though generous vanity changed in the son to an icy contempt or white-hot scorn of nearly all around him. The father's spasms of acrimonious judgment steadied in the son to a constant rancor always finding new objects. But only John Quincy Adams could have done the work awaiting John Quincy Adams, and each of his unamiable qualities strengthened his fibre to do it. And if a man is to be judged by his fruits, Mr. Morse is justified in saying that he was "not only pre-eminent in ability and acquirements, but even more to be honored for profound, immutable honesty of purpose, and broad, noble humanity of aims."
The main difference in character between John Adams and his son is quite striking, especially considering that the fiery, combative Adams blood was complemented by the cheerful, warm-hearted Abigail Smith. The son, despite having deep feelings and a yearning for goodwill if it came without his involvement, appeared much colder, harsher, and pricklier than his father, lacking the more appealing traits of his lineage. The father could never rein in his tongue or his temper, and sometimes not even his reason; the son, on the other hand, managed to keep control over both, and much of his formidable debating skills derived from making others lose theirs while maintaining his own composure. The father had many loyal friends and supporters—even at his worst, he was backed by half a political party; the son, during the pinnacle of his career, had no friends, no allies, and no party except for the group of voters who kept him in Congress. The father's self-assurance intensified in the son, turning into a solitary and somewhat disdainful struggle against the entire government, which came from years of animosity and danger. The father's irritable yet generous pride transformed in the son into a frigid disdain or fiery scorn for nearly everyone around him. The father's bursts of harsh judgment solidified in the son into a constant bitterness that always found new targets. But only John Quincy Adams could have tackled the challenges that awaited him, and each of his less pleasant traits reinforced his determination to do so. And if a person is to be judged by their accomplishments, Mr. Morse is right to say that he was "not only outstanding in ability and knowledge, but even more deserving of respect for his profound, steadfast honesty of purpose and broad, noble humanitarian aims."
It might almost be said that the sixth President of the United States was cradled in statesmanship. Born July 11th, 1767, he was a little lad of ten when he accompanied his father on the French mission. Eighteen months elapsed before he returned, and three months later he was again upon the water, bound once more for the French capital. There were school days in Paris, and other school days in Amsterdam and in Leyden; but the boy was only fourteen,--the mature old child!--when he went to St. Petersburg as private secretary and interpreter to Francis Dana, just appointed minister plenipotentiary to the court of the Empress Catherine. Such was his apprenticeship to a public career which began in earnest in 1794, and lasted, with slight interruptions, for fifty-four years. Minister to the United Netherlands, to Russia, to Prussia, and to England; commissioner to frame the Treaty of Ghent which ended the war of 1812; State Senator, United States Senator; Secretary of State, a position in which he made the treaty with Spain which conceded Florida, and enunciated the Monroe Doctrine before Monroe and far more thoroughly than he; President, and then for many years Member of the National House of Representatives,--it is strange to find this man writing in his later years, "My whole life has been a succession of disappointments. I can scarcely recollect a single instance of success to anything that I ever undertook."
It could be said that the sixth President of the United States was raised in politics. Born on July 11, 1767, he was just ten years old when he traveled with his father on a mission to France. Eighteen months later, he returned, and three months after that, he was back on the water headed for the French capital again. He spent some school years in Paris, as well as in Amsterdam and Leiden; however, he was only fourteen—the extremely mature child—when he went to St. Petersburg as a private secretary and interpreter for Francis Dana, who had just been appointed minister plenipotentiary to Empress Catherine’s court. This was his training for a public career that officially started in 1794 and continued, with few breaks, for fifty-four years. He served as Minister to the United Netherlands, Russia, Prussia, and England; was a commissioner to draft the Treaty of Ghent that ended the War of 1812; and held positions as State Senator, United States Senator, and Secretary of State, where he negotiated the treaty with Spain that gave Florida to the U.S. and articulated the Monroe Doctrine even before Monroe did, and in a more comprehensive way. He later became President and then, for many years, a member of the National House of Representatives. It’s surprising to see this man writing in his later years, “My whole life has been a succession of disappointments. I can scarcely remember a single instance of success in anything that I ever undertook.”
It is true, however, that his successes and even his glories always had some bitter ingredient to spoil their flavor. As United States Senator he was practically "boycotted" for years, even by his own party members, because he was an Adams. In 1807 he definitely broke with the Federalist party--for what he regarded as its slavish crouching under English outrages, conduct which had been for years estranging him--by supporting Jefferson's Embargo, as better than no show of resistance at all; and was for a generation denounced by the New England Federalists as a renegade for the sake of office and a traitor to New England. The Massachusetts Legislature practically censured him in 1808, and he resigned.
It’s true that his successes and even his achievements always had some bitter aspect that spoiled their enjoyment. As a United States Senator, he was essentially "boycotted" for years, even by members of his own party, because he was an Adams. In 1807, he completely broke away from the Federalist party—due to what he saw as its submissive attitude towards English injustices, a stance that had been pushing him away for years—by supporting Jefferson's Embargo, which he believed was better than no resistance at all; and for a generation, he was condemned by the New England Federalists as a traitor for the sake of his career and a betrayer of New England. The Massachusetts Legislature nearly censured him in 1808, and he ended up resigning.
His winning of the Presidency brought pain instead of pleasure: he valued it only as a token of national confidence, got it only as a minority candidate in a divided party, and was denounced by the Jacksonians as a corrupt political bargainer. And his later Congressional career, though his chief title to glory, was one long martyrdom (even though its worst pains were self-inflicted), and he never knew the immense victory he had actually won. The "old man eloquent," after ceasing to be President, was elected in 1830 by his home district a Representative in Congress, and regularly re-elected till his death. For a long time he bore the anti-slavery standard almost alone in the halls of Congress, a unique and picturesque figure, rousing every demon of hatred in his fellow-members, in constant and envenomed battle with them, and more than a match for them all. He fought single-handed for the right of petition as an indefeasible right, not hesitating to submit a petition from citizens of Virginia praying for his own expulsion from Congress as a nuisance. In 1836 he presented a petition from one hundred and fifty-eight ladies, citizens of Massachusetts, "for, I said, I had not yet brought myself to doubt whether females were citizens." After eight years of persistent struggle against the "Atherton gag law," which practically denied the right of petition in matters relating to slavery, he carried a vote rescinding it, and nothing of the kind was again enacted. He had a fatal stroke of paralysis on the floor of Congress February 21st, 1848, and died two days later.
His victory in the Presidency brought more pain than joy: he saw it merely as a sign of national trust, won it only as a minority candidate in a split party, and was criticized by the Jacksonians as a corrupt political dealmaker. His later Congressional career, although his main source of honor, felt like a prolonged martyrdom (even if some of the worst suffering was self-inflicted), and he never recognized the significant victory he had truly achieved. The "old man eloquent," after serving as President, was elected in 1830 as a Representative from his home district, and was regularly re-elected until his death. For a long time, he almost single-handedly carried the anti-slavery banner in Congress, standing out as a unique and striking figure, provoking intense animosity from his fellow members, and constantly engaged in fierce battles with them, more than a match for them all. He fought alone for the right to petition as an undeniable right, even submitting a petition from citizens of Virginia asking for his own removal from Congress as a nuisance. In 1836, he presented a petition from one hundred and fifty-eight women, citizens of Massachusetts, stating, "for, I said, I had not yet brought myself to doubt whether females were citizens." After eight years of persistent struggle against the "Atherton gag law," which effectively denied the right to petition regarding issues of slavery, he succeeded in rescinding it, and nothing like it was enacted again. He suffered a fatal stroke on the floor of Congress on February 21st, 1848, and died two days later.
As a writer he was perspicuous, vigorous, and straightforward. He had entered Harvard in the middle of the college course, and been graduated with honors. He had then studied and practiced law. He was Professor of Rhetoric and Oratory at Harvard from 1806 to 1809, and was well drilled in the use of language, but was too downright in his temper and purposes to spend much labor upon artistic effects. He kept an elaborate diary during the greater part of his life,--since published in twelve volumes of "Memoirs" by his son Charles Francis Adams; a vast storehouse of material relating to the political history of the country, but, as published, largely restricted to public affairs. He delivered orations on Lafayette, on Madison, on Monroe, on Independence, and on the Constitution; published essays on the Masonic Institution and various other matters; a report on weights and measures, of enormous labor and permanent value; Lectures on Rhetoric and Oratory; a tale in verse on the Conquest of Ireland, with the title 'Dermot MacMorrogh'; an account of Travels in Silesia; and a volume of 'Poems of Religion and Society.' He had some facility in rhyme, but his judgment was not at fault in informing him that he was not a poet. Mr. Morse says that "No man can have been more utterly void of a sense of humor or an appreciation of wit"; and yet he very fairly anticipated Holmes in his poem on 'The Wants of Man,' and hits rather neatly a familiar foible in the verse with which he begins 'Dermot MacMorrogh':--
As a writer, he was clear, energetic, and straightforward. He started at Harvard in the middle of his college education and graduated with honors. After that, he studied and practiced law. He was a Professor of Rhetoric and Oratory at Harvard from 1806 to 1809 and was very skilled in using language, but he was too direct in his temperament and intentions to spend much time on artistic effects. He kept a detailed diary for most of his life, which was later published in twelve volumes of "Memoirs" by his son Charles Francis Adams; it's a vast resource of material relating to the political history of the country, but, as published, it mainly focuses on public affairs. He delivered speeches on Lafayette, Madison, Monroe, Independence, and the Constitution; published essays on the Masonic Institution and various other topics; produced a labor-intensive and valuable report on weights and measures; gave Lectures on Rhetoric and Oratory; wrote a narrative poem about the Conquest of Ireland titled 'Dermot MacMorrogh'; shared an account of his Travels in Silesia; and a collection of 'Poems of Religion and Society.' He had some talent for rhyme, but he knew well enough that he wasn't a poet. Mr. Morse states that "No man can have been more utterly void of a sense of humor or an appreciation of wit"; yet he quite effectively anticipated Holmes in his poem on 'The Wants of Man,' and makes a clever observation about a common flaw in the opening verse of 'Dermot MacMorrogh':--
"'Tis strange how often readers will indulge
Their wits a mystic meaning to discover;
Secrets ne'er dreamt of by the bard divulge,
And where he shoots a cluck, will find a plover;
Satiric shafts from every line promulge,
Detect a tyrant where he draws a lover:
Nay, so intent his hidden thoughts to see,
Cry, if he paint a scoundrel--'That means me.'"
"It's odd how frequently readers will let
Their minds search for a deeper meaning;
Secrets never imagined by the writer emerge,
And where he aims for a hen, they'll find a plover;
Satirical undertones from every line reveal,
Identify a tyrant where he sketches a lover:
No, so focused on uncovering hidden thoughts,
They shout, if he portrays a villain—'That’s about me.'"
Selections from Letters and Memoirs used by permission of J.B. Lippincott Company.
Selections from Letters and Memoirs used by permission of J.B. Lippincott Company.
LETTER TO HIS FATHER
DEAR SIR,--I love to receive letters very well; much better than I love to write them. I make but a poor figure at composition, my head is too fickle, my thoughts are running after birds eggs play and trifles, till I get vexed with myself. Mamma has a troublesome task to keep me steady, and I own I am ashamed of myself. I have but just entered the third volume of Smollett, tho' I had designed to have got it half through by this time. I have determined this week to be more diligent, as Mr. Thaxter will be absent at Court, and I cannot pursue my other studies. I have Set myself a Stent and determine to read the 3rd volume Half out. If I can but keep my resolution, I will write again at the end of the week and give a better account of myself. I wish, Sir, you would give me some instructions, with regard to my time, and advise me how to proportion my Studies and my Play, in writing, and I will keep them by me, and endeavor to follow them. I am, dear Sir, with a present determination of growing better, yours.
DEAR SIR, -- I really enjoy getting letters, way more than I enjoy writing them. I’m not great at composing; my mind wanders too much. I get distracted by things like birdwatching and other little distractions, which frustrates me. Mom has a tough job trying to keep me focused, and I have to admit I’m embarrassed about it. I've just started the third volume of Smollett, even though I intended to be halfway through it by now. I've decided this week to be more dedicated, since Mr. Thaxter will be away at Court, and I can’t work on my other subjects. I've set myself a goal and plan to read half of the third volume. If I can stick to my plan, I’ll write again at the end of the week and share a better update. I would really appreciate it, Sir, if you could give me some advice on how to manage my time, and guide me on balancing my studies and free time in my writing. I'll keep it handy and try my best to follow your advice. I am, dear Sir, determined to improve and yours sincerely.
P.S.--Sir, if you will be so good as to favor me with a Blank Book, I will transcribe the most remarkable occurances I meet with in my reading, which will serve to fix them upon my mind.
P.S.--Sir, if you could kindly provide me with a Blank Book, I will write down the most notable things I come across in my reading, which will help me remember them better.
FROM THE MEMOIRS
April 26th, 1785.--A letter from Mr. Gerry of Feb. 25th Says that Mr. Adams is appointed Minister to the Court of London.
April 26th, 1785.--A letter from Mr. Gerry dated February 25th says that Mr. Adams has been appointed Minister to the Court of London.
I believe he will promote the interests of the United States, as much as any man, but I fear his duty will induce him to make exertions which may be detrimental to his health. I wish however it may be otherwise. Were I now to go with him, probably my immediate satisfaction might be greater than it will be in returning to America. After having been traveling for these seven years almost all over Europe, and having been in the World, and among company, for three; to return to spend one or two years in the pale of a College, subjected to all the rules which I have so long been freed from; then to plunge into the dry and tedious study of the Law for three years; and afterwards not expect (however good an opinion I may have of myself) to bring myself into notice under three or four years more; if ever! It is really a prospect somewhat discouraging for a youth of my ambition (for I have ambition, though I hope its object is laudable). But still
I believe he will promote the interests of the United States as much as anyone else, but I'm worried his responsibilities will lead him to push himself in ways that could harm his health. I hope that's not the case. If I were to go with him now, my immediate satisfaction might be greater than what I'd feel returning to America. After spending almost seven years traveling all over Europe and being in the world and with different people for three of those years, the idea of going back to spend one or two years in a college setting, following all the rules I’ve been free from for so long, is daunting. Then there's the exhausting and slow process of studying law for three years, and afterwards not expecting (no matter how good I think I am) to get noticed for another three or four years, if ever! It's a discouraging prospect for someone my age with ambitions (and I do have ambitions, though I hope they're for a good cause). But still
"Oh! how wretched
Is that poor Man, that hangs on Princes' favors"
"Oh! how miserable
Is that poor man, who depends on the favors of princes"
or on those of anybody else. I am determined that so long as I shall be able to get my own living in an honorable manner, I will depend upon no one. My Father has been so much taken up all his lifetime with the interests of the public, that his own fortune has suffered by it; so that his children will have to provide for themselves, which I shall never be able to do, if I loiter away my precious time in Europe and shun going home until I am forced to it. With an ordinary share of Common sense which I hope I enjoy, at least in America I can live independent and free; and rather than live otherwise I would wish to die before the time when I shall be left at my own discretion. I have before me a striking example of the distressing and humiliating situation a person is reduced to by adopting a different line of conduct, and I am determined not to fall into the same error.
or on anyone else's. I’m set on the idea that as long as I can earn a living honorably, I won't rely on anyone else. My dad has been so focused on public interests his whole life that he’s suffered financially; now his kids will have to take care of themselves. I won't be able to do that if I waste my precious time in Europe and avoid going home until I have no choice. With a decent amount of common sense—which I hope I have—I can live independent and free in America; and I’d rather die than live any other way before I’m left to make my own choices. I see a clear example of the distressing and humiliating situation someone can end up in by choosing a different path, and I am determined not to repeat that mistake.
FROM THE MEMOIRS
JANUARY 14TH, 1831.--I received a letter from John C. Calhoun, now Vice-President of the United States, relating to his present controversy with President Jackson and William H. Crawford. He questions me concerning the letter of General Jackson to Mr. Monroe which Crawford alleges to have been produced at the Cabinet meetings on the Seminole War, and asks for copies, if I think proper to give them, of Crawford's letter to me which I received last summer, and of my answer. I answered Mr. Calhoun's letter immediately, rigorously confining myself to the direct object of his inquiries. This is a new bursting out of the old and rancorous feud between Crawford and Calhoun, both parties to which, after suspending their animosities and combining together to effect my ruin, are appealing to me for testimony to sustain themselves each against the other. This is one of the occasions upon which I shall eminently need the direction of a higher power to guide me in every step of my conduct. I see my duty to discard all consideration of their treatment of me; to adhere, in everything that I shall say or write, to the truth; to assert nothing positively of which I am not absolutely certain; to deny nothing upon which there remains a scruple of doubt upon my memory; to conceal nothing which it may be lawful to divulge, and which may promote truth and justice between the parties. With these principles, I see further the necessity for caution and prudence in the course I shall take. The bitter enmity of all three of the parties--Jackson, Calhoun, and Crawford--against me, an enmity the more virulent because kindled by their own ingratitude and injustice to me; the interest which every one of them, and all their partisans, have in keeping up that load of obloquy and public odium which their foul calumnies have brought down upon me; and the disfavor in which I stand before a majority of the people, excited against me by their artifices;--their demerits to me are proportioned to the obligations to me--Jackson's the greatest, Crawford's the next, Calhoun's the least of positive obligation, but darkened by his double-faced setting himself up as a candidate for the Presidency against me in 1821, his prevarications between Jackson and me in 1824, and his icy-hearted dereliction of all the decencies of social intercourse with me, solely from the terror of Jackson, since the 4th of March, 1829. I walk between burning ploughshares; let me be mindful where I place my foot.
JANUARY 14TH, 1831.--I got a letter from John C. Calhoun, who is now the Vice-President of the United States, regarding his current dispute with President Jackson and William H. Crawford. He asks me about General Jackson's letter to Mr. Monroe, which Crawford claims was presented at the Cabinet meetings concerning the Seminole War, and he requests copies of Crawford's letter to me from last summer and my reply, if I feel it's appropriate to share them. I replied to Mr. Calhoun right away, strictly focusing on the specific questions he raised. This is another flare-up of the long-standing and bitter rivalry between Crawford and Calhoun, both of whom, after setting aside their differences to try and bring me down, are now looking to me for support against each other. This situation makes it clear that I’ll need guidance from a higher power in every step I take. I recognize my duty to ignore how they’ve treated me; to stick to the truth in everything I say or write; to assert nothing I’m not completely sure about; to deny nothing that I have even a slight doubt about; to reveal nothing that it’s lawful to disclose, which could help bring about truth and justice between the parties. With these principles in mind, I further realize the need for caution and prudence in how I proceed. The intense hostility from all three parties—Jackson, Calhoun, and Crawford—against me, intensified by their own ingratitude and injustice; the interest each of them and their supporters have in maintaining the burden of disgrace and public scorn that their slander has brought upon me; and the public disfavor I face, stirred up against me by their schemes;—their failures toward me are proportional to the obligations they owe me—Jackson’s being the greatest, followed by Crawford's, with Calhoun’s being the least in terms of obligation, but complicated by his treachery in positioning himself as a presidential candidate against me in 1821, his deceitful behavior between Jackson and me in 1824, and his cold abandonment of basic social decency towards me out of fear of Jackson since March 4th, 1829. I am treading on hot coals; I must be careful where I step.
FROM THE MEMOIRS
JUNE 7TH, 1833.--The first seedling apple-tree that I had observed on my return here just out of the ground was on the 22d of April. It had grown slowly but constantly since, and had put out five or six leaves. Last evening, after my return from Boston, I saw it perfectly sound. This morning I found it broken off, leaving one lobe of the seed-leaves, and one leaf over it. This may have been the work of a bug, or perhaps of a caterpillar. It would not be imaginable to any person free from hobby-horse or fanciful attachments, how much mortification such an incident occasions. St. Evremond, after removing into the country, returned to a city life because he found himself in despair for the loss of a pigeon. His conclusion was, that rural life induced exorbitant attachment to insignificant objects. My experience is conformable to this. My natural propensity was to raise trees, fruit and forest, from the seed. I had it in early youth, but the course of my life deprived me of the means of pursuing the bent of my inclination. One shellbark-walnut-tree in my garden, the root of which I planted 8th October, 1804, and one Mazzard cherry-tree in the grounds north of the house, the stone of which I planted about the same time, are the only remains of my experiments of so ancient a date. Had my life been spent in the country, and my experiments commenced while I was at College, I should now have a large fruit garden, flourishing orchards of native fruit, and very valuable forests; instead of which I have a nursery of about half an acre of ground, half full of seedlings, from five years to five days old, bearing for the first time perhaps twenty peaches, and a few blossoms of apricots and cherries; and hundreds of seedlings of the present year perishing from day to day before my eyes.
JUNE 7TH, 1833.--The first seedling apple tree I noticed when I returned here just after it sprouted was on April 22nd. It had been growing slowly but steadily since then and had produced five or six leaves. Last night, after I got back from Boston, I found it healthy. This morning, I discovered it had been broken off, leaving one lobe of the seed leaves and one leaf above it. This could have been caused by a bug or maybe a caterpillar. It's hard to explain to anyone who isn't attached to such things just how much disappointment this kind of incident can cause. St. Evremond, after moving to the countryside, went back to city life because he was distraught over losing a pigeon. He concluded that rural life leads to an unhealthy attachment to trivial things. I can relate to that. My natural tendency was always to grow trees, both fruit and timber, from seeds. I had this passion since childhood, but life’s circumstances took away my ability to pursue it. The only remnants of my early attempts are one shellbark walnut tree in my garden, which I planted on October 8th, 1804, and one Mazzard cherry tree in the grounds north of the house, which I planted around the same time. If I had spent my life in the countryside and started these experiments while I was in college, I would now have a large fruit garden, thriving orchards of native fruit, and valuable forests. Instead, I have a half-acre nursery filled with seedlings ranging from five years to five days old, producing maybe twenty peaches for the first time, along with a few blossoms of apricots and cherries; and hundreds of this year’s seedlings dying before my eyes day by day.
FROM THE MEMOIRS
SEPTEMBER 9TH, 1833.--Cold and cloudy day, clearing off toward evening. In the multitudinous whimseys of a disabled mind and body, the thick-coming fancies often come to me that the events which affect my life and adventures are specially shaped to disappoint my purposes. My whole life has been a succession of disappointments. I can scarcely recollect a single instance of success to anything that I ever undertook. Yet, with fervent gratitude to God, I confess that my life has been equally marked by great and signal successes which I neither aimed at nor anticipated. Fortune, by which I understand Providence, has showered blessings upon me profusely. But they have been blessings unforeseen and unsought. "Non nobis Domine, non nobis, sed nomini tuo da gloriam!" I ought to have been taught by it three lessons:--1. Of implicit reliance upon Providence. 2. Of humility and humiliation; the thorough conviction of my own impotence to accomplish anything. 3. Of resignation; and not to set my heart upon anything which can be taken from me or denied.
SEPTEMBER 9TH, 1833.--It’s a cold and cloudy day, clearing up by evening. In the many odd thoughts of a weary mind and body, I often find that the events affecting my life and adventures seem designed to ruin my plans. My entire life has been a series of disappointments. I can barely remember a single instance of success in anything I ever tried. Yet, with deep gratitude to God, I admit that my life has also been marked by significant successes that I neither aimed for nor expected. Fortune, which I see as Providence, has generously showered blessings upon me. But these have been blessings I didn’t foresee or seek out. "Non nobis Domine, non nobis, sed nomini tuo da gloriam!" I should have learned three lessons from this: 1. To rely completely on Providence. 2. To embrace humility and the understanding of my own helplessness in achieving anything. 3. To practice resignation, and not to fix my heart on anything that can be taken away from me or denied.
THE MISSION OF AMERICA
And now, friends and countrymen, if the wise and learned philosophers of the older world, the first observers of nutation and aberration, the discoverers of maddening ether and invisible planets, the inventors of Congreve rockets and shrapnel shells, should find their hearts disposed to inquire, What has America done for mankind? let our answer be this:--America, with the same voice which spoke herself into existence as a nation, proclaimed to mankind the inextinguishable rights of human nature, and the only lawful foundations of government. America, in the assembly of nations, since her admission among them, has invariably, though often fruitlessly, held forth to them the hand of honest friendship, of equal freedom, of generous reciprocity. She has uniformly spoken among them, though often to heedless and often to disdainful ears, the language of equal liberty, equal justice, and equal rights. She has, in the lapse of nearly half a century, without a single exception, respected the independence of other nations, while asserting and maintaining her own. She has abstained from interference in the concerns of others, even when the conflict has been for principles to which she clings, as to the last vital drop that visits the heart. She has seen that probably for centuries to come, all the contests of that Aceldama, the European World, will be contests between inveterate power and emerging right. Wherever the standard of freedom and independence has been or shall be unfurled, there will her heart, her benedictions, and her prayers be. But she goes not abroad in search of monsters to destroy. She is the well-wisher to the freedom and independence of all. She is the champion and vindicator only of her own. She will recommend the general cause, by the countenance of her voice, and the benignant sympathy of her example. She well knows that by once enlisting under other banners than her own, were they even the banners of foreign independence, she would involve herself, beyond the power of extrication, in all the wars of interest and intrigue, of individual avarice, envy, and ambition, which assume the colors and usurp the standard of freedom. The fundamental maxims of her policy would insensibly change from liberty to force. The frontlet upon her brows would no longer beam with the ineffable splendor of freedom and independence; but in its stead would soon be substituted an imperial diadem, flashing in false and tarnished lustre the murky radiance of dominion and power. She might become the dictatress of the world; she would no longer be the ruler of her own spirit.
And now, friends and fellow citizens, if the wise and knowledgeable philosophers of the old world—the first observers of nutation and aberration, the discoverers of maddening ether and invisible planets, the inventors of Congreve rockets and shrapnel shells—were to ask, "What has America done for humanity?" let our answer be this: America, with the same voice that declared her existence as a nation, proclaimed to the world the unalienable rights of human beings and the only rightful foundations of government. Since joining the assembly of nations, America has consistently, though often in vain, extended her hand of genuine friendship, equal freedom, and generous reciprocity. She has repeatedly spoken to them, though too often to indifferent or dismissive ears, the language of equal liberty, justice, and rights. Over the course of nearly half a century, without exception, she has respected the independence of other nations while asserting and maintaining her own. She has refrained from interfering in the affairs of others, even when the conflicts were over principles she holds dear, like the last precious drop of life. She understands that likely for centuries to come, all the struggles in that battleground of Europe will be battles between entrenched power and emerging rights. Wherever the flag of freedom and independence has been or will be raised, there will be her heart, her blessings, and her prayers. But she does not go abroad searching for monsters to destroy. She is a supporter of the freedom and independence of all. She champions and defends only her own. She will advocate for the common cause, through the support of her voice and the compassionate example of her actions. She knows well that by aligning with other banners even those of foreign independence, she would trap herself, beyond any hope of escape, in all the wars of self-interest, intrigue, individual greed, jealousy, and ambition, which take on the colors and claim the banner of freedom. The core principles of her policy would subtly shift from liberty to force. The emblem on her brow would no longer shine with the incredible brilliance of freedom and independence; instead, it would soon be replaced by a royal crown, flickering with the false and tarnished gleam of control and power. She might become the ruler of the world; but she would no longer be in control of her own spirit.
THE RIGHT OF PETITION
Sir, it is ... well known that, from the time I entered this house, down to the present day, I have felt it a sacred duty to present any petition, couched in respectful language, from any citizen of the United States, be its object what it may,--be the prayer of it that in which I could concur, or that to which I was utterly opposed. I adhere to the right of petition; and let me say here that, let the petition be, as the gentleman from Virginia has stated, from free negroes, prostitutes, as he supposes,--for he says there is one put on this paper, and he infers that the rest are of the same description,--that has not altered my opinion at all. Where is your law that says that the mean, the low, and the degraded, shall be deprived of the right of petition, if their moral character is not good? Where, in the land of free-men, was the right of petition ever placed on the exclusive basis of morality and virtue? Petition is supplication--it is entreaty--it is prayer! And where is the degree of vice or immorality which shall deprive the citizen of the right to supplicate for a boon, or to pray for mercy? Where is such a law to be found? It does not belong to the most abject despotism. There is no absolute monarch on earth who is not compelled, by the constitution of his country, to receive the petitions of his people, whosoever they may be. The Sultan of Constantinople cannot walk the streets and refuse to receive petitions from the meanest and vilest in the land. This is the law even of despotism; and what does your law say? Does it say, that, before presenting a petition, you shall look into it and see whether it comes from the virtuous, and the great, and the mighty? No, sir; it says no such thing. The right of petition belongs to all; and so far from refusing to present a petition because it might come from those low in the estimation of the world, it would be an additional incentive, if such an incentive were wanting.
Sir, it is well known that since I entered this house up to now, I have considered it a sacred duty to present any petition, written in respectful language, from any citizen of the United States, no matter its purpose—whether it’s something I agree with or something I completely oppose. I stand by the right to petition; and let me say that whether the petition is, as the gentleman from Virginia has claimed, from free Black individuals, sex workers, as he suggests—because he notes that one is included here and assumes the rest are similar—that does not change my opinion at all. Where is your law that says that those deemed mean, low, or degraded should be denied the right to petition just because their moral character isn't great? Where, in this land of free individuals, was the right to petition ever based solely on morality and virtue? A petition is a request—it's an appeal—it's a prayer! And where is the line of vice or immorality that takes away a citizen's right to ask for a favor or to seek mercy? Where is such a law? It doesn't exist even under the most oppressive despotism. There is no absolute monarch in the world who isn't required by their country's constitution to accept petitions from their people, no matter who they are. The Sultan of Constantinople cannot walk the streets and refuse to accept petitions from the lowest and most despised in the land. This is the law even in despotism; and what does your law state? Does it say that before presenting a petition, you should check whether it comes from the virtuous, the important, or the powerful? No, sir; it doesn’t say that at all. The right to petition belongs to everyone; and rather than refusing to present a petition because it might come from those looked down upon by society, it would actually be an extra reason to do so, if any extra motivation were needed.
NULLIFICATION
Nullification is the provocation to that brutal and foul contest of force, which has hitherto baffled all the efforts of the European and Southern American nations, to introduce among them constitutional governments of liberty and order. It strips us of that peculiar and unimitated characteristic of all our legislation--free debate; it makes the bayonet the arbiter of law; it has no argument but the thunderbolt. It were senseless to imagine that twenty-three States of the Union would suffer their laws to be trampled upon by the despotic mandate of one. The act of nullification would itself be null and void. Force must be called in to execute the law of the Union. Force must be applied by the nullifying State to resist its execution--
Nullification is the spark that ignites that brutal and disgusting battle of force, which has so far thwarted all attempts by European and South American nations to establish constitutional governments based on freedom and order. It takes away our unique and unmatched feature of all our laws—free debate; it turns the bayonet into the judge of law; it has no argument except for sheer violence. It would be ridiculous to think that twenty-three States in the Union would allow their laws to be trampled on by the oppressive command of one. The act of nullification would be itself null and void. Force must be brought in to enforce the laws of the Union. The nullifying State must use force to resist their enforcement—
"Ate, hot from Hell,
Cries Havoc! and lets slip the dogs of war."
"Dawn, hot from Hell,
Calls for chaos! and unleashes the dogs of war."
The blood of brethren is shed by each other. The citizen of the nullifying State is a traitor to his country, by obedience to the law of his State; a traitor to his State, by obedience to the law of his country. The scaffold and the battle-field stream alternately with the blood of their victims. Let this agent but once intrude upon your deliberations, and Freedom will take her flight for heaven. The Declaration of Independence will become a philosophical dream, and uncontrolled, despotic sovereignties will trample with impunity, through a long career of after ages, at interminable or exterminating war with one another, upon the indefeasible and unalienable rights of man.
The blood of brothers is spilled by each other. A citizen of a state that nullifies laws betrays their country by following their state's laws; they betray their state by following their country's laws. The gallows and the battlefield are alternately stained with the blood of their victims. Once this influence intrudes on your discussions, Freedom will fly away to heaven. The Declaration of Independence will become just a philosophical fantasy, and unchecked, oppressive powers will trample over the undeniable and inalienable rights of man with no consequences, engaging in endless or devastating wars against each other for ages to come.
The event of a conflict of arms, between the Union and one of its members, whether terminating in victory or defeat, would be but an alternative of calamity to all. In the holy records of antiquity, we have two examples of a confederation ruptured by the severance of its members; one of which resulted, after three desperate battles, in the extermination of the seceding tribe. And the victorious people, instead of exulting in shouts of triumph, "came to the House of God, and abode there till even before God; and lifted up their voices, and wept sore, and said,--O Lord God of Israel, why is this come to pass in Israel, that there should be to-day one tribe lacking in Israel?" The other was a successful example of resistance against tyrannical taxation, and severed forever the confederacy, the fragments forming separate kingdoms; and from that day, their history presents an unbroken series of disastrous alliances and exterminating wars--of assassinations, conspiracies, revolts, and rebellions, until both parts of the confederacy sunk in tributary servitude to the nations around them; till the countrymen of David and Solomon hung their harps upon the willows of Babylon, and were totally lost among the multitudes of the Chaldean and Assyrian monarchies, "the most despised portion of their slaves."
The conflict between the Union and one of its members, whether it ends in victory or defeat, would be a disaster for everyone. In ancient records, we see two examples of a confederation broken apart by the departure of its members; one led to the total destruction of the seceding tribe after three fierce battles. The victorious people, instead of celebrating with triumph, "came to the House of God, and stayed there until evening before God; and lifted up their voices, and wept bitterly, and said, -- O Lord God of Israel, why has this happened in Israel, that today there should be one tribe missing in Israel?" The other example was a successful resistance against oppressive taxation, which forever split the confederacy into separate kingdoms; from that day on, their history is a continuous cycle of disastrous alliances and devastating wars—assassinations, conspiracies, revolts, and rebellions—until both parts of the confederacy fell into tributary servitude to surrounding nations; until the descendants of David and Solomon hung their harps on the willows of Babylon and were completely lost among the masses of the Chaldean and Assyrian empires, "the most despised part of their slaves."
In these mournful memorials of their fate, we may behold the sure, too sure prognostication of our own, from the hour when force shall be substituted for deliberation in the settlement of our Constitutional questions. This is the deplorable alternative--the extirpation of the seceding member, or the never-ceasing struggle of two rival confederacies, ultimately bending the neck of both under the yoke of foreign domination, or the despotic sovereignty of a conqueror at home. May Heaven avert the omen! The destinies of not only our posterity, but of the human race, are at stake.
In these sad reminders of their fate, we can clearly see the warning of our own future, starting from the moment when force replaces reasoning in resolving our Constitutional issues. This is the unfortunate choice we face: either to eliminate the seceding part or to endure an endless struggle between rival confederacies, which will ultimately lead both to submit to foreign control or the oppressive rule of a conqueror at home. May God prevent this fate! The futures of not only our descendants but of all humanity are on the line.
Let no such melancholy forebodings intrude upon the festivities of this anniversary. Serene skies and balmy breezes are not congenial to the climate of freedom. Progressive improvement in the condition of man is apparently the purpose of a superintending Providence. That purpose will not be disappointed. In no delusion of national vanity, but with a feeling of profound gratitude to the God of our Fathers, let us indulge the cheering hope and belief, that our country and her people have been selected as instruments for preparing and maturing much of the good yet in reserve for the welfare and happiness of the human race. Much good has already been effected by the solemn proclamation of our principles, much more by the illustration of our example. The tempest which threatens desolation, may be destined only to purify the atmosphere. It is not in tranquil ease and enjoyment that the active energies of mankind are displayed. Toils and dangers are the trials of the soul. Doomed to the first by his sentence at the fall, man, by his submission, converts them into pleasures. The last are since the fall the condition of his existence. To see them in advance, to guard against them by all the suggestions of prudence, to meet them with the composure of unyielding resistance, and to abide with firm resignation the final dispensation of Him who rules the ball,--these are the dictates of philosophy--these are the precepts of religion--these are the principles and consolations of patriotism; these remain when all is lost--and of these is composed the spirit of independence--the spirit embodied in that beautiful personification of the poet, which may each of you, my countrymen, to the last hour of his life, apply to himself:--
Let no sad thoughts disturb the celebrations of this anniversary. Clear skies and gentle breezes don't match the spirit of freedom. It seems that the goal of a guiding Providence is to continually improve the condition of humanity. That goal will not fail. Without any delusions of national pride, but with deep gratitude to the God of our Fathers, let's embrace the hopeful belief that our country and its people have been chosen as tools to prepare and nurture much of the good still in store for the well-being and happiness of humankind. A lot of good has already come from the solemn declaration of our principles, and even more from the example we've set. The storm that threatens destruction may only be there to clear the air. It’s not in calm and comfort that people’s true efforts are shown. Struggles and dangers are the tests of the soul. Condemned to hardship since the fall, humanity can turn those hardships into joys through acceptance. Since the fall, danger has been part of existence. To foresee challenges, prepare for them with wisdom, face them with unwavering resolve, and patiently accept the final will of the one who governs the world—these are the lessons of philosophy, the teachings of religion, and the foundations of patriotism. These principles remain when everything else is lost, and they make up the spirit of independence—the spirit which that beautiful personification described by the poet may apply to each of you, my fellow citizens, until your last hour:--
"Thy spirit, Independence, let me share,
Lord of the lion heart and eagle eye!
Thy steps I follow, with my bosom bare,
Nor heed the storm that howls along the sky."
"Your spirit, Independence, let me embrace,
Ruler of the lionheart and eagle-eyed!
I follow in your footsteps, with my heart exposed,
And disregard the storm that roars across the sky."
In the course of nature, the voice which now addresses you must soon cease to be heard upon earth. Life and all which it inherits, lose of their value as it draws toward its close. But for most of you, my friends and neighbors, long and many years of futurity are yet in store. May they be years of freedom--years of prosperity--years of happiness, ripening for immortality! But, were the breath which now gives utterance to my feelings, the last vital air I should draw, my expiring words to you and your children should be, INDEPENDENCE AND UNION FOREVER!
In the natural course of things, the voice speaking to you now will soon be silenced on this earth. Life and everything it encompasses loses its worth as it approaches its end. However, for most of you, my friends and neighbors, many long years are still ahead. May those years be filled with freedom—years of prosperity—years of happiness, preparing you for immortality! But if the breath that allows me to express my feelings were the last air I would ever take, my final words to you and your children would be, INDEPENDENCE AND UNION FOREVER!
SARAH FLOWER ADAMS
(1805--1848)
his English poet, whose hymn, 'Nearer, my God, to Thee,' is known wherever the English language is spoken, was born at Great Harlow, Essex, England, in 1805. She was the daughter of Benjamin Flower, who in 1799 was prosecuted for plain speaking in his paper, the Cambridge Intelligencer. From the outcome of his trial is to be dated the liberty of political discussion in England. Her mother was Eliza Gould, who first met her future husband in jail, whither she had gone on a visit to assure him of her sympathy. She also had suffered for liberal opinions. From their parents two daughters inherited a distinguished nobility and purity of character. Eliza excelled in the composition of music for congregational worship, and arranged a musical service for the Unitarian South Place Chapel, London. Sarah contributed first to the Monthly Repository, conducted by W.J. Fox, her Unitarian pastor, in whose family she lived after her father's death. In 1834 she married William Bridges Adams. Her delicate health gave way under the shock of her sister's death in 1846, and she died of decline in 1848.
This English poet, whose hymn "Nearer, my God, to Thee" is known wherever English is spoken, was born in Great Harlow, Essex, England, in 1805. She was the daughter of Benjamin Flower, who was prosecuted in 1799 for speaking his mind in his paper, the Cambridge Intelligencer. The outcome of his trial marked the beginning of political discussion freedom in England. Her mother was Eliza Gould, who first met her future husband in jail, where she went to visit him to show her support. She also faced consequences for her liberal views. From their parents, two daughters inherited a remarkable nobility and integrity of character. Eliza excelled in composing music for congregational worship and arranged a musical service for the Unitarian South Place Chapel in London. Sarah initially contributed to the Monthly Repository, run by W.J. Fox, her Unitarian pastor, with whom she lived after her father's death. In 1834, she married William Bridges Adams. Her fragile health deteriorated after her sister's death in 1846, and she died of consumption in 1848.
Her poetic genius found expression both in the drama and in hymns. Her play, 'Vivia Perpetua' (1841), tells of the author's rapt aspiration after an ideal, symbolized in a pagan's conversion to Christianity. She published also 'The Royal Progress,' a ballad (1845), on the giving tip of the feudal privileges of the Isle of Wight to Edward I.; and poems upon the humanitarian interests which the Anti-Corn-Law League endeavored to further. Her hymns are the happiest expressions of the religious trust, resignation, and sweetness of her nature.
Her poetic talent was expressed in both drama and hymns. Her play, 'Vivia Perpetua' (1841), tells of the author's passionate pursuit of an ideal, represented by a pagan's conversion to Christianity. She also published 'The Royal Progress,' a ballad (1845), about the transfer of feudal privileges of the Isle of Wight to Edward I.; and poems addressing the humanitarian causes that the Anti-Corn-Law League sought to promote. Her hymns are the most joyful reflections of her religious faith, acceptance, and kindness.
'Nearer, my God, to Thee,' was written for the South Place Chapel service. There are stories of its echoes having been heard from a dilapidated log cabin in Arkansas, from a remote corner of the north of England, and from the Heights of Benjamin in the Holy Land. But even its devotion and humility have not escaped censure--arising, perhaps, from denominational bias. The fault found with it is the fault of Addison's 'How are thy servants blessed, O Lord,' and the fault of the Psalmody begun by Sternhold and Hopkins, which, published in Geneva in 1556, electrified the congregation of six thousand souls in Elizabeth's reign,--it has no direct reference to Jesus. Compilers of hymn-books have sought to rectify what they deem a lapse in Christian spirit by the substitution of a verse begining "Christ alone beareth me." But the quality of the interpolated verse is so inferior to the lyric itself that it has not found general acceptance. Others, again, with an excess of zeal, have endeavored to substitute "the Cross" for "a cross" in the first stanza.
'Nearer, my God, to Thee' was written for the South Place Chapel service. There are stories of its echoes being heard from a rundown log cabin in Arkansas, from a remote part of northern England, and from the Heights of Benjamin in the Holy Land. But even its devotion and humility haven’t escaped criticism—probably due to denominational biases. The criticism it faces is similar to that faced by Addison's 'How are thy servants blessed, O Lord,' and the Psalmody started by Sternhold and Hopkins, which, published in Geneva in 1556, captivated a congregation of six thousand in Elizabeth's reign—it has no direct reference to Jesus. Compilers of hymn-books have tried to address what they see as a lack in Christian spirit by substituting a verse that begins with "Christ alone bears me." However, the quality of this added verse is so inferior to the original lyric that it hasn't gained widespread acceptance. Others, with excessive enthusiasm, have attempted to replace "a cross" with "the Cross" in the first stanza.
An even share of its extraordinary vogue must in bare justice be credited to the tune which Dr. Lowell Mason has made an inseparable part of it; though this does not detract in the least from its own high merit, or its capacity to satisfy the feelings of a devout soul. A taking melody is the first condition of even the loveliest song's obtaining popularity; and this hymn was sung for many years to various tunes, including chants, with no general recognition of its quality. It was Dr. Mason's tune, written about 1860, which sent it at once into the hearts of the people.
An even share of its remarkable popularity should fairly be attributed to the melody that Dr. Lowell Mason made an inseparable part of it; however, this doesn’t take away from its own high quality or its ability to resonate with a devout soul. A catchy melody is essential for even the most beautiful song to gain popularity, and this hymn was sung for many years to various tunes, including chants, without widespread acknowledgment of its quality. It was Dr. Mason's tune, created around 1860, that immediately captured the hearts of the people.
HE SENDETH SUN, HE SENDETH SHOWER
He sendeth sun, he sendeth shower,
Alike they're needful to the flower;
And joys and tears alike are sent
To give the soul fit nourishment.
As comes to me or cloud or sun,
Father! thy will, not mine, be done.
Can loving children e'er reprove
With murmurs, whom they trust and love?
Creator, I would ever be
A trusting, loving child to thee:
As comes to me or cloud or sun,
Father! thy will, not mine, be done.
Oh, ne'er will I at life repine,--
Enough that thou hast made it mine.
When falls the shadow cold of death,
I yet will sing with parting breath,
As comes to me or cloud or sun,
Father! thy will, not mine, be done.
HE SENDS SUN, HE SENDS SHOWER
He sends sun, he sends rain,
Both are needed for the flower;
And joys and tears are both sent
To nourish the soul just right.
As comes to me either cloud or sun,
Father! your will, not mine, be done.
Can loving children ever complain
About the one they trust and love?
Creator, I want to always be
A trusting, loving child to you:
As comes to me either cloud or sun,
Father! your will, not mine, be done.
Oh, I will never complain about life,--
It's enough that you've made it mine.
When the cold shadow of death falls,
I will still sing with my last breath,
As comes to me either cloud or sun,
Father! your will, not mine, be done.
Nearer, my God, to thee,
Nearer to thee!
E'en though it be a cross
That raiseth me;
Still all my song shall be,--
Nearer, my God, to thee,
Nearer to thee!
Though, like a wanderer,
The sun gone down,
Darkness be over me,
My rest a stone;
Yet in my dreams I'd be
Nearer, my God, to thee,
Nearer to thee!
There let the way appear
Steps unto heaven;
All that thou sendest me
In mercy given;
Angels to beckon me
Nearer, my God, to thee,
Nearer to thee!
Then with my waking thoughts
Bright with thy praise,
Out of my stony griefs
Bethel I'll raise;
So by my woes to be
Nearer, my God, to thee,
Nearer to thee!
Or if on joyful wing,
Cleaving the sky,
Sun, moon, and stars forgot,
Upward I fly;
Still all my song shall be,--
Nearer, my God, to thee,
Nearer to thee!
From 'Adoration, Aspiration, and Belief.'
Closer, my God, to you,
Closer to you!
Even if it’s a burden
That lifts me;
Still all my song will be,--
Closer, my God, to you,
Closer to you!
Though, like a wanderer,
The sun has set,
Darkness surrounds me,
My rest a stone;
Yet in my dreams I’d be
Closer, my God, to you,
Closer to you!
There let the path show up
Steps to heaven;
All that you send me
In mercy given;
Angels to guide me
Closer, my God, to you,
Closer to you!
Then with my waking thoughts
Bright with your praise,
Out of my rocky sorrows
I’ll build an altar;
So through my struggles I’ll be
Closer, my God, to you,
Closer to you!
Or if on joyful wings,
Cutting through the sky,
Sun, moon, and stars forgotten,
Upward I fly;
Still all my song will be,--
Closer, my God, to you,
Closer to you!
From 'Adoration, Aspiration, and Belief.'
JOSEPH ADDISON
(1672-1719)
BY HAMILTON WRIGHT MABIE
here are few figures in literary history more dignified and attractive than Joseph Addison; few men more eminently representative, not only of literature as a profession, but of literature as an art. It has happened more than once that literary gifts of a high order have been lodged in very frail moral tenements; that taste, feeling, and felicity of expression have been divorced from general intellectual power, from intimate acquaintance with the best in thought and art, from grace of manner and dignity of life. There have been writers of force and originality who failed to attain a representative eminence, to identify themselves with their art in the memory of the world. There have been other writers without claim to the possession of gifts of the highest order, who have secured this distinction by virtue of harmony of character and work, of breadth of interest, and of that fine intelligence which instinctively allies itself with the best in its time. Of this class Addison is an illustrious example. His gifts are not of the highest order; there was none of the spontaneity, abandon, or fertility of genius in him; his thought made no lasting contribution to the highest intellectual life; he set no pulses beating by his eloquence of style, and fired no imagination by the insight and emotion of his verse; he was not a scholar in the technical sense: and yet, in an age which was stirred and stung by the immense satiric force of Swift, charmed by the wit and elegance of Pope, moved by the tenderness of Steele, and enchanted by the fresh realism of De Foe, Addison holds the most representative place. He is, above all others, the Man of Letters of his time; his name instantly evokes the literature of his period.
There are few figures in literary history more dignified and appealing than Joseph Addison; few men better represent not only literature as a profession but also literature as an art. It has happened more than once that highly gifted writers have been trapped in very weak moral backgrounds; that taste, feeling, and skillful expression have been disconnected from overall intellectual strength, from a deep understanding of the best thoughts and arts, and from elegance and dignity in life. There have been writers of strength and originality who couldn't achieve lasting recognition or connect themselves with their art in the public's memory. On the other hand, there have been writers without claims to the highest gifts who have attained this recognition through a harmony of character and work, a wide range of interests, and a refined intelligence that naturally aligns with the best of their time. Addison is a notable example of this group. His gifts aren't of the highest order; he lacked the spontaneity, freedom, or creativity of genius; his thoughts didn't contribute significantly to the highest intellectual life; he didn’t stir emotions with his eloquent style, nor did he ignite imaginations with the insight and feeling in his poetry; he wasn't a scholar in the technical sense. Yet, in an era stirred and provoked by Swift's immense satirical force, charmed by Pope's wit and elegance, touched by Steele's tenderness, and enchanted by Defoe's fresh realism, Addison occupies the most representative position. He is, above all others, the Man of Letters of his time; his name immediately brings to mind the literature of his period.
Born in the rectory at Milston, Wiltshire, on May Day, 1672, it was Addison's fortune to take up the profession of Letters at the very moment when it was becoming a recognized profession, with a field of its own, and with emoluments sufficient in kind to make decency of living possible, and so related to a man's work that their acceptance involved loss neither of dignity nor of independence. He was contemporary with the first English publisher, Jacob Tonson. He was also contemporary with the notable reorganization of English prose which freed it from exaggeration, complexity, and obscurity; and he contributed not a little to the flexibility, charm, balance, and ease which have since characterized its best examples. He saw the rise of polite society in its modern sense; the development of the social resources of the city; the enlargement of what is called "the reading class" to embrace all classes in the community and all orders in the nation. And he was one of the first, following the logic of a free press, an organized business for the sale of books, and the appearance of popular interest in literature, to undertake that work of translating the best thought, feeling, sentiment, and knowledge of his time, and of all times, into the language of the drawing-room, the club, and the street, which has done so much to humanize and civilize the modern world.
Born in the rectory at Milston, Wiltshire, on May Day, 1672, Addison was fortunate to pursue a career in literature just as it was becoming a recognized profession, with its own niche and sufficient earnings to ensure a decent living, allowing one to maintain both dignity and independence. He lived during the time of the first English publisher, Jacob Tonson, and witnessed the significant transformation of English prose that liberated it from exaggeration, complexity, and obscurity. He played a considerable role in cultivating the flexibility, charm, balance, and ease that have come to define its best works. He observed the emergence of polite society in its modern sense, the growth of social resources in the city, and the expansion of what we now refer to as "the reading class" to include all demographics within the community and across the nation. Following the development of a free press, a structured book-selling business, and a growing public interest in literature, he was among the pioneers in translating the finest ideas, feelings, sentiments, and knowledge of his era—and of all time—into the language of drawing rooms, clubs, and the streets, which has greatly contributed to the humanization and civilizing of the modern world.
To recognize these various opportunities, to feel intuitively the drift of sentiment and conviction, and so to adjust the uses of art to life as to exalt the one, and enrich and refine the other, involved not only the possession of gifts of a high order, but that training which puts a man in command of himself and of his materials. Addison was fortunate in that incomparably important education which assails a child through every sense, and above all through the imagination--in the atmosphere of a home, frugal in its service to the body, but prodigal in its ministry to the spirit. His father was a man of generous culture: an Oxford scholar, who had stood frankly for the Monarchy and Episcopacy in Puritan times; a voluminous and agreeable writer; of whom Steele says that he bred his five children "with all the care imaginable in a liberal and generous way." From this most influential of schools Addison passed on to other masters: from the Grammar School at Lichfield, to the well-known Charter House; and thence to Oxford, where he first entered Queen's College, and later, became a member of Magdalen, to the beauty of whose architecture and natural situation the tradition of his walks and personality adds no small charm. He was a close student, shy in manner, given to late hours of work. His literary tastes and appetite were early disclosed, and in his twenty-second year he was already known in London, had written an 'Account of the Greatest English Poets,' and had addressed some complimentary verses to Dryden, then the recognized head of English Letters.
To recognize these various opportunities, to intuitively feel the flow of sentiment and belief, and to adapt the uses of art to life in a way that elevates one and enriches and refines the other required not only exceptional talent but also the kind of training that allows someone to master themselves and their materials. Addison was lucky to have had that incredibly important education that impacts a child through every sense, especially through the imagination—in a home environment that was modest in its physical provisions but generous in its spiritual support. His father was a man of rich culture: an Oxford scholar who openly supported the Monarchy and Episcopacy during Puritan times, a prolific and engaging writer; Steele noted that he raised his five children "with all the care imaginable in a liberal and generous way." From this most influential educational setting, Addison moved on to other mentors: from the Grammar School in Lichfield to the renowned Charterhouse; and then to Oxford, where he initially attended Queen's College and later became a member of Magdalen, whose beautiful architecture and natural surroundings are enhanced by the legacy of his walks and character. He was a diligent student, reserved in demeanor, often working late into the night. His literary interests and passion emerged early, and by the age of twenty-two, he was already known in London, having written an 'Account of the Greatest English Poets' and composed some complimentary verses for Dryden, then the acknowledged leader of English literature.
While Addison was hesitating what profession to follow, the leaders of the political parties were casting about for men of literary power. A new force had appeared in English politics--the force of public opinion; and in their experiments to control and direct this novel force, politicians were eager to secure the aid of men of Letters. The shifting of power to the House of Commons involved a radical readjustment, not only of the mechanism of political action, but of the attitude of public men to the nation. They felt the need of trained and persuasive interpreters and advocates; of the resources of wit, satire, and humor. It was this very practical service which literature was in the way of rendering to political parties, rather than any deep regard for literature itself, which brought about a brief but brilliant alliance between groups of men who have not often worked together to mutual advantage. It must be said, however, that there was among the great Whig and Tory leaders of the time a certain liberality of taste, and a care for those things which give public life dignity and elegance, which were entirely absent from Robert Walpole and the leaders of the two succeeding reigns, when literature and politics were completely divorced, and the government knew little and cared less for the welfare of the arts. Addison came on the stage at the very moment when the government was not only ready but eager to foster such talents as his. He was a Whig of pronounced although modern type, and the Whigs were in power.
While Addison was trying to decide which career to pursue, the leaders of the political parties were looking for people with literary talent. A new force had emerged in English politics—public opinion; and in their attempts to control and guide this new force, politicians were eager to get the support of writers. The shift in power to the House of Commons required not just a major change in how political actions were carried out but also a change in how public figures viewed the nation. They recognized the need for skilled and persuasive interpreters and advocates, drawing on wit, satire, and humor. It was this practical support that literature provided to political parties, rather than any deep appreciation for literature itself, which led to a brief but impressive collaboration between groups that rarely worked together for mutual benefit. However, it should be noted that among the prominent Whig and Tory leaders of the time, there was a certain openness to taste and an appreciation for the elements that give public life dignity and style, which were completely lacking in Robert Walpole and the leaders of the two following reigns, when literature and politics were entirely separated and the government cared little for the arts. Addison arrived on the scene just as the government was not only ready but excited to nurture talents like his. He was a modern type of Whig, and the Whigs were in power.
Lord Somers and Charles Montagu, better known later as Lord Halifax, were the heads of the ministry, and his personal friends as well. They were men of culture, lovers of Letters, and not unappreciative of the personal distinction which already stamped the studious and dignified Magdalen scholar. A Latin poem on the Peace of Ryswick, dedicated to Montagu, happily combined Virgilian elegance and felicity with Whig sentiment and achievement. It confirmed the judgment already formed of Addison's ability; and, setting aside with friendly insistence the plan of putting that ability into the service of the Church, Montagu secured a pension of £300 for the purpose of enabling Addison to fit himself for public employment abroad by thorough study of the French language, and of manners, methods, and institutions on the Continent. With eight Latin poems, published in the second volume of the 'Musae Anglicanae,' as an introduction to foreign scholars, and armed with letters of introduction from Montagu to many distinguished personages, Addison left Oxford in the summer of 1699, and, after a prolonged stay at Blois for purposes of study, visited many cities and interesting localities in France, Italy, Switzerland, Austria, Germany, and Holland. The shy, reticent, but observing young traveler was everywhere received with the courtesy which early in the century had made so deep an impression on the young Milton. He studied hard, saw much, and meditated more. He was not only fitting himself for public service, but for that delicate portraiture of manners which was later to become his distinctive work. Clarendon had already drawn a series of lifelike portraits of men of action in the stormy period of the Revolution: Addison was to sketch the society of his time with a touch at once delicate and firm; to exhibit its life in those aspects which emphasize individual humor and personal quality, against a carefully wrought background of habit, manners, usage, and social condition. The habit of observation and the wide acquaintance with cultivated and elegant social life which was a necessary part of the training for the work which was later to appear in the pages of the Spectator, were perhaps the richest educational results of these years of travel and study; for Addison the official is a comparatively obscure figure, but Addison the writer is one of the most admirable and attractive figures in English history.
Lord Somers and Charles Montagu, who later became known as Lord Halifax, were the leaders of the government and also personal friends. They were cultured individuals, passionate about literature, and recognized the personal distinction of the thoughtful and dignified Magdalen scholar. A Latin poem on the Peace of Ryswick, dedicated to Montagu, elegantly combined Virgilian style with Whig values and accomplishments. It confirmed the assessment of Addison's talent; and, with friendly insistence on pursuing his potential outside the Church, Montagu arranged a pension of £300 to help Addison prepare for public service abroad by thoroughly studying the French language, as well as the customs, methods, and institutions on the Continent. With eight Latin poems published in the second volume of the 'Musae Anglicanae' as an introduction to foreign scholars, and backed by letters of introduction from Montagu to several notable figures, Addison left Oxford in the summer of 1699. After an extended stay in Blois for study, he traveled to various cities and notable places in France, Italy, Switzerland, Austria, Germany, and Holland. The shy, reserved, but observant young traveler was welcomed everywhere with the courtesy that had so profoundly impressed the young Milton earlier in the century. He studied diligently, experienced much, and reflected even more. He was preparing not only for public service but also for the nuanced depiction of manners that would later become his signature work. Clarendon had previously sketched vivid portraits of influential figures during the tumultuous Revolutionary period: Addison would depict the society of his time with a touch that was both delicate and assertive; showcasing its life in ways that highlighted individual humor and personal traits against a carefully crafted backdrop of habits, manners, customs, and social conditions. The observational skills and broad exposure to refined and sophisticated social life were likely the most valuable educational outcomes of these years of travel and study; for Addison the public official is a relatively obscure figure, but Addison the writer stands out as one of the most admirable and engaging figures in English history.
Addison returned to England in 1703 with clouded prospects. The accession of Queen Anne had been followed by the dismissal of the Whigs from office; his pension was stopped, his opportunity of advancement gone, and his father dead. The skies soon brightened, however: the support of the Whigs became necessary to the Government; the brilliant victory of Blenheim shed lustre not only on Marlborough, but on the men with whom he was politically affiliated; and there was great dearth of poetic ability in the Tory ranks at the very moment when a notable achievement called for brave and splendid verse. Lord Godolphin, that easy-going and eminently successful politician of whom Charles the Second once shrewdly said that he was "never in the way and never out of it," was directed to Addison in this emergency; and the story goes that the Chancellor of the Exchequer, afterward Lord Carleton, who was sent to express to the needy scholar the wishes of the Government, found him lodged in a garret over a small shop. The result of this memorable embassy from politics to literature was 'The Campaign': an eminently successful poem of the formal, "occasional" order, which celebrated the victor of Blenheim with tact and taste, pleased the ministry, delighted the public, and brought reputation and fortune to its unknown writer. Its excellence is in skillful avoidance of fulsome adulation, in the exclusion of the well-worn classical allusions, and in a straightforward celebration of those really great qualities in Marlborough which set his military career in brilliant contrast with his private life. The poem closed with a simile which took the world by storm:--
Addison returned to England in 1703 with uncertain prospects. After Queen Anne took the throne, the Whigs were removed from power; his pension was cut off, his chances for advancement disappeared, and his father had passed away. However, things quickly improved: the Whigs were soon needed by the Government; the stunning victory at Blenheim not only shone a light on Marlborough but also on the men he was affiliated with politically; and there was a significant lack of poetic talent among the Tories just when a remarkable achievement called for bold and magnificent verse. Lord Godolphin, a laid-back yet successful politician whom Charles the Second once cleverly described as “never in the way and never out of it,” was directed to Addison in this critical moment; and the story goes that the Chancellor of the Exchequer, later Lord Carleton, who was sent to convey the Government’s wishes to the struggling scholar, found him living in a small room above a shop. The outcome of this notable political-to-literary mission was 'The Campaign': a highly successful poem of the formal, “occasional” type that praised the victor of Blenheim with grace and style, pleased the government, delighted the public, and brought recognition and fortune to its unknown author. Its brilliance lies in its skillful avoidance of excessive flattery, the omission of tired classical references, and a straightforward celebration of the truly great qualities in Marlborough that highlighted the stark differences between his military achievements and personal life. The poem ended with a simile that captivated the world:--
"So when an angel, by divine command,
With rising tempests shakes a guilty land,
(Such as of late o'er pale Britannia passed,)
Calm and serene he drives the furious blast;
And, pleased the Almighty's orders to perform,
Rides in the whirlwind and directs the storm."
"So when an angel, by divine order,
With rising storms shakes a guilty land,
(Such as recently swept over pale Britannia,)
Calm and serene, he controls the fierce winds;
And, happy to carry out the Almighty's commands,
Rides the whirlwind and guides the storm."
"Addison left off at a good moment," says Thackeray. "That simile was pronounced to be the greatest ever produced in poetry. That angel, that good angel, flew off with Mr. Addison, and landed him in the place of Commissioner of Appeals--vice Mr. Locke, providentially promoted. In the following year Mr. Addison went to Hanover with Lord Halifax, and the year after was made Under-Secretary of State. O angel visits! You come 'few and far between' to literary gentlemen's lodgings! Your wings seldom quiver at the second-floor windows now!"
"Addison left at a great time," says Thackeray. "That metaphor was considered the best ever created in poetry. That angel, that good angel, took Mr. Addison away and placed him as Commissioner of Appeals—replacing Mr. Locke, who was fortunately promoted. The following year, Mr. Addison went to Hanover with Lord Halifax, and the year after that, he became Under-Secretary of State. Oh, angel visits! You come 'rarely and unpredictably' to the homes of literary gentlemen! Your wings hardly ever flutter at the second-floor windows anymore!"
The prize poem was followed by a narrative of travel in Italy, happily written, full of felicitous description, and touched by a humor which, in quality and manner, was new to English readers. Then came one of those indiscretions of the imagination which showed that the dignified and somewhat sober young poet, the "parson in a tye-wig," as he was called at a later day, was not lacking in gayety of mood. The opera 'Rosamond' was not a popular success, mainly because the music to which it was set fell so far below it in grace and ease. It must be added, however, that Addison lacked the qualities of a successful libretto writer. He was too serious, and despite the lightness of his touch, there was a certain rigidity in him which made him unapt at versification which required quickness, agility, and variety. When he attempted to give his verse gayety of manner, he did not get beyond awkward simulation of an ease which nature had denied him:--
The prize poem was followed by a travel narrative about Italy, written joyfully, full of vivid descriptions, and infused with a humor that was fresh and different for English readers. Then came one of those flights of imagination that showed the dignified and somewhat reserved young poet, referred to later as the "parson in a tye-wig," wasn't short on cheerfulness. The opera 'Rosamond' didn’t succeed with audiences, mainly because the music it was set to was far below it in grace and smoothness. However, it's important to note that Addison didn't possess the traits needed to be a successful libretto writer. He was too serious, and despite his light touch, there was a certain stiffness in him that made him unsuitable for writing verses that needed quickness, agility, and variety. When he tried to infuse his verses with a cheerful tone, he only managed to awkwardly feign an ease that nature had not granted him:
"Since conjugal passion
Is come into fashion,
And marriage so blest on the throne is,
Like a Venus I'll shine,
Be fond and be fine,
And Sir Trusty shall be my Adonis."
"Since romantic love
Is in style now,
And marriage is so celebrated,
Like a Venus I'll glow,
Be affectionate and elegant,
And Sir Trusty will be my Adonis."
Meantime, in spite of occasional clouds, Addison's fortunes were steadily advancing. The Earl of Wharton was appointed Lord Lieutenant of Ireland, and Addison accepted the lucrative post of Secretary. Spenser had found time and place, during a similar service in the same country, to complete the 'Faery Queene'; although the fair land in which the loveliest of English poems has its action was not unvexed by the chronic turbulence of a mercurial and badly used race. Irish residence was coincident in Addison's case, not only with prosperous fortunes and with important friendships, but also with the beginning of the work on which his fame securely rests. In Ireland the acquaintance he had already made in London with Swift ripened into a generous friendship, which for a time resisted political differences when such differences were the constant occasion of personal animosity and bitterness. The two men represented the age in an uncommonly complete way. Swift had the greater genius: he was, indeed, in respect of natural endowment, the foremost man of his time; but his nature was undisciplined, his temper uncertain, and his great powers quite as much at the service of his passions as of his principles. He made himself respected, feared, and finally hated; his lack of restraint and balance, his ferocity of spirit when opposed, and the violence with which he assailed his enemies, neutralized his splendid gifts, marred his fortune, and sent him into lonely exile at Dublin, where he longed for the ampler world of London. Few figures in literary history are more pathetic than that of the old Dean of St. Patrick's, broken in spirit, failing in health, his noble faculties gone into premature decay, forsaken, bitter, and remorseful. At the time of Addison's stay in Ireland, the days of Swift's eclipse were, however, far distant; both men were in their prime. That Swift loved Addison is clear enough; and it is easy to understand the qualities which made Addison one of the most deeply loved men of his time. He was of an eminently social temper, although averse to large companies and shy and silent in their presence. "There is no such thing," he once said, "as real conversation but between two persons." He was free from malice, meanness, or jealousy, Pope to the contrary notwithstanding. He was absolutely loyal to his principles and to his friends, in a time when many men changed both with as little compunction as they changed wigs and swords. His personality was singularly winning; his features regular, and full of refinement and intelligence; his bearing dignified and graceful; his temper kindly and in perfect control; his character without a stain; his conversation enchanting, its charm confessed by persons so diverse in taste as Pope, Swift, Steele, and Young. Lady Mary Montagu declared that he was the best company she had ever known. He had two faults of which the world has heard much: he loved the company of men who flattered him, and at times he used wine too freely. The first of these defects was venial, and did not blind his judgment either of himself or his friends; the second defect was so common among the men of his time that Addison's occasional over-indulgence, in contrast with the excesses of others, seems like temperance itself.
In the meantime, despite some ups and downs, Addison's prospects were steadily improving. The Earl of Wharton was appointed Lord Lieutenant of Ireland, and Addison took the well-paying position of Secretary. Just as Spenser managed to find time and place to finish the 'Faery Queene' during his own service in Ireland, Addison's time there coincided not just with his success and important friendships but also with the start of the work that solidified his fame. In Ireland, the friendship he had formed with Swift in London deepened into a strong bond that momentarily overcame their political differences, which often led to personal animosity and resentment. The two men represented their era remarkably well. Swift had greater genius; in terms of natural talent, he was the standout of his time. However, his nature was undisciplined, his temperament unpredictable, and his immense abilities were often at the mercy of his emotions as much as his ideals. He commanded respect, instilled fear, and ultimately was hated; his lack of self-control, his aggressive spirit when opposed, and the ferocity with which he attacked his rivals undermined his remarkable talents, tarnished his reputation, and drove him into lonely exile in Dublin, where he yearned for the bustling life of London. Few figures in literary history are as tragic as the old Dean of St. Patrick's, broken in spirit, suffering from declining health, his great gifts fading too soon, feeling abandoned, bitter, and filled with regret. At the time of Addison's stay in Ireland, Swift was still in his prime, far from the decline that would eventually come; both men were thriving. It’s clear that Swift cared for Addison, and it's easy to see why Addison was among the most beloved figures of his time. He had a naturally sociable personality, even though he preferred smaller gatherings and was often shy and quiet in larger ones. "There’s no true conversation," he once remarked, "except between two people." He was free from malice, pettiness, or jealousy, despite what Pope said. He was entirely loyal to his principles and friends at a time when many switched allegiances as easily as they changed outfits. His personality was particularly engaging; he had regular features that radiated refinement and intelligence; his presence was dignified and graceful; his temperament was kind and well-controlled; his character was unblemished; and his conversational skills were so enchanting that even people with different tastes, like Pope, Swift, Steele, and Young, admitted to their charm. Lady Mary Montagu declared he was the best company she had ever encountered. He had two widely recognized flaws: he enjoyed the company of those who flattered him, and at times drank a bit too much. The first flaw was forgivable and didn’t cloud his judgment about himself or his friends; the second was so common among men of his era that, compared to the excesses of others, Addison's occasional over-indulgence appears to be quite moderate.
The harmony and symmetry of this winning personality has, in a sense, told against it; for men are prone to call the well-balanced nature cold and the well-regulated life Pharisaic. Addison did not escape charges of this kind from the wild livers of his own time, who could not dissociate genius from profligacy nor generosity of nature from prodigality. It was one of the great services of Addison to his generation and to all generations, that in an age of violent passions, he showed how a strong man could govern himself. In a time of reckless living, he illustrated the power which flows from subordination of pleasure to duty. In a day when wit was identified with malice, he brought out its power to entertain, surprise, and delight, without taking on the irreverent levity of Voltaire, the bitterness of Swift, or the malice of Pope.
The balance and harmony of this winning personality have, in a way, worked against him; because people tend to label a well-balanced nature as cold and a well-regulated life as hypocritical. Addison wasn’t exempt from such accusations from the wild livers of his time, who couldn’t separate genius from excess or a generous nature from extravagance. One of Addison's significant contributions to his generation and future generations was that, in an era of intense emotions, he demonstrated how a strong individual could control themselves. In a time of reckless living, he showed the strength that comes from prioritizing duty over pleasure. At a time when wit was linked to malice, he highlighted its ability to entertain, surprise, and delight, without adopting the irreverent lightness of Voltaire, the bitterness of Swift, or the spite of Pope.
It was during Addison's stay in Ireland that Richard Steele projected the Tatler, and brought out the first number in 1709. His friendship for Addison amounted almost to a passion; their intimacy was cemented by harmony of tastes and diversity of character. Steele was ardent, impulsive, warm-hearted, mercurial; full of aspiration and beset by lamentable weaknesses,--preaching the highest morality and constantly falling into the prevalent vices of his time; a man so lovable of temper, so generous a spirit, and so frank a nature, that his faults seem to humanize his character rather than to weaken and stain it. Steele's gifts were many, and they were always at the service of his feelings; he had an Irish warmth of sympathy and an Irish readiness of humor, with great facility of inventiveness, and an inexhaustible interest in all aspects of human experience. There had been political journals in England since the time of the Revolution, but Steele conceived the idea of a journal which should comment on the events and characteristics of the time in a bright and humorous way; using freedom with judgment and taste, and attacking the vices and follies of the time with the light equipment of wit rather than with the heavy armament of the formal moralist. The time was ripe for such an enterprise. London was full of men and women of brilliant parts, whose manners, tastes, and talk presented rich material for humorous report and delineation or for satiric comment. Society, in the modern sense, was fast taking form, and the resources of social intercourse were being rapidly developed. Men in public life were intimately allied with society and sensitive to its opinion; and men of all interests--public, fashionable, literary--gathered in groups at the different chocolate or coffee houses, and formed a kind of organized community. It was distinctly an aristocratic society: elegant in dress, punctilious in manner, exacting in taste, ready to be amused, and not indifferent to criticism when it took the form of sprightly badinage or of keen and trenchant satire. The informal organization of society, which made it possible to reach and affect the Town as a whole, is suggested by the division of the Tatler:--
It was during Addison's time in Ireland that Richard Steele came up with the idea for the Tatler, launching the first issue in 1709. His friendship with Addison was almost like a passion; their close relationship was strengthened by their shared interests and differing personalities. Steele was passionate, impulsive, warm-hearted, and changeable; filled with ambition yet troubled by unfortunate weaknesses—preaching the highest morals while frequently succumbing to the prevalent vices of his time. He was so easy to love, with a generous spirit and a straightforward nature, that his faults seemed to make him more relatable rather than diminish his character. Steele had many talents, which he always used to express his feelings; he possessed an Irish warmth of empathy and humor, a knack for creativity, and an endless curiosity about all aspects of human experience. Political journals had existed in England since the time of the Revolution, but Steele envisioned a publication that would comment on the events and characteristics of the day in a lively and humorous manner, exercising freedom with judgment and taste, and addressing the vices and follies of the time with wit instead of the heavy-handedness of a formal moralist. The moment was perfect for such an endeavor. London was filled with remarkable men and women, whose manners, tastes, and conversations provided rich material for humorous reporting and satire. Society, in the modern sense, was quickly taking shape, and the means of social interaction were rapidly evolving. Public figures were closely connected to society and aware of its opinions; individuals from various fields—public, fashion, literature—came together in groups at different chocolate or coffee houses, creating a sort of organized community. It was distinctly an aristocratic society: elegant in dress, careful in manners, demanding in taste, eager to be entertained, and responsive to criticism when it was delivered with playful banter or sharp satire. The informal structure of society that allowed for reaching and impacting the Town as a whole is reflected in the division of the Tatler:--
"All accounts of Gallantry, Pleasure, and Entertainment, shall be under the article of White's Chocolate-House; Poetry under that of Will's Coffee-House; Learning under the title of Grecian; Foreign and Domestic News you will have from St. James's Coffee-House; and what else I have to offer on any other subject shall be dated from my own apartment."
"All stories about bravery, enjoyment, and fun will be found under White's Chocolate-House; poetry will be under Will's Coffee-House; knowledge will be under Grecian; local and international news will come from St. James's Coffee-House; and anything else I have to say on other topics will be from my own place."
So wrote Steele in his introduction to the readers of the new journal, which was to appear three times a week, at the cost of a penny. Of the coffee-houses enumerated, St. James's and White's were the headquarters of men of fashion and of politics; the Grecian of men of legal learning; Will's of men of Letters. The Tatler was successful from the start. It was novel in form and in spirit; it was sprightly without being frivolous, witty without being indecent, keen without being libelous or malicious. In the general license and coarseness of the time, so close to the Restoration and the powerful reaction against Puritanism, the cleanness, courtesy, and good taste which characterized the journal had all the charm of a new diversion. In paper No. 18, Addison made his appearance as a contributor, and gave the world the first of those inimitable essays which influenced their own time so widely, and which have become the solace and delight of all times. To Addison's influence may perhaps be traced the change which came over the Tatler, and which is seen in the gradual disappearance of the news element, and the steady drift of the paper away from journalism and toward literature. Society soon felt the full force of the extraordinary talent at the command of the new censor of contemporary manners and morals. There was a well-directed and incessant fire of wit against the prevailing taste of dramatic art; against the vices of gambling and dueling; against extravagance and affectation of dress and manner: and there was also criticism of a new order.
So wrote Steele in his introduction to the readers of the new journal, which was set to come out three times a week for the price of a penny. Of the coffeehouses mentioned, St. James's and White's were the hotspots for fashionable and political figures; the Grecian attracted those with legal expertise, and Will's drew in literary types. The Tatler was a hit right from the start. It was fresh in both style and essence; it was lively without being trivial, clever without being crude, sharp without being defamatory or spiteful. In an era known for its general rudeness and coarseness, just after the Restoration and the strong backlash against Puritanism, the cleanliness, politeness, and good taste that defined the journal added a refreshing touch. In paper No. 18, Addison appeared as a contributor, sharing the first of his unique essays that significantly impacted his time and have continued to be a source of comfort and joy through the ages. It’s perhaps due to Addison's influence that the Tatler experienced a shift, seen in the gradual fading of the news content and a steady move away from journalism towards literature. Society quickly felt the impact of the remarkable talent wielded by the new commentator on contemporary manners and morals. There was a focused and relentless stream of wit targeting the popular tastes in drama; the issues of gambling and dueling; the extravagance and pretentiousness in fashion and behavior; along with critiques of a different kind.
The Tatler was discontinued in January, 1711, and the first number of the Spectator appeared in March. The new journal was issued daily, but it made no pretensions to newspaper timeliness or interest; it aimed to set a new standard in manners, morals, and taste, without assuming the airs of a teacher. "It was said of Socrates," wrote Addison, in a memorable chapter in the new journal, "that he brought Philosophy down from heaven to inhabit among men; and I shall be happy to have it said of me that I have brought Philosophy out of closets and libraries, schools and colleges, to dwell in clubs and assemblies, at tea-tables and in coffee-houses." For more than two years the Spectator discharged with inimitable skill and success the difficult function of chiding, reproving, and correcting, without irritating, wounding, or causing strife. Swift found the paper too gentle, but its influence was due in no small measure to its persuasiveness. Addison studied his method of attack as carefully as Matthew Arnold, who undertook a similar educational work in our own time, studied his means of approach to a public indifferent or hostile to his ideas. The two hundred and seventy-four papers furnished by Addison to the columns of the Spectator may be said to mark the full development of English prose as a free, flexible, clear, and elegant medium of expressing the most varied and delicate shades of thought. They mark also the perfection of the essay form in our literature; revealing clear perception of its limitations and of its resources; easy mastery of its possibilities of serious exposition and of pervading charm; ability to employ its full capacity of conveying serious thought in a manner at once easy and authoritative. They mark also the beginning of a deeper and more intelligent criticism; for their exposition of Milton may be said to point the way to a new quality of literary judgment and a new order of literary comment. These papers mark, finally, the beginnings of the English novel; for they contain a series of character-studies full of insight, delicacy of drawing, true feeling, and sureness of touch. Addison was not content to satirize the follies, attack the vices, and picture the manners of his times: he created a group of figures which stand out as distinctly as those which were drawn more than a century later by the hand of Thackeray, our greatest painter of manners. De Foe had not yet published the first of the great modern novels of incident and adventure in 'Robinson Crusoe,' and Richardson, Fielding, and Smollett were unborn or unknown, when Addison was sketching Sir Roger de Coverley and Will Honeycomb, and filling in the background with charming studies of life in London and in the country. The world has instinctively selected Sir Roger de Coverley as the truest of all the creations of Addison's imagination; and it sheds clear light on the fineness of Addison's nature that among the four characters in fiction whom English readers have agreed to accept as typical gentlemen,--Don Quixote, Sir Roger de Coverley, Henry Esmond, and Colonel Newcombe,--the old English baronet holds a secure place.
The Tatler was shut down in January 1711, and the first issue of the Spectator came out in March. The new publication was released daily, but it didn’t pretend to be a newspaper focused on timeliness or topical interest; instead, it aimed to establish a new standard for behavior, ethics, and taste, all without acting like a teacher. "It was said of Socrates," Addison wrote in a memorable chapter of the new journal, "that he brought Philosophy down from heaven to live among humans; and I would be happy to have it said of me that I have brought Philosophy out of closets and libraries, schools and colleges, to exist in clubs and gatherings, at tea tables and in coffee shops." For more than two years, the Spectator skillfully and successfully managed the challenging task of advising, critiquing, and correcting, without annoying, hurting, or causing conflict. Swift found the paper too gentle, but its influence was largely due to its persuasive nature. Addison was as thoughtful about his approach as Matthew Arnold was when he took on a similar educational task in our time, considering how to engage a public that was indifferent or opposed to his ideas. The two hundred and seventy-four articles that Addison contributed to the Spectator illustrate the full development of English prose as a free, adaptable, clear, and elegant way to express a wide range of thoughts. They also represent the refinement of the essay form in our literature, showcasing a clear understanding of its limitations and its strengths; an easy command of the serious exposition and charm it can convey; and an ability to express significant ideas in a way that is both straightforward and authoritative. These articles also mark the beginning of a deeper and more insightful criticism; Addison’s exploration of Milton signals a shift towards a new quality of literary evaluation and commentary. Finally, these papers lay the groundwork for the English novel; they include a series of character studies that are insightful, delicately drawn, emotionally genuine, and skillfully executed. Addison didn’t just satirize the follies, challenge the vices, and portray the behaviors of his time; he created a group of characters that are as distinct as those drawn more than a century later by Thackeray, our greatest observer of society. Defoe hadn’t yet published the first of the great modern adventure novels, 'Robinson Crusoe,' and Richardson, Fielding, and Smollett were either unborn or not yet known when Addison was bringing Sir Roger de Coverley and Will Honeycomb to life, filling the backdrop with delightful portrayals of life both in London and the countryside. The public has naturally chosen Sir Roger de Coverley as the most genuine creation of Addison’s imagination; it highlights the depth of Addison's character that among the four fictional figures English readers recognize as typical gentlemen—Don Quixote, Sir Roger de Coverley, Henry Esmond, and Colonel Newcombe—the old English baronet holds a prominent place.
Finished in style, but genuinely human in feeling, betraying the nicest choice of words and the most studied care for elegant and effective arrangement, and yet penetrated by geniality, enlivened by humor, elevated by high moral aims, often using the dangerous weapons of irony and satire, and yet always well-mannered and kindly,--these papers reveal the sensitive nature of Addison and the delicate but thoroughly tempered art which he had at his command.
Finished in style, but truly human in feeling, showing a careful choice of words and a thoughtful arrangement that is both elegant and effective, yet filled with warmth, brightened by humor, raised by noble intentions, often employing the risky tools of irony and satire, but always polite and kind—these writings showcase Addison's sensitive nature and the delicate yet resilient art he mastered.
Rarely has literature of so high an order had such instant success; for the popularity of the Spectator has been rivaled in English literature only by that of the Waverley novels or of the novels of Dickens. Its influence was felt not only in the sentiment of the day, and in the crowd of imitators which followed in its wake, but also across the Channel. In Germany, especially, the genius and methods of Addison made a deep and lasting impression.
Rarely has literature of such high quality achieved such immediate success; the popularity of the Spectator has only been matched in English literature by the Waverley novels or the works of Dickens. Its impact was felt not just in the feelings of the time and the many imitators that followed, but also abroad. In Germany, in particular, Addison's genius and techniques left a profound and lasting impact.
No man could reach such eminence in the first quarter of the last century without being tempted to try his hand at play-writing; and the friendly fortune which seemed to serve Addison at every turn reached its climax in the applause which greeted the production of 'Cato.' The motive of this tragedy, constructed on what were then held to be classic lines, is found in the two lines of the Prologue: it was an endeavor to portray
No man could achieve such success in the early part of the last century without feeling the urge to try his hand at playwriting; and the lucky break that seemed to favor Addison at every turn peaked with the acclaim that followed the debut of 'Cato.' The purpose of this tragedy, crafted based on what were then considered classic standards, is captured in the two lines of the Prologue: it was an attempt to depict
"A brave man struggling in the storms of fate,
And greatly falling with a falling State."
"A courageous man fighting against the challenges of life,
And deeply suffering as a nation collapses."
The play was full of striking lines which were instantly caught up and applied to the existing political situation; the theatre was crowded night after night, and the resources of Europe in the way of translations, plaudits, and favorable criticisms were exhausted in the endeavor to express the general approval. The judgment of a later period has, however, assigned 'Cato' a secondary place, and it is remembered mainly on account of its many felicitous passages. It lacks real dramatic unity and vitality; the character of Cato is essentially an abstraction; there is little dramatic necessity in the situations and incidents. It is rhetorical rather than poetic, declamatory rather than dramatic. Johnson aptly described it as "rather a poem in dialogue than a drama, rather a succession of just sentiments in elegant language than a representation of natural affections, or of any state probable or possible in human life."
The play had a lot of memorable lines that people quickly applied to the current political climate; the theater was packed every night, and Europe’s resources for translations, applause, and positive reviews were completely used up in trying to show the overall support. However, later evaluations have given 'Cato' a lesser significance, and it's mostly remembered for its many well-crafted passages. It lacks true dramatic unity and energy; the character of Cato is mostly an idea rather than a fully fleshed-out person; there’s little dramatic necessity in the situations and events. It's more rhetorical than poetic, more about speeches than actual drama. Johnson accurately described it as “more a poem in dialogue than a drama, more a series of thoughtful sentiments in elegant language than a portrayal of natural feelings or of any state that’s likely or possible in human life.”
Addison's popularity touched its highest point in the production of 'Cato.' Even his conciliatory nature could not disarm the envy which such brilliant success naturally aroused, nor wholly escape the bitterness which the intense political feeling of the time constantly bred between ambitious and able men. Political differences separated him from Swift, and Steele's uncertain character and inconsistent course blighted what was probably the most delightful intimacy of his life. Pope doubtless believed that he had good ground for charging Addison with jealousy and insincerity, and in 1715 an open rupture took place between them. The story of the famous quarrel was first told by Pope, and his version was long accepted in many quarters as final; but later opinion inclines to hold Addison guiltless of the grave accusations brought against him. Pope was morbidly sensitive to slights, morbidly eager for praise, and extremely irritable. To a man of such temper, trifles light as air became significant of malice and hatred. Such trifles unhappily confirmed Pope's suspicions; his self-love was wounded, sensitiveness became animosity, and animosity became hate, which in the end inspired the most stinging bit of satire in the language:--
Addison's popularity peaked with the production of 'Cato.' Even his friendly nature couldn't completely defuse the jealousy that such remarkable success naturally stirred, nor could he entirely dodge the resentment that the intense political climate of the time constantly fueled between ambitious and talented figures. Political disagreements put a distance between him and Swift, while Steele's unpredictable nature and inconsistent actions tarnished what was likely the most enjoyable friendship of his life. Pope certainly thought he had good reason to accuse Addison of jealousy and insincerity, and in 1715, a public falling out occurred between them. The story of their famous feud was initially told by Pope, and his account was widely accepted for a long time; however, more recent views tend to exonerate Addison from the serious charges leveled against him. Pope was excessively sensitive to slights, overly eager for admiration, and very irritable. For someone with such a temperament, minor issues felt like serious signs of malice and animosity. Unfortunately, these minor issues only fueled Pope's suspicions; his self-esteem was hurt, his sensitivity turned into hostility, and that hostility morphed into hatred, which ultimately led to the most biting satire in the language:--
"Should such a one, resolved to reign alone,
Bear, like the Turk, no brother near the throne,
View him with jealous yet with scornful eyes,
Hate him for arts that caused himself to rise,
Damn with faint praise, assent with civil leer,
And, without sneering, teach the rest to sneer;
Alike unused to blame or to commend,
A timorous foe and a suspicious friend,
Fearing e'en fools, by flatterers besieged,
And so obliging that he ne'er obliged;
Willing to wound, and yet afraid to strike."
"Should someone who wants to rule alone,
Like the Turk, keep all rivals away from the throne,
Look at him with jealous yet disdainful eyes,
Hate him for the skills that helped him rise,
Criticize with half-hearted praise, agree with a polite smile,
And, without mocking, teach others to scoff;
Equally unused to criticism or approval,
A timid enemy and a wary friend,
Fearing even fools, surrounded by flatterers,
So accommodating that he never truly helps;
Ready to hurt, yet too scared to actually strike."
There was just enough semblance of truth in these inimitable lines to give them lasting stinging power; but that they were grossly unjust is now generally conceded. Addison was human, and therefore not free from the frailties of men of his profession; but there was no meanness in him.
There was just enough truth in these unique lines to give them lasting impact; however, it's now widely accepted that they were severely unfair. Addison was human, and so he wasn't without the flaws of others in his profession, but he was not a petty person.
Addison's loyalty to the Whig party and his ability to serve it kept him in intimate relations with its leaders and bound him to its fortunes. He served the Whig cause in Parliament, and filled many positions which required tact and judgment, attaining at last the very dignified post of Secretary of State. A long attachment for the Countess of Warwick culminated in marriage in 1716, and Addison took up his residence in Holland House; a house famous for its association with men of distinction in politics and letters. The marriage was not happy, if report is to be trusted. The union of the ill-adapted pair was, in any event, short-lived; for three years later, in 1719, Addison died in his early prime, not yet having completed his forty-eighth year. On his death-bed, Young tells us, he called his stepson to his side and said, "See in what peace a Christian can die." His body was laid in Westminster Abbey; his work is one of the permanent possessions of the English-speaking race; his character is one of its finest traditions. He was, as truly as Sir Philip Sidney, a gentleman in the sweetness of his spirit, the courage of his convictions, the refinement of his bearing, and the purity of his life. He was unspoiled by fortune and applause; uncorrupted by the tempting chances of his time; stainless in the use of gifts which in the hands of a man less true would have caught the contagion of Pope's malice or of Swift's corroding cynicism.
Addison's loyalty to the Whig party and his ability to serve it kept him closely connected with its leaders and tied to its fortunes. He supported the Whig cause in Parliament and held many positions that required tact and judgment, eventually attaining the respected role of Secretary of State. His long-standing affection for the Countess of Warwick culminated in marriage in 1716, and Addison moved into Holland House, which is known for its association with prominent figures in politics and literature. The marriage was reportedly unhappy. The partnership of the mismatched couple was, in any case, brief; three years later, in 1719, Addison passed away in his early prime, having not yet turned forty-eight. On his deathbed, Young tells us, he summoned his stepson to his side and said, "See in what peace a Christian can die." His body was laid to rest in Westminster Abbey; his work remains a lasting legacy of the English-speaking world; his character is one of its finest traditions. He was, just like Sir Philip Sidney, a gentleman, exemplified by the sweetness of his spirit, the courage of his convictions, the refinement of his demeanor, and the purity of his life. He was unspoiled by success and acclaim; untainted by the tempting opportunities of his time; and unblemished in the use of talents that, in the hands of a less genuine man, could have fallen victim to Pope's malice or Swift's corrosive cynicism.
SIR ROGER DE COVERLEY AT THE PLAY
My friend Sir Roger de Coverley, when we last met together at the Club, told me, that he had a great mind to see the new Tragedy with me, assuring me at the same time that he had not been at a Play these twenty Years. The last I saw, said Sir Roger, was the Committee, which I should not have gone to neither, had not I been told beforehand that it was a good Church-of-England Comedy. He then proceeded to enquire of me who this Distrest Mother was; and upon hearing that she was Hector's Widow, he told me that her Husband was a brave Man, and that when he was a Schoolboy he had read his Life at the end of the Dictionary. My friend asked me in the next place, if there would not be some danger in coming home late, in case the Mohocks[1] should be Abroad. I assure you, says he, I thought I had fallen into their Hands last Night; for I observed two or three lusty black Men that follow'd me half way up Fleet-street, and mended their pace behind me, in proportion as I put on to get away from them. You must know, continu'd the Knight with a Smile, I fancied they had a mind to hunt me; for I remember an honest Gentleman in my Neighbourhood, who was served such a trick in King Charles the Second's time; for which reason he has not ventured himself in Town ever since. I might have shown them very good Sport, had this been their Design; for as I am an old Fox-hunter, I should have turned and dodg'd, and have play'd them a thousand tricks they had never seen in their Lives before. Sir Roger added, that if these gentlemen had any such Intention, they did not succeed very well in it: for I threw them out, says he, at the End of Norfolk street, where I doubled the Corner, and got shelter in my Lodgings before they could imagine what was become of me. However, says the Knight, if Captain Sentry will make one with us to-morrow night, and if you will both of you call upon me about four a Clock, that we may be at the House before it is full, I will have my own Coach in readiness to attend you, for John tells me he has got the Fore-Wheels mended.
My friend Sir Roger de Coverley, when we last got together at the Club, told me that he really wanted to see the new tragedy with me, while also letting me know that he hadn't been to a play in twenty years. The last one I saw, said Sir Roger, was the Committee, which I wouldn't have gone to either if I hadn't been told beforehand that it was a good Church-of-England comedy. He then started to ask me who this Distressed Mother was, and when I told him she was Hector's widow, he said her husband was a brave man and that when he was a schoolboy, he read his life at the end of the dictionary. My friend then asked me if there wouldn't be some danger in coming home late, in case the Mohocks[1] were out and about. I assure you, he said, I thought I had fallen into their hands last night; because I noticed two or three strong black men who followed me halfway up Fleet-street, and picked up their pace behind me the more I tried to get away from them. You should know, the Knight continued with a smile, I thought they were out to hunt me; because I remember a decent gentleman in my neighborhood who had the same thing happen to him back in King Charles the Second's time; and for that reason, he hasn’t dared to venture into town since. I could have given them quite a show if that was their plan; because being an old fox-hunter, I would have turned and dodged, playing tricks on them that they had never seen before. Sir Roger added that if those gentlemen had any intention like that, they didn’t do very well with it: because I lost them, he said, at the end of Norfolk street, where I turned the corner and got back to my lodgings before they could figure out what had happened to me. However, said the Knight, if Captain Sentry will join us tomorrow night, and if you both come to my place around four o'clock so we can get to the theater before it gets crowded, I’ll have my own coach ready for you because John tells me he has fixed the front wheels.
[1] London "bucks" who disguised themselves as savages and roamed the streets at night, committing outrages on persons and property.
The Captain, who did not fail to meet me there at the appointed Hour, bid Sir Roger fear nothing, for that he had put on the same Sword which he made use of at the Battel of Steenkirk. Sir Roger's Servants, and among the rest my old Friend the Butler, had, I found, provided themselves with good Oaken Plants, to attend their Master upon this occasion. When he had placed him in his Coach, with my self at his Left-Hand, the Captain before him, and his Butler at the Head of his Footmen in the Rear, we convoy'd him in safety to the Play-house, where, after having marched up the Entry in good order, the Captain and I went in with him, and seated him betwixt us in the Pit. As soon as the House was full, and the Candles lighted, my old Friend stood up and looked about him with that Pleasure, which a Mind seasoned with Humanity naturally feels in its self, at the sight of a Multitude of People who seem pleased with one another, and partake of the same common Entertainment. I could not but fancy to myself, as the old Man stood up in the middle of the Pit, that he made a very proper Center to a Tragick Audience. Upon the entring of Pyrrhus, the Knight told me that he did not believe the King of France himself had a better Strut. I was indeed very attentive to my old Friend's Remarks, because I looked upon them as a Piece of natural Criticism, and was well pleased to hear him at the Conclusion of almost every Scene, telling me that he could not imagine how the Play would end. One while he appeared much concerned for Andromache; and a little while after as much for Hermione: and was extremely puzzled to think what would become of Pyrrhus.
The Captain, who made sure to meet me there at the scheduled time, reassured Sir Roger not to worry, since he had put on the same sword he used at the battle of Steenkirk. Sir Roger's servants, including my old friend the Butler, had prepared themselves with sturdy oak sticks to assist their master for this occasion. Once he had helped Sir Roger into his coach, with me on his left, the Captain in front of him, and the Butler leading his footmen behind, we safely escorted him to the theater. After we had entered the venue in an orderly fashion, the Captain and I went in with him and seated him between us in the pit. As soon as the house filled up and the candles were lit, my old friend stood up and surveyed the crowd with the joy that a heart filled with kindness naturally feels upon seeing a multitude of people who seem happy together and share the same entertainment. I couldn’t help but think, as the old man stood in the middle of the pit, that he was a perfect focal point for a tragic audience. When Pyrrhus entered, the Knight said he doubted even the King of France had a better strut. I was genuinely attentive to my old friend's comments because I saw them as a form of natural criticism, and I was pleased to hear him, at the end of almost every scene, say he couldn’t imagine how the play would turn out. At one point, he seemed very concerned for Andromache; a little later, he was just as worried for Hermione; and he was extremely puzzled about what would become of Pyrrhus.
When Sir Roger saw Andromache's obstinate Refusal to her Lover's importunities, he whisper'd me in the Ear, that he was sure she would never have him; to which he added, with a more than ordinary Vehemence, You can't imagine, Sir, what 'tis to have to do with a Widow. Upon Pyrrhus his threatning afterwards to leave her, the Knight shook his Head, and muttered to himself, Ay, do if you can. This Part dwelt so much upon my Friend's Imagination, that at the close of the Third Act, as I was thinking of something else, he whispered in my Ear, These Widows, Sir, are the most perverse Creatures in the World. But pray, says he, you that are a Critick, is this Play according to your Dramatick Rules, as you call them? Should your People in Tragedy always talk to be understood? Why, there is not a single Sentence in this Play that I do not know the Meaning of.
When Sir Roger saw Andromache's stubborn refusal to her lover's advances, he whispered in my ear that he was sure she would never accept him. He added, with unusual intensity, "You can't imagine what it's like dealing with a widow." After Pyrrhus threatened to leave her, the knight shook his head and muttered to himself, "Go ahead, if you can." This part left such an impression on my friend that by the end of the third act, while I was lost in thought, he leaned over and whispered, "These widows are the most difficult people in the world." But then he asked me, as a critic, "Is this play up to your dramatic rules, as you call them? Should characters in tragedies always speak clearly? Because I understand every single sentence in this play."
The Fourth Act very luckily begun before I had time to give the old Gentleman an Answer: Well, says the Knight, sitting down with great Satisfaction, I suppose we are now to see Hector's Ghost. He then renewed his Attention, and, from time to time, fell a praising the Widow. He made, indeed, a little Mistake as to one of her Pages, whom at his first entering, he took for Astyanax; but he quickly set himself right in that Particular, though, at the same time, he owned he should have been very glad to have seen the little Boy, who, says he, must needs be a very fine Child by the Account that is given of him. Upon Hermione's going off with a Menace to Pyrrhus, the Audience gave a loud Clap; to which Sir Roger added, On my Word, a notable young Baggage!
The Fourth Act fortunately started before I had a chance to respond to the old gentleman. “Well,” said the Knight, sitting down with great satisfaction, “I suppose we’re about to see Hector's Ghost.” He then focused again, and from time to time, he praised the Widow. He did make a small mistake about one of her Pages, mistaking him for Astyanax when he first entered, but he quickly corrected himself in that regard. At the same time, he admitted he would have loved to see the little boy, who, he said, must be a really nice child based on what he’d heard. When Hermione left with a threat to Pyrrhus, the audience erupted in applause; to which Sir Roger added, “On my word, what a clever young lady!”
As there was a very remarkable Silence and Stillness in the Audience during the whole Action, it was natural for them to take the Opportunity of these Intervals between the Acts, to express their Opinion of the Players, and of their respective Parts. Sir Roger hearing a Cluster of them praise Orestes, struck in with them, and told them, that he thought his Friend Pylades was a very sensible Man; as they were afterwards applauding Pyrrhus, Sir Roger put in a second time; And let me tell you, says he, though he speaks but little, I like the old Fellow in Whiskers as well as any of them. Captain Sentry seeing two or three Waggs who sat near us, lean with an attentive Ear towards Sir Roger, and fearing lest they should Smoke the Knight, pluck'd him by the Elbow, and whisper'd something in his Ear, that lasted till the Opening of the Fifth Act. The Knight was wonderfully attentive to the Account which Orestes gives of Pyrrhus his Death, and at the Conclusion of it, told me it was such a bloody Piece of Work, that he was glad it was not done upon the Stage. Seeing afterwards Orestes in his raving Fit, he grew more than ordinary serious, and took occasion to moralize (in his way) upon an Evil Conscience, adding, that Orestes, in his Madness, looked as if he saw something.
As there was a noticeable silence and stillness in the audience throughout the entire performance, it was natural for them to take the chance during the breaks between acts to share their thoughts on the actors and their roles. Sir Roger heard a group praising Orestes and chimed in, saying that he thought his friend Pylades was a very smart man. Later, when they were applauding Pyrrhus, Sir Roger spoke up again, saying, "Let me tell you, even though he doesn’t say much, I like the old guy with the whiskers just as much as any of them." Captain Sentry noticed a few jokesters nearby leaning in to listen to Sir Roger and worried they might make fun of him, so he gently tugged on Sir Roger's elbow and whispered something in his ear, which continued until the start of the fifth act. The Knight was really focused on the account Orestes gave of Pyrrhus's death, and at the end of it, he said it was such a bloody affair that he was glad it didn't happen on stage. Later, when he saw Orestes in a fit of rage, he became unusually serious and took the chance to moralize (in his own way) about a guilty conscience, adding that Orestes, in his madness, looked like he saw something.
As we were the first that came into the House, so we were the last that went out of it; being resolved to have a clear Passage for our old Friend, whom we did not care to venture among the justling of the Crowd. Sir Roger went out fully satisfied with his Entertainment, and we guarded him to his Lodgings in the same manner that we brought him to the Playhouse; being highly pleased, for my own part, not only with the Performance of the excellent Piece which had been Presented, but with the Satisfaction which it had given to the good old Man. L.
As the first ones to enter the House, we were also the last to leave; we were determined to ensure a clear path for our old friend, whom we didn’t want to expose to the chaos of the crowd. Sir Roger left completely happy with his experience, and we escorted him to his lodging just like we had when we brought him to the theater. Personally, I was very pleased not just with the fantastic show we had just seen, but also with the joy it brought to the good old man.
A VISIT TO SIR ROGER DE COVERLEY
Having often received an Invitation from my Friend Sir Roger de Coverley to pass away a Month with him in the Country, I last Week accompanied him thither, and am settled with him for some time at his Country-house, where I intend to form several of my ensuing Speculations. Sir Roger, who is very well acquainted with my Humour, lets me rise and go to Bed when I please, dine at his own Table or in my Chamber as I think fit, sit still and say nothing without bidding me be merry. When the Gentlemen of the Country come to see him, he only shews me at a distance: As I have been walking in his Fields I have observed them stealing a Sight of me over an Hedge, and have heard the Knight desiring them not to let me see them, for that I hated to be stared at.
Having often gotten an invitation from my friend Sir Roger de Coverley to spend a month with him in the countryside, I went with him there last week and am now settled at his country house for a while, where I plan to develop several of my upcoming ideas. Sir Roger, who knows my personality well, lets me wake up and go to bed whenever I want, eat at his table or in my room as I choose, and sit quietly and say nothing without asking me to be cheerful. When the local gentlemen come to visit him, he only shows me to them from a distance. While I’ve been walking in his fields, I’ve noticed them sneaking peeks at me over a hedge, and I’ve heard the knight asking them not to let me see them, because I dislike being stared at.
I am the more at Ease in Sir Roger's Family, because it consists of sober and staid Persons: for as the Knight is the best Master in the World, he seldom changes his Servants; and as he is beloved by all about him, his Servants never care for leaving him: by this means his Domesticks are all in years, and grown old with their Master. You would take his Valet de Chambre for his Brother, his Butler is grey-headed, his Groom is one of the Gravest men that I have ever seen, and his Coachman has the Looks of a Privy-Counsellor. You see the Goodness of the Master even in the old House-dog, and in a grey Pad that is kept in the Stable with great Care and Tenderness out of Regard to his past Services, tho' he has been useless for several Years.
I feel more comfortable in Sir Roger's household because it consists of serious and dependable people. The Knight is the best boss in the world and rarely changes his staff; since he is loved by everyone around him, his employees never want to leave. As a result, his domestic staff are all older and have grown old alongside their master. You’d think his valet is his brother, his butler is grey-haired, his groom is one of the most serious men I’ve ever seen, and his coachman looks like a privy councilor. You can see the master's kindness even in the old house dog and the grey horse kept in the stable with great care and tenderness because of its past service, even though it has been useless for several years.
I could not but observe with a great deal of pleasure the Joy that appeared in the Countenances of these ancient Domesticks upon my Friend's Arrival at his Country-Seat. Some of them could not refrain from Tears at the Sight of their old Master; every one of them press'd forward to do something for him, and seemed discouraged if they were not employed. At the same time the good old Knight, with a Mixture of the Father and the Master of the Family, tempered the Enquiries after his own Affairs with several kind Questions relating to themselves. This Humanity and good Nature engages every Body to him, so that when he is pleasant upon any of them, all his Family are in good Humour, and none so much as the Person whom he diverts himself with: On the contrary, if he coughs, or betrays any Infirmity of old Age, it is easy for a Stander-by to observe a secret Concern in the Looks of all his Servants.
I couldn't help but feel a lot of joy seeing the happiness on the faces of the old staff when my friend arrived at his country house. Some of them couldn't hold back tears when they saw their old master; each one rushed to help him and looked disappointed if they weren't busy. Meanwhile, the good old knight, combining the roles of father and head of the household, balanced his inquiries about his own situation with several kind questions about their lives. This kindness and good nature endear him to everyone, so when he's joking with any of them, the whole family is in a good mood, especially the person he's joking with. On the other hand, if he coughs or shows any sign of aging, it's clear to anyone watching that his servants are genuinely concerned.
My worthy Friend has put me under the particular Care of his Butler, who is a very prudent Man, and, as well as the rest of his Fellow-Servants, wonderfully desirous of pleasing me, because they have often heard their Master talk of me as of his particular Friend.
My good friend has entrusted me to the care of his butler, who is a very wise man. He, along with the other staff, is genuinely eager to please me because they've often heard their boss speak of me as his close friend.
My chief Companion, when Sir Roger is diverting himself in the Woods or the Fields, is a very venerable man who is ever with Sir Roger, and has lived at his House in the Nature of a Chaplain above thirty Years. This Gentleman is a Person of good Sense and some Learning, of a very regular Life and obliging Conversation: He heartily loves Sir Roger, and knows that he is very much in the old Knight's Esteem, so that he lives in the Family rather as a Relation than a Dependent.
My main companion, when Sir Roger is enjoying himself in the woods or fields, is a very respected man who has been with Sir Roger for over thirty years, living in his house like a chaplain. This gentleman has good sense and some education, leads a very orderly life, and has a pleasant way of talking. He genuinely cares for Sir Roger and knows that he is held in high regard by the old knight, so he lives in the household more like a family member than a subordinate.
I have observed in several of my Papers, that my Friend Sir Roger, amidst all his good Qualities, is something of an Humourist; and that his Virtues, as well as Imperfections, are as it were tinged by a certain Extravagance, which makes them particularly his, and distinguishes them from those of other Men. This Cast of Mind, as it is generally very innocent in it self, so it renders his Conversation highly agreeable, and more delightful than the same Degree of Sense and Virtue would appear in their common and ordinary Colours. As I was walking with him last Night, he asked me how I liked the good Man whom I have just now mentioned? and without staying for my Answer told me, That he was afraid of being insulted with Latin and Greek at his own Table; for which Reason he desired a particular Friend of his at the University to find him out a Clergyman rather of plain Sense than much Learning, of a good Aspect, a clear Voice, a sociable Temper, and, if possible, a Man that understood a little of Back-Gammon. My Friend, says Sir Roger, found me out this Gentleman, who, besides the Endowments required of him, is, they tell me, a good Scholar, tho' he does not show it. I have given him the Parsonage of the Parish; and because I know his Value have settled upon him a good Annuity for Life. If he outlives me, he shall find that he was higher in my Esteem than perhaps he thinks he is. He has now been with me thirty Years; and tho' he does not know I have taken Notice of it, has never in all that time asked anything of me for himself, tho' he is every Day soliciting me for something in behalf of one or other of my Tenants his Parishioners. There has not been a Law-suit in the Parish since he has liv'd among them: If any Dispute arises they apply themselves to him for the Decision, if they do not acquiesce in his Judgment, which I think never happened above once or twice at most, they appeal to me. At his first settling with me, I made him a Present of all the good Sermons which have been printed in English, and only begg'd of him that every Sunday he would pronounce one of them in the Pulpit. Accordingly, he has digested them into such a Series, that they follow one another naturally, and make a continued System of practical Divinity.
I’ve noticed in several of my writings that my friend Sir Roger, despite all his good qualities, has a bit of a quirky personality. His strengths, as well as his flaws, have a touch of extravagance that makes them distinctly his and sets them apart from those of other people. This way of thinking, while generally innocent, makes his conversations really enjoyable and more delightful than the same level of intelligence and virtue would seem in their usual forms. Last night, while I was walking with him, he asked me how I felt about the good man I just mentioned and without waiting for my answer, he expressed his concern about being bombarded with Latin and Greek at his own table. For this reason, he asked a particular friend of his at the university to help him find a clergyman who had common sense rather than extensive learning, someone who was presentable, had a clear voice, a friendly demeanor, and if possible, a guy who understood a bit of backgammon. My friend, Sir Roger, found this gentleman for me, who, besides the qualities he was looking for, is, they say, a good scholar, even if he doesn’t flaunt it. I’ve given him the parish living, and because I recognize his worth, I’ve arranged a decent annual income for him for life. If he outlives me, he’ll discover that he was held in higher regard by me than he might think. He has now been with me for thirty years and, although he doesn’t realize it, he has never once asked anything for himself, though he does ask me daily for various things on behalf of his parishioners. There hasn’t been a lawsuit in the parish since he started living among them. Whenever there’s a dispute, they turn to him for a resolution; if they don’t accept his judgment—which I believe has only happened once or twice at most—they come to me. When he first joined me, I gifted him all the great sermons that have been printed in English and only asked that he deliver one of them every Sunday from the pulpit. As a result, he has organized them into a sequence that flows naturally, creating a continuous system of practical theology.
As Sir Roger was going on in his Story, the Gentleman we were talking of came up to us; and upon the Knight's asking him who preached to morrow (for it was Saturday Night) told us, the Bishop of St. Asaph in the Morning, and Dr. South in the Afternoon. He then shewed us his List of Preachers for the whole Year, where I saw with a great deal of Pleasure Archbishop Tillotson, Bishop Saunderson, Doctor Barrow, Doctor Calamy, with several living Authors who have published Discourses of Practical Divinity. I no sooner saw this venerable Man in the Pulpit, but I very much approved of my Friend's insisting upon the Qualifications of a good Aspect and a clear Voice; for I was so charmed with the Gracefulness of his Figure and Delivery, as well as with the Discourses he pronounced, that I think I never passed any Time more to my Satisfaction. A Sermon repeated after this Manner, is like the Composition of a Poet in the Mouth of a graceful Actor.
As Sir Roger continued with his story, the gentleman we were discussing approached us. When the knight asked him who was preaching tomorrow (since it was Saturday night), he told us it would be the Bishop of St. Asaph in the morning and Dr. South in the afternoon. He then showed us his list of preachers for the entire year, and I felt great pleasure seeing Archbishop Tillotson, Bishop Saunderson, Doctor Barrow, Doctor Calamy, along with several contemporary authors who have published works on practical divinity. As soon as I saw this esteemed man in the pulpit, I completely agreed with my friend's emphasis on the importance of an inviting presence and a clear voice; I was so captivated by his graceful figure and delivery, as well as the discourses he delivered, that I can't remember a time I found more satisfaction. A sermon performed in this way is like a poem brought to life by a talented actor.
I could heartily wish that more of our Country Clergy would follow this Example; and in stead of wasting their Spirits in laborious Compositions of their own, would endeavour after a handsome Elocution, and all those other Talents that are proper to enforce what has been penned by greater Masters. This would not only be more easy to themselves, but more edifying to the People.
I really wish that more of our country clergy would follow this example; instead of exhausting themselves with their own complicated sermons, they should work on good speaking skills and all the other talents needed to effectively convey what has been written by greater masters. This would be easier for them and more beneficial for the people.
THE VANITY OF HUMAN LIFE
When I was at Grand Cairo, I picked up several Oriental Manuscripts, which I have still by me. Among others I met with one entitled, The Visions of Mirzah, which I have read over with great Pleasure. I intend to give it to the Publick when I have no other entertainment for them; and shall begin with the first Vision, which I have translated Word for Word as follows.
When I was in Grand Cairo, I picked up several Oriental manuscripts that I still have. Among them, I found one titled The Visions of Mirzah, which I enjoyed reading a lot. I plan to share it with the public when I have nothing else for them; I'll start with the first vision, which I have translated word for word as follows.
On the fifth Day of the Moon, which according to the Custom of my Forefathers I always keep holy, after having washed my self, and offered up my Morning Devotions, I ascended the high hills of Bagdat, in order to pass the rest of the Day in Meditation and Prayer. As I was here airing my self on the Tops of the Mountains, I fell into a profound Contemplation on the Vanity of human Life; and passing from one Thought to another, Surely, said I, Man is but a Shadow and Life a Dream. Whilst I was thus musing, I cast my eyes towards the Summit of a Rock that was not far from me, where I discovered one in the Habit of a Shepherd, with a little Musical Instrument in his Hand. As I looked upon him he applied it to his Lips, and began to play upon it. The sound of it was exceeding sweet, and wrought into a Variety of Tunes that were inexpressibly melodious, and altogether different from any thing I had ever heard. They put me in mind of those heavenly Airs that are played to the departed Souls of good Men upon their first Arrival in Paradise, to wear out the Impressions of the last Agonies, and qualify them for the Pleasures of that happy Place. My Heart melted away in secret Raptures.
On the fifth day of the Moon, which I always keep sacred according to my ancestors' tradition, after washing myself and saying my morning prayers, I climbed the high hills of Bagdat to spend the rest of the day meditating and praying. While I was enjoying the fresh air at the mountain tops, I fell into a deep contemplation about the emptiness of human life; and shifting from one thought to another, I said to myself, surely, man is just a shadow and life is a dream. As I was lost in thought, I glanced at the top of a nearby rock and saw someone dressed like a shepherd, holding a small musical instrument in his hands. As I watched him, he raised it to his lips and started to play. The sound was incredibly sweet, producing a variety of tunes that were indescribably melodious and completely different from anything I’d ever heard. It reminded me of the heavenly music that is played for the souls of good people upon their arrival in Paradise, to help them forget the pain of their last moments and prepare them for the joys of that blissful place. My heart melted in silent ecstasy.
I had been often told that the Rock before me was the Haunt of a Genius; and that several had been entertained with Musick who had passed by it, but never heard that the Musician had before made himself visible. When he had raised my Thoughts by those transporting Airs which he played, to taste the Pleasures of his Conversation, as I looked upon him like one astonished, he beckoned to me, and by the waving of his Hand directed me to approach the Place where he sat. I drew near with that Reverence which is due to a superior Nature; and as my heart was entirely subdued by the captivating Strains I heard, I fell down at his Feet and wept. The Genius smiled upon me with a Look of Compassion and Affability that familiarized him to my Imagination, and at once dispelled all the Fears and Apprehensions with which I approached him. He lifted me from the Ground, and taking me by the hand, Mirzah, said he, I have heard thee in thy Soliloquies; follow me.
I had often been told that the rock in front of me was the place where a genius hung out, and that many people had enjoyed music there as they passed by, but I had never heard of the musician making himself visible before. After he lifted my thoughts with the amazing tunes he played, making me crave the enjoyment of his conversation, I looked at him in awe. He gestured for me to come closer, waving his hand to guide me to where he was sitting. I approached with the respect that someone of a higher nature deserves; and as my heart was completely captivated by the enchanting melodies I heard, I fell at his feet and wept. The genius smiled at me with a look of kindness and friendliness that made him feel familiar in my mind, instantly easing all the fears and worries I had about approaching him. He lifted me off the ground, and taking my hand, he said, Mirzah, I have heard you in your soliloquies; follow me.
He then led me to the highest Pinnacle of the Rock, and placing me on the Top of it, Cast thy Eyes Eastward, said he, and tell me what thou seest. I see, said I, a huge Valley, and a prodigious Tide of Water rolling through it. The Valley that thou seest, said he, is the Vale of Misery, and the Tide of Water that thou seest is part of the great Tide of Eternity. What is the Reason, said I, that the Tide I see rises out of a thick Mist at one End, and again loses itself in a thick Mist at the other? What thou seest, said he, is that Portion of Eternity which is called Time, measured out by the Sun, and reaching from the Beginning of the World to its Consummation. Examine now, said he, this Sea that is bounded with darkness at both Ends, and tell me what thou discoverest in it. I see a Bridge, said I, standing in the Midst of the Tide. The Bridge thou seest, said he, is human Life, consider it attentively. Upon a more leisurely Survey of it, I found that it consisted of threescore and ten entire Arches, with several broken Arches, which added to those that were entire, made up the Number about an hundred. As I was counting the Arches, the Genius told me that this Bridge consisted at first of a thousand Arches; but that a great Flood swept away the rest, and left the Bridge in the ruinous Condition I now beheld it: But tell me further, said he, what thou discoverest on it. I see Multitudes of People passing over it, said I, and a black Cloud hanging on each End of it. As I looked more attentively, I saw several of the Passengers dropping thro' the Bridge, into the great Tide that flowed underneath it; and upon farther Examination, perceived there were innumerable Trap-doors that lay concealed in the Bridge, which the Passengers no sooner trod upon, but they fell thro' them into the Tide and immediately disappeared. These hidden Pit-falls were set very thick at the Entrance of the Bridge, so that the Throngs of People no sooner broke through the Cloud, but many of them fell into them. They grew thinner towards the Middle, but multiplied and lay closer together toward the End of the Arches that were entire. There were indeed some Persons, but their number was very small, that continued a kind of a hobbling March on the broken Arches, but fell through one after another, being quite tired and spent with so long a Walk.
He then took me to the highest point of the Rock, and placing me on top of it, said, “Look Eastward and tell me what you see.” I replied, “I see a huge valley and a massive tide of water flowing through it.” “The valley you see is the Valley of Misery, and the tide of water you see is part of the great Tide of Eternity,” he explained. “Why does the tide I see rise out of a thick mist at one end and again disappear into a thick mist at the other?” I asked. “What you see is that portion of Eternity called Time, measured out by the Sun, reaching from the beginning of the world to its end,” he answered. “Now examine this sea, which is surrounded by darkness at both ends, and tell me what you find.” “I see a bridge,” I said, “standing in the midst of the tide.” “The bridge you see is human life; consider it carefully,” he urged. Upon taking a closer look, I found that it consisted of seventy complete arches, along with several broken arches, which, added to the complete ones, brought the total to about a hundred. While I was counting the arches, the figure told me that this bridge originally had a thousand arches, but a great flood washed away the rest, leaving the bridge in the ruined state I now saw. “But tell me more,” he said, “what else do you notice about it?” “I see crowds of people crossing it,” I replied, “and a black cloud hanging at each end.” As I looked more closely, I saw several passengers falling through the bridge into the great tide below; and upon further inspection, I noticed there were countless trapdoors hidden in the bridge, which the moment passengers stepped on, they fell through and disappeared. These hidden pitfalls were very thick at the entrance of the bridge, so that no sooner did the crowds break through the cloud than many of them fell into them. They became sparser toward the middle but increased and were closer together toward the end of the complete arches. There were indeed some individuals, but their numbers were very few, who managed a sort of limping march on the broken arches, but one after another they fell through, completely exhausted from such a long walk.
I passed some Time in the Contemplation of this wonderful Structure, and the great Variety of Objects which it presented. My heart was filled with a deep Melancholy to see several dropping unexpectedly in the midst of Mirth and Jollity, and catching at every thing that stood by them to save themselves. Some were looking up towards the Heavens in a thoughtful Posture, and in the midst of a Speculation stumbled and fell out of Sight. Multitudes were very busy in the Pursuit of Bubbles that glittered in their Eyes and danced before them; but often when they thought themselves within the reach of them their Footing failed and down they sunk. In this Confusion of Objects, I observed some with Scymetars in their Hands, and others with Urinals, who ran to and fro upon the Bridge, thrusting several Persons on Trap-doors which did not seem to lie in their way, and which they might have escaped had they not been forced upon them.
I spent some time reflecting on this amazing structure and the wide range of things it offered. My heart was filled with deep sadness to see several people suddenly falling during moments of joy and laughter, desperately grabbing at anything nearby to save themselves. Some looked up at the sky in a thoughtful posture, and while lost in thought, they stumbled and vanished from view. Many were busily chasing after shiny bubbles that sparkled in their eyes and danced in front of them; but often, just when they thought they were about to catch them, they lost their footing and fell into the depths. Amid this chaos, I noticed some people wielding curved swords and others carrying containers, running back and forth on the bridge, pushing various individuals toward trap doors that didn't seem to be in their path and that they could have avoided if they hadn't been forced onto them.
The Genius seeing me indulge my self in this melancholy Prospect, told me I had dwelt long enough upon it: Take thine Eyes off the Bridge, said he, and tell me if thou yet seest any thing thou dost not comprehend. Upon looking up, What mean, said I, those great Flights of Birds that are perpetually hovering about the Bridge, and settling upon it from time to time? I see Vultures, Harpyes, Ravens, Cormorants, and among many other feather'd Creatures several little winged Boys, that perch in great Numbers upon the middle Arches. These, said the Genius, are Envy, Avarice, Superstition, Despair, Love, with the like Cares and Passions that infest human Life.
The Genius, noticing that I was lost in this gloomy view, told me I had focused on it long enough: "Look away from the Bridge," he said, "and tell me if you see anything you don’t understand." When I looked up, I asked, "What do those huge flocks of birds mean that are constantly flying around the Bridge and occasionally landing on it?" I saw Vultures, Harpies, Ravens, Cormorants, and among many other feathered creatures, several little winged boys perched in large numbers on the central arches. "These," said the Genius, "represent Envy, Greed, Superstition, Despair, Love, and similar worries and passions that plague human life."
I here fetched a deep Sigh, Alas, said I, Man was made in vain! How is he given away to Misery and Mortality! tortured in Life, and swallowed up in Death! The Genius being moved with Compassion towards me, bid me quit so uncomfortable a Prospect: Look no more, said he, on Man in the first Stage of his Existence, in his setting out for Eternity; but cast thine Eye on that thick Mist into which the Tide bears the several Generations of Mortals that fall into it. I directed my Sight as I was ordered, and (whether or no the good Genius strengthened it with any supernatural Force, or dissipated Part of the Mist that was before too thick for the Eye to penetrate) I saw the Valley opening at the farther End, and spreading forth into an immense Ocean, that had a huge Rock of Adamant running through the Midst of it, and dividing it into two equal parts. The Clouds still rested on one Half of it, insomuch that I could discover nothing in it: But the other appeared to me a vast Ocean planted with innumerable Islands, that were covered with Fruits and Flowers, and interwoven with a thousand little shining Seas that ran among them. I could see Persons dressed in glorious Habits with Garlands upon their Heads, passing among the Trees, lying down by the Side of Fountains, or resting on Beds of Flowers; and could hear a confused Harmony of singing Birds, falling Waters, human Voices, and musical Instruments. Gladness grew in me upon the Discovery of so delightful a Scene. I wished for the Wings of an Eagle, that I might fly away to those happy Seats; but the Genius told me there was no Passage to them, except through the Gates of Death that I saw opening every Moment upon the Bridge. The Islands, said he, that lie so fresh and green before thee, and with which the whole Face of the Ocean appears spotted as far as thou canst see, are more in number than the Sands on the Sea-shore; there are Myriads of Islands behind those which thou here discoverest, reaching further than thine Eye, or even thine Imagination can extend it self. These are the Mansions of good Men after Death, who according to the Degree and Kinds of Virtue in which they excelled, are distributed among these several Islands, which abound with Pleasures of different Kinds and Degrees, suitable to the Relishes and Perfections of those who are settled in them; every Island is a Paradise accommodated to its respective Inhabitants. Are not these, O Mirzah, Habitations worth contending for? Does Life appear miserable, that gives thee Opportunities of earning such a Reward? Is Death to be feared, that will convey thee to so happy an Existence? Think not Man was made in vain, who has such an Eternity reserved for him. I gazed with inexpressible Pleasure on these happy Islands. At length, said I, shew me now, I beseech thee, the Secrets that lie hid under those dark Clouds which cover the Ocean on the other side of the Rock of Adamant. The Genius making me no Answer, I turned about to address myself to him a second time, but I found that he had left me; I then turned again to the Vision which I had been so long contemplating; but Instead of the rolling Tide, the arched Bridge, and the happy Islands, I saw nothing but the long hollow Valley of Bagdat, with Oxen, Sheep, and Camels grazing upon the Sides of it.
I took a deep sigh and said, "Oh no, man was created for nothing! Why is he doomed to misery and death? Enduring pain in life and consumed by death!" The spirit, feeling sorry for me, told me to stop looking at such a grim view: "Don’t look at man in the early stage of his existence, starting his journey to eternity. Instead, focus on that thick mist that carries away the generations of mortals." I obeyed, and whether the good spirit gave me some supernatural strength or cleared away some of the mist that had been too thick to see through, I could see a valley opening up at the far end, spreading out into a vast ocean with a massive rock of adamant dividing it in two. One half was still shrouded in clouds, so I couldn't see anything there, but the other half looked like an enormous ocean dotted with countless islands, overflowing with fruits and flowers, and crisscrossed with sparkling little seas. I could see people in splendid clothes with crowns on their heads walking among the trees, resting by the fountains, or lounging on beds of flowers. I could hear a beautiful mix of singing birds, flowing water, human voices, and musical instruments. Joy bloomed in me at the sight of such a lovely scene. I wished for the wings of an eagle to fly over to those happy lands, but the spirit told me there was no way to get there except through the gates of death that opened every moment on the bridge. "The islands you see, so bright and green before you, are more numerous than the sands on the shore; there are thousands of islands beyond those you see, stretching further than your eyes or even your imagination can reach. These are the homes of good people after death, who are assigned to different islands according to the types and levels of virtue they achieved; each island is a paradise suited to its specific inhabitants. Aren't these, O Mirzah, homes worth striving for? Does life seem miserable, providing you with the chance to earn such a reward? Should death be feared if it leads you to such a joyful existence? Don’t think that man was created for nothing, when such eternity awaits him." I gazed with indescribable joy at these beautiful islands. Finally, I said, "Please show me the secrets hidden underneath those dark clouds covering the ocean on the other side of the rock of adamant." The spirit didn’t reply, and when I turned to speak to him again, I found he had left. I turned back to the vision I had been admiring for so long, but instead of the rolling tide, the arched bridge, and the happy islands, all I saw was the long, empty valley of Bagdat, where oxen, sheep, and camels grazed on the slopes.
AN ESSAY ON FANS
I do not know whether to call the following Letter a Satyr upon Coquets, or a Representation of their several fantastical Accomplishments, or what other Title to give it; but as it is I shall communicate it to the Publick. It will sufficiently explain its own Intentions, so that I shall give it my Reader at Length, without either Preface or Postscript.
I’m not sure whether to label the following letter as a satire about flirts or a portrayal of their various quirky skills, or maybe something else entirely; but either way, I’m going to share it with the public. It will clearly explain its purpose, so I’ll present it to my readers straight up, without any introduction or conclusion.
Mr. Spectator:
Mr. Spectator:
Women are armed with Fans as Men with Swords, and sometimes do more Execution with them. To the end therefore that Ladies may be entire Mistresses of the Weapon which they bear, I have erected an Academy for the training up of young Women in the Exercise of the Fan, according to the most fashionable Airs and Motions that are now practis'd at Court. The Ladies who carry Fans under me are drawn up twice a-day in my great Hall, where they are instructed in the Use of their Arms, and exercised by the following Words of Command,
Women wield fans like men wield swords, and sometimes they can be more effective with them. To ensure that ladies have complete control over the weapon they carry, I have established an Academy for training young women in the Art of the Fan, according to the latest styles and motions practiced at Court. The ladies who carry fans under my guidance gather twice a day in my large hall, where they are taught how to use their arms and are trained using the following commands,
Handle your Fans,
Unfurl your Fans,
Discharge your Fans,
Ground your Fans,
Recover your Fans,
Flutter your Fans.
Manage your Fans,
Open your Fans,
Release your Fans,
Stabilize your Fans,
Recharge your Fans,
Wave your Fans.
By the right Observation of these few plain Words of Command, a Woman of a tolerable Genius, who will apply herself diligently to her Exercise for the Space of but one half Year, shall be able to give her Fan all the Graces that can possibly enter into that little modish Machine.
By carefully following these simple instructions, a reasonably bright woman who dedicates herself to practicing for just six months will be able to make her fan as graceful as possible within that small fashionable accessory.
But to the end that my Readers may form to themselves a right Notion of this Exercise, I beg leave to explain it to them in all its Parts. When my Female Regiment is drawn up in Array, with every one her Weapon in her Hand, upon my giving the Word to handle their Fans, each of them shakes her Fan at me with a Smile, then gives her Right-hand Woman a Tap upon the Shoulder, then presses her Lips with the Extremity of her Fan, then lets her Arms fall in an easy Motion, and stands in a Readiness to receive the next Word of Command. All this is done with a close Fan, and is generally learned in the first Week.
But so my readers can get a clear understanding of this exercise, I’d like to explain it in detail. When my female regiment is lined up, each with her weapon in hand, at my command to handle their fans, each one shakes her fan at me with a smile, then taps her right-hand partner on the shoulder, presses her lips with the tip of her fan, allows her arms to fall in a relaxed motion, and stands ready for the next command. All of this is done with a closed fan and is usually learned in the first week.
The next Motion is that of unfurling the Fan, in which are comprehended several little Flirts and Vibrations, as also gradual and deliberate Openings, with many voluntary Fallings asunder in the Fan itself, that are seldom learned under a Month's Practice. This part of the Exercise pleases the Spectators more than any other, as it discovers on a sudden an infinite Number of Cupids, [Garlands,] Altars, Birds, Beasts, Rainbows, and the like agreeable Figures, that display themselves to View, whilst every one in the Regiment holds a Picture in her Hand.
The next Motion is called unfurling the Fan, which includes several little Flirts and Vibrations, as well as gradual and deliberate Openings, along with many intentional separations in the Fan itself, which usually take about a month's practice to master. This part of the Exercise is more enjoyable for the Spectators than any other, as it suddenly reveals an infinite number of Cupids, [Garlands,] Altars, Birds, Beasts, Rainbows, and other pleasing Figures, all of which come into view while everyone in the Regiment holds a Picture in her Hand.
Upon my giving the Word to discharge their Fans, they give one general Crack that may be heard at a considerable distance when the Wind sits fair. This is one of the most difficult parts of the Exercise; but I have several ladies with me who at their first Entrance could not give a Pop loud enough to be heard at the further end of a Room, who can now discharge a Fan in such a manner that it shall make a Report like a Pocket-Pistol. I have likewise taken care (in order to hinder young Women from letting off their Fans in wrong Places or unsuitable Occasions) to shew upon what Subject the Crack of a Fan may come in properly: I have likewise invented a Fan, with which a Girl of Sixteen, by the help of a little Wind which is inclosed about one of the largest Sticks, can make as loud a Crack as a Woman of Fifty with an ordinary Fan.
When I give the signal to discharge their Fans, they all make a crack that can be heard from quite a distance when the wind is right. This is one of the hardest parts of the Exercise; however, I have several ladies with me who, when they first joined, couldn’t make a pop loud enough to be heard across the room, and now they can discharge a Fan in a way that sounds like a pocket pistol. I've also made sure (to prevent young women from using their Fans at inappropriate times or places) to show them when it's appropriate for the crack of a Fan. I’ve even created a Fan that allows a girl of sixteen, with a little help from a wind mechanism built into one of the larger sticks, to make a crack as loud as a woman of fifty with a standard Fan.
When the Fans are thus discharged, the Word of Command in course is to ground their Fans. This teaches a Lady to quit her Fan gracefully, when she throws it aside in order to take up a Pack of Cards, adjust a Curl of Hair, replace a falling Pin, or apply her self to any other Matter of Importance. This Part of the Exercise, as it only consists in tossing a Fan with an Air upon a long Table (which stands by for that Purpose) may be learned in two Days Time as well as in a Twelvemonth.
When the fans are then discharged, the next command is to ground their fans. This teaches a lady how to set down her fan gracefully when she puts it aside to pick up a deck of cards, fix her hair, adjust a pin that’s fallen, or focus on anything else important. This part of the Exercise, which only involves tossing a fan elegantly onto a long table (set up for that purpose), can be mastered in two days just as easily as in a year.
When my Female Regiment is thus disarmed, I generally let them walk about the Room for some Time; when on a sudden (like Ladies that look upon their Watches after a long Visit) they all of them hasten to their Arms, catch them up in a Hurry, and place themselves in their proper Stations upon my calling out Recover your Fans. This Part of the Exercise is not difficult, provided a Woman applies her Thoughts to it.
When my Female Regiment is disarmed, I usually let them wander around the room for a while. Then, suddenly (like ladies checking their watches after a long visit), they all rush to grab their arms, pick them up quickly, and take their proper positions when I call out Recover your Fans. This part of the Exercise isn’t hard, as long as a woman focuses on it.
The Fluttering of the Fan is the last, and indeed the Masterpiece of the whole Exercise; but if a Lady does not mis-spend her Time, she may make herself Mistress of it in three Months. I generally lay aside the Dog-days and the hot Time of the Summer for the teaching this Part of the Exercise; for as soon as ever I pronounce Flutter your Fans, the Place is fill'd with so many Zephyrs and gentle Breezes as are very refreshing in that Season of the Year, tho' they might be dangerous to Ladies of a tender Constitution in any other.
The Fluttering of the Fan is the final and truly the Masterpiece of the whole Exercise; but if a lady doesn’t waste her time, she can master it in three months. I usually set aside the Dog Days and the hot summer months to teach this part of the Exercise; because as soon as I say Flutter your Fans, the place fills with so many gentle breezes that are very refreshing during that time of year, although they might be risky for ladies with delicate health at any other time.
There is an infinite variety of Motions to be made use of in the Flutter of a Fan. There is an Angry Flutter, the modest Flutter, the timorous Flutter, the confused Flutter, the merry Flutter, and the amorous Flutter. Not to be tedious, there is scarce any Emotion in the Mind which does not produce a suitable Agitation in the Fan; insomuch, that if I only see the Fan of a disciplin'd Lady, I know very well whether she laughs, frowns, or blushes. I have seen a Fan so very Angry, that it would have been dangerous for the absent Lover who provoked it to have come within the Wind of it; and at other times so very languishing, that I have been glad for the Lady's sake the Lover was at a sufficient Distance from it. I need not add, that a Fan is either a Prude or Coquet according to the Nature of the Person who bears it. To conclude my Letter, I must acquaint you that I have from my own Observations compiled a little Treatise for the use of my Scholars, entitled The Passions of the Fan; which I will communicate to you, if you think it may be of use to the Publick. I shall have a general Review on Thursday next; to which you shall be very welcome if you will honour it with your Presence.
There’s an endless variety of motions to use in the Flutter of a Fan. There’s the Angry Flutter, the modest Flutter, the timid Flutter, the confused Flutter, the cheerful Flutter, and the romantic Flutter. To avoid being boring, there’s hardly any emotion in the mind that doesn’t cause a suitable movement in the fan; so much so that when I see a well-trained lady’s fan, I can tell whether she’s laughing, frowning, or blushing. I’ve seen a fan so furious that it would have been dangerous for the absent lover who upset it to come within its breeze; and at other times it’s been so languorous that I was glad for the lady’s sake that her lover was at a safe distance. I should also mention that a fan can either be modest or flirtatious depending on the nature of the person holding it. To wrap up my letter, I must let you know that I’ve compiled a little treatise from my own observations for my students, titled The Passions of the Fan; which I’d be happy to share with you if you think it might be of interest to the public. I’ll have a general review on Thursday next; you’re very welcome to join us if you’d like to honor us with your presence.
I am, &c.
I am, etc.
P.S. I teach young Gentlemen the whole Art of Gallanting a Fan.
P.S. I teach young gentlemen the complete art of using a fan gracefully.
N.B. I have several little plain Fans made for this Use, to avoid Expence.
N.B. I have made several simple fans for this purpose to keep costs down.
L.
L.
HYMN
From the Spectator, No. 465
The Spacious Firmament on high
With all the blue Etherial Sky,
And Spangled Heav'ns, a Shining Frame,
Their great Original proclaim:
Th' unwearied Sun, from Day to Day,
Does his Creator's Pow'r display,
And publishes to every Land
The Work of an Almighty Hand.
Soon as the Evening Shades prevail,
The Moon takes up the wondrous Tale,
And nightly to the list'ning Earth,
Repeats the Story of her Birth:
While all the Stars that round her burn,
And all the Planets in their Turn,
Confirm the Tidings as they rowl,
And spread the Truth from Pole to Pole.
What though, in solemn Silence, all
Move round the dark terrestrial Ball?
What tho' nor real Voice nor Sound
Amid their radiant Orbs be found?
In Reason's Ear they all rejoice,
And titter forth a glorious Voice,
For ever singing, as they shine,
"The Hand that made us is Divine."
From the Spectator, No. 465
The vast sky above
With all the blue, heavenly expanse,
And twinkling stars, a brilliant framework,
Proclaim their great Creator:
The tireless Sun, day after day,
Displays his Creator's power,
And shares with every land
The work of an Almighty Hand.
As evening shadows set in,
The Moon takes up the amazing story,
And every night, to the listening Earth,
Repeats the tale of her creation:
While all the Stars that surround her shine,
And all the Planets in their turn,
Confirm the news as they revolve,
And spread the truth from pole to pole.
What if, in solemn silence, they all
Move around the dark, earthly sphere?
What if there's no real voice or sound
Among their radiant spheres?
In the ear of reason, they all rejoice,
And softly proclaim a glorious message,
Forever singing, as they shine,
"The Hand that made us is Divine."
AELIANUS CLAUDIUS
(Second Century A.D.)
ccording to his 'Varia Historia,' Aelianus Claudius was a native of Praeneste and a citizen of Rome, at the time of the emperor Hadrian. He taught Greek rhetoric at Rome, and hence was known as "the Sophist." He spoke and wrote Greek with the fluency and ease of a native Athenian, and gained thereby the epithet of "the honey-tongued". He lived to be sixty years of age, and never married because he would not incur the responsibility of children.
According to his 'Varia Historia,' Aelianus Claudius was from Praeneste and a citizen of Rome during Emperor Hadrian's reign. He taught Greek rhetoric in Rome, earning him the nickname "the Sophist." He spoke and wrote Greek as fluently and effortlessly as a native Athenian, which led to him being called "the honey-tongued." He lived to be sixty years old and never married because he didn't want the responsibility of having children.
The 'Varia Historia' is the most noteworthy of his works. It is a curious and interesting collection of short narratives, anecdotes, and other historical, biographical, and antiquarian matter, selected from the Greek authors whom he said he loved to study. And it is valuable because it preserves scraps of works now lost. The extracts are either in the words of the original, or give the compiler's version; for, as he says, he liked to have his own way and to follow his own taste. They are grouped without method; but in this very lack of order--which shows that "browsing" instinct which Charles Lamb declared to be essential to a right feeling for literature--the charm of the book lies. This habit of straying, and his lack of style, prove Aelianus more of a vagabond in the domain of letters than a rhetorician.
The 'Varia Historia' is the most notable of his works. It’s a fascinating collection of short stories, anecdotes, and other historical, biographical, and antiquarian content, drawn from the Greek authors he claimed to love studying. It's valuable because it preserves fragments of works that are now lost. The extracts are either presented in the original words or paraphrased by the compiler; as he mentions, he preferred to express things in his own way and according to his own taste. They’re arranged haphazardly, but this very lack of order—which reflects that "browsing" instinct that Charles Lamb said is essential for a true appreciation of literature—is where the charm of the book lies. This tendency to wander and his lack of a defined style make Aelianus more of a wanderer in the realm of letters than a skilled rhetorician.
His other important book, 'De Animalium Natura' (On the Nature of Animals), is a medley of his own observations, both in Italy and during his travels as far as Egypt. For several hundred years it was a popular and standard book on zoölogy; and even as late as the fourteenth century, Manuel Philes, a Byzantine poet, founded upon it a poem on animals. Like the 'Varia Historia', it is scrappy and gossiping. He leaps from subject to subject: from elephants to dragons, from the liver of mice to the uses of oxen. There was, however, method in this disorder; for as he says, he sought thereby to give variety and hold his reader's attention. The book is interesting, moreover, as giving us a personal glimpse of the man and of his methods of work; for in a concluding chapter he states the general principle on which he composed: that he has spent great labor, thought, and care in writing it; that he has preferred the pursuit of knowledge to the pursuit of wealth; that for his part, he found more pleasure in observing the habits of the lion, the panther, and the fox, in listening to the song of the nightingale, and in studying the migrations of cranes, than in mere heaping up of riches and finding himself numbered among the great; and that throughout his work he has sought to adhere to the truth.
His other important book, 'De Animalium Natura' (On the Nature of Animals), is a mix of his own observations from Italy and his travels to Egypt. For several hundred years, it was a popular and standard book on zoology; even as late as the fourteenth century, Manuel Philes, a Byzantine poet, used it as a basis for a poem about animals. Like the 'Varia Historia', it's scattered and chatty. He jumps from topic to topic: from elephants to dragons, from the livers of mice to the uses of oxen. However, there was some method to this chaos; as he explains, he aimed to provide variety and keep his readers engaged. The book is also interesting as it gives us a personal glimpse into the man and his methods of work; in the concluding chapter, he outlines the general principle behind his writing: that he has put great effort, thought, and care into it, that he has chosen the pursuit of knowledge over the pursuit of wealth, and that for him, he found more joy in observing the behaviors of the lion, the panther, and the fox, in listening to the song of the nightingale, and in studying the migrations of cranes than in just accumulating riches and being counted among the elite; throughout his work, he has aimed to stick to the truth.
Aelianus was more of a moralizer than an artist in words; his style has no distinctive literary qualities, and in both of his chief works is the evident intention to set forth religious and moral principles. He wrote, moreover, some treatises expressly on religious and philosophic subjects, and some letters on husbandry.
Aelianus was more of a moral teacher than a word artist; his writing lacks any standout literary features, and in both of his main works, he's clearly trying to convey religious and moral principles. He also wrote a few essays specifically on religious and philosophical topics, as well as some letters about farming.
The 'Varia Historia' has been twice translated into English: by Abraham Fleming in 1576, and by Thomas Stanley, son of the poet and philosopher Stanley, in 1665. Fleming was a poet and scholar of the English Renaissance, who translated from the ancients, and made a digest of Holinshed's 'Historie of England.' His version of Aelianus loses nothing by its quaint wording, as will be seen from the subjoined stories. The full title of the book is 'A Registre of Hystories containing martiall Exploits of worthy Warriours, politique Practices and civil Magistrates, wise Sentences of famous Philosophers, and other Matters manifolde and memorable written in Greek by Aelianus Claudius and delivered in English by Abraham Fleming' (1576).
The 'Varia Historia' has been translated into English twice: first by Abraham Fleming in 1576, and then by Thomas Stanley, the son of the poet and philosopher Stanley, in 1665. Fleming was a poet and scholar from the English Renaissance who translated works from the ancients and created a summary of Holinshed's 'Historie of England.' His version of Aelianus retains its charm despite the old-fashioned wording, as can be seen from the stories included. The full title of the book is 'A Registre of Hystories containing martiall Exploits of worthy Warriours, politique Practices and civil Magistrates, wise Sentences of famous Philosophers, and other Matters manifolde and memorable written in Greek by Aelianus Claudius and delivered in English by Abraham Fleming' (1576).
OF CERTAIN NOTABLE MEN THAT MADE THEMSELVES PLAYFELLOWES WITH CHILDREN
Hercules (as some say) assuaged the tediousness of his labors, which he sustayned in open and common games, with playing. This Hercules, I say, being an incomparable warriour, and the sonne of Jupiter and Latona, made himselfe a playfellowe with boys. Euripides the poet introduceth, and bringeth in, the selfe same god speaking in his owne person, and saying, "I play because choyce and chaunge of labors is delectable and sweete unto me," whiche wordes he uttered holdinge a boy by the hande. Socrates also was espied of Alcibiades upon a time, playing with Lamprocles, who was in manner but a childe. Agesilaus riding upon a rude, or cock-horse as they terme it, played with his sonne beeing but a boy: and when a certayn man passing by sawe him so doe and laughed there withall, Agesilaus sayde thus, Now hold thy peace and say nothing; but when thou art a father I doubt not thou wilt doe as fathers should doe with their children. Architas Tarentinus being both in authoritie in the commonwealth, that is to say a magestrat, and also a philosopher, not of the obscurest sorte, but a precise lover of wisdom, at that time he was a housband, a housekeeper, and maintained many servauntes, he was greatly delighted with their younglinges, used to play oftentimes with his servauntes' children, and was wonte, when he was at dinner and supper, to rejoyce in the sight and presence of them: yet was Tarentinus (as all men knowe) a man of famous memorie and noble name.
Hercules (as some say) eased the monotony of his tasks, which he endured in public games, by playing. This Hercules, I say, being an unmatched warrior and the son of Jupiter and Latona, made himself a playmate with boys. The poet Euripides introduces, and brings in, the god himself speaking in his own voice, saying, "I play because variety and a change of tasks are enjoyable and sweet to me," which he said while holding a boy by the hand. Socrates was also spotted by Alcibiades one time, playing with Lamprocles, who was really just a child. Agesilaus, riding on a hobby horse as they call it, played with his young son: and when a certain man passing by saw him doing so and laughed, Agesilaus responded, "Now be quiet and say nothing; but when you’re a father, I have no doubt you’ll do as fathers should do with their children." Architas of Tarentum, who was both an authority in the community, a magistrate, and also a philosopher—not of the obscurest type, but a genuine lover of wisdom—at that time was a husband, a housekeeper, and had many servants. He greatly enjoyed their children, often playing with his servants' kids, and was known to take pleasure in their presence during meals. Yet Tarentinus (as everyone knows) was a man of great memory and noble reputation.
OF A CERTAINE SICILIAN WHOSE EYSIGHT WAS WOONDERFULL SHARPE AND QUICK
There was in Sicilia a certaine man indued with such sharpnesse, quicknesse, and clearnesse of sight (if report may challenge credite) that hee coulde see from Lilybaeus to Carthage with such perfection and constancy that his eies coulde not be deceived: and that he tooke true and just account of all ships and vessels which went under sayle from Carthage, over-skipping not so much as one in the universall number.
There was a certain man in Sicily who had such sharpness, quickness, and clarity of vision (if the reports can be trusted) that he could see from Lilybaeum to Carthage with such perfection and certainty that his eyes could not be deceived. He accurately counted all the ships and vessels that sailed out of Carthage, not missing even one in the overall total.
Something straunge it is that is recorded of Argus, a man that had no lesse than an hundred eyes, unto whose custody Juno committed Io, the daughter of Inachus, being transformed into a young heifer: while Argus (his luck being such) was slaine sleeping, but the Goddess Juno so provided that all his eyes (whatsoever became of his carkasse) should be placed on the pecock's taile; wherupon (sithence it came to passe) the pecock is called Avis Junonia, or Lady Juno Birde. This historic is notable, but yet the former (in mine opinion) is more memorable.
Something strange is recorded about Argus, a man who had no less than a hundred eyes, to whose care Juno entrusted Io, the daughter of Inachus, who had been transformed into a young heifer. While Argus (his fate being what it was) was killed while sleeping, the Goddess Juno arranged for all his eyes (no matter what happened to his body) to be placed on the peacock's tail. Because of this, the peacock is known as Avis Junonia, or Lady Juno Bird. This story is notable, but in my opinion, the former is even more memorable.
THE LAWE OF THE LACEDAEMONIANS AGAINST COVETOUSNESS
A certain young man of Lacedaemonia having bought a plot of land for a small and easy price (and, as they say, dogge cheape) was arrested to appear before the magistrates, and after the trial of his matter he was charged with a penalty. The reason why hee was judged worthy this punishment was because he being but a young man gaped so gredely after gain and yawned after filthy covetousness. For yt was a most commendable thing among the Lacedaemonians not only to fighte against the enemie in battell manfully; but also to wrestle and struggle with covetousness (that misschievous monster) valliauntly.
A young man from Lacedaemonia bought a piece of land for a low and easy price (or, as they say, a real bargain) but was summoned to appear before the magistrates. After the trial, he was hit with a penalty. The reason he was deemed deserving of this punishment was that, being a young man, he eagerly pursued profit and lusted after greedy desires. It was highly regarded among the Lacedaemonians not only to fight bravely against enemies in battle but also to wrestle valiantly with greed (that harmful monster).
THAT SLEEP IS THE BROTHER OF DEATH, AND OF GORGIAS DRAWING TO HIS END
Gorgias Leontinus looking towardes the end of his life and beeing wasted with the weaknes and wearysomenesse of drooping olde age, falling into sharp and sore sicknesse upon a time slumbered and slept upon his soft pillowe a little season. Unto whose chamber a familiar freend of his resorting to visit him in his sicknes demaunded how he felt himself affected in body. To whom Gorgias Leontinus made this pithy and plausible answeer, "Now Sleep beginneth to deliver me up into the jurisdiction of his brother-germane, Death."
Gorgias of Leontini, looking toward the end of his life and being worn down by the frailty and burdens of aging, fell into a sharp and painful illness. One day, he dozed off for a little while on his soft pillow. A close friend of his came to visit him during his sickness and asked how he was feeling physically. Gorgias replied with this concise and meaningful response, "Now sleep is starting to hand me over to his brother, death."
OF THE VOLUNTARY AND WILLING DEATH OF CALANUS
The ende of Calanus deserveth no lesse commendation than it procureth admiration; it is no less praiseworthy than it was worthy wonder. The manner, therefore, was thus. The within-named Calanus, being a sophister of India, when he had taken his long leave and last farewell of Alexander, King of Macedonia, and of his life in lyke manner, being willing, desirous, and earnest to set himselfe at lybertie from the cloggs, chaines, barres, boults, and fetters of the prison of the body, pyled up a bonnefire in the suburbs of Babylon of dry woodde and chosen sticks provided of purpose to give a sweete savour and an odoriferous smell in burning. The kindes of woodde which hee used to serve his turne in this case were these: Cedre, Rosemary, Cipres, Mirtle, and Laurell. These things duely ordered, he buckled himselfe to his accustomed exercise, namely, running and leaping into the middest of the wodstack he stoode bolte upright, having about his head a garlande made of the greene leaves of reedes, the sunne shining full in his face, as he stoode in the pile of stycks, whose glorious majesty, glittering with bright beams of amiable beuty, he adored and worshipped. Furthermore he gave a token and signe to the Macedonians to kindle the fire, which, when they had done accordingly, hee beeing compassed round about with flickering flames, stoode stoutly and valiauntly in one and the selfe same place, and dyd not shrincke one foote, until hee gave up the ghost, whereat Alexander unvailyng, as at a rare strange sight and worldes wonder, saide (as the voice goes) these words:--"Calanus hath subdued, overcome, and vanquished stronger enemies than I. For Alexander made warre against Porus, Taxiles, and Darius. But Calanus did denounce and did battell to labor and fought fearcely and manfully with death."
The end of Calanus deserves just as much praise as it inspires admiration; it's no less commendable than it is worthy of wonder. Here’s how it happened. Calanus, an Indian philosopher, after taking his long leave and final farewell of Alexander, King of Macedonia, and of his own life as well, eager and determined to free himself from the burdens and chains of the body, built a bonfire in the outskirts of Babylon with dry wood and chosen sticks meant to give off a sweet and fragrant smell when burned. The types of wood he used for this purpose were Cedar, Rosemary, Cypress, Myrtle, and Laurel. Once everything was properly arranged, he prepared for his usual exercise of running and leaping into the center of the woodpile, standing tall with a garland of green reeds around his head, with the sun shining directly on his face as he stood among the sticks, whose glorious beauty glittered with bright beams, which he honored and worshipped. Furthermore, he signaled to the Macedonians to light the fire, which they did. Surrounded by flickering flames, he stood firm and courageous in the same spot, not budging an inch until he passed away. At this, Alexander, taken aback by such a rare and remarkable sight, is said to have remarked: "Calanus has conquered stronger foes than I. For while I waged war against Porus, Taxiles, and Darius, Calanus declared battle against toil and fought fiercely and bravely against death."
OF DELICATE DINNERS, SUMPTUOUS SUPPERS, AND PRODIGALL BANQUETING
Timothy, the son of Conon, captain of the Athenians, leaving his sumptuous fare and royall banqueting, beeing desired and intertained of Plato to a feast philosophicall, seasoned with contentation and musick, at his returning home from that supper of Plato, he said unto his familiar freends:--"They whiche suppe with Plato, this night, are not sick or out of temper the next day following;" and presently upon the enunciation of that speech, Timothy took occasion to finde fault with great dinners, suppers, feasts, and banquets, furnished with excessive fare, immoderate consuming of meats, delicates, dainties, toothsome junkets, and such like, which abridge the next dayes joy, gladnes, delight, mirth, and pleasantnes. Yea, that sentence is consonant and agreeable to the former, and importeth the same sense notwithstanding in words it hath a little difference. That the within named Timothy meeting the next day after with Plato said to him:--"You philosophers, freend Plato, sup better the day following than the night present."
Timothy, the son of Conon, captain of the Athenians, left his lavish meals and royal banquets to attend a philosophical feast hosted by Plato, filled with satisfaction and music. On his way home from Plato's dinner, he said to his close friends, "Those who dine with Plato tonight aren't sick or grumpy the next day." Immediately after saying this, Timothy took the opportunity to criticize grand dinners, feasts, and banquets overflowing with excessive food, rich delicacies, and sweet treats that spoil the joy, happiness, and pleasure of the following day. Indeed, that statement aligns with the first one, conveying the same idea even though it's phrased slightly differently. The next day, Timothy ran into Plato and said, "You philosophers, my friend Plato, dine better the following day than the night before."
OF BESTOWING TIME, AND HOW WALKING UP AND DOWNE WAS NOT ALLOWABLE AMONG THE LACEDAEMONIANS
The Lacedaemonians were of this judgment, that measureable spending of time was greatly to be esteemed, and therefore did they conforme and apply themselves to any kinde of laboure moste earnestly and painfully, not withdrawing their hands from works of much bodyly mooving, not permitting any particular person, beeing a citizen, to spend the time in idlenes, to waste it in unthrifty gaming, to consume it in trifling, in vain toyes and lewd loytering, all whiche are at variance and enmity with vertue. Of this latter among many testimonyes, take this for one.
The Spartans believed that managing time well was very important, so they committed themselves to all kinds of work with great seriousness and effort. They didn’t allow anyone, as a citizen, to waste time in idleness, playing games recklessly, or engaging in trivial activities and lazy behavior, all of which go against virtue. Here’s one example among many that illustrates this point.
When it was reported to the magistrates of the Lacedaemonians called Ephori, in manner of complaint, that the inhabitants of Deceleia used afternoone walkings, they sent unto them messengers with their commandmente, saying:--"Go not up and doune like loyterers, nor walke not abrode at your pleasure, pampering the wantonnes of your natures rather than accustoming yourself to exercises of activity. For it becometh the Lacedaemonians to regarde their health and to maintaine their safety not with walking to and fro, but with bodily labours."
When the Ephori, the magistrates of the Lacedaemonians, received complaints about the people of Deceleia taking afternoon strolls, they sent messengers with their orders, saying: "Don't wander around like slackers, and don’t roam about at your leisure, indulging your laziness instead of getting used to some exercise. It’s important for the Lacedaemonians to take care of their health and ensure their safety not by strolling back and forth, but through physical activity."
HOW SOCRATES SUPPRESSED THE PRYDE AND HAUTINESSE OF ALCIBIADES
Socrates, seeing Alcibiades puft up with pryde and broyling in ambitious behavioure (because possessor of such great wealth and lorde of so large lands) brought him to a place where a table did hang containing a discription of the worlde universall. Then did Socrates will Alcibiades to seeke out the situation of Athens, which when he found Socrates proceeded further and willed him to point out that plot of ground where his lands and lordships lay. Alcibiades, having sought a long time and yet never the nearer, sayde to Socrates that his livings were not set forth in that table, nor any discription of his possession therein made evident. When Socrates, rebuked with this secret quip: "And art thou so arrogant (sayeth he) and so hautie in heart for that which is no parcell of the world?"
Socrates, noticing Alcibiades puffed up with pride and acting out in ambition (because he had such great wealth and was lord over large lands), took him to a place where a map of the entire world was displayed. Then Socrates asked Alcibiades to find Athens on the map. Once he did, Socrates encouraged him to identify the area where his lands and estates were located. After searching for a long time and not getting any closer, Alcibiades told Socrates that his properties weren't shown on that map, nor was there any clear description of his possessions. Socrates, confronted with this hidden remark, replied, "And are you really so arrogant and full of yourself for something that isn’t even part of the world?"
OF CERTAINE WASTGOODES AND SPENDTHRIFTES
Prodigall lavishing of substance, unthrifty and wastifull spending, voluptuousness of life and palpable sensuality brought Pericles, Callias, the sonne of Hipponicus, and Nicias not only to necessitie, but to povertie and beggerie. Who, after their money waxed scant, and turned to a very lowe ebbe, they three drinking a poysoned potion one to another (which was the last cuppe that they kissed with their lippes) passed out of this life (as it were from a banquet) to the powers infernall.
The excessive spending, wasteful habits, and indulgent lifestyles of Pericles, Callias (the son of Hipponicus), and Nicias led them not only to neediness but also to poverty and begging. Once their money ran out and they hit rock bottom, the three of them shared a poisoned drink with one another (which was the last cup they touched with their lips) and exited this life (as if leaving a banquet) to the underworld.
AESCHINES
(389-314 B.C.)
he life and oratory of Aeschines fall fittingly into that period of Greek history when the free spirit of the people which had created the arts of Pindar and Sophocles, Pericles, Phidias, and Plato, was becoming the spirit of slaves and of savants, who sought to forget the freedom of their fathers in learning, luxury, and the formalism of deducers of rules. To this slavery Aeschines himself contributed, both in action with Philip of Macedon and in speech. Philip had entered upon a career of conquest; a policy legitimate in itself and beneficial as judged by its larger fruits, but ruinous to the advanced civilization existing in the Greek City-States below, whose high culture was practically confiscated to spread out over a waste of semi-barbarism and mix with alien cultures. Among his Greek sympathizers, Aeschines was perhaps his chief support in the conquest of the Greek world that lay to the south within his reach.
The life and speeches of Aeschines fit neatly into that time in Greek history when the creative spirit of the people, which had produced the works of Pindar, Sophocles, Pericles, Phidias, and Plato, was becoming the mindset of slaves and scholars who tried to escape the freedom of their ancestors through learning, luxury, and the rigid formalism of rule-makers. Aeschines himself played a part in this decline, both through his actions with Philip of Macedon and his rhetoric. Philip embarked on a campaign of conquest; a policy that was legitimate in itself and beneficial when looking at the broader outcomes, but devastating to the advanced civilization of the Greek City-States below, whose rich culture was essentially seized to spread over a wasteland of semi-barbarism and mix with foreign cultures. Among his Greek supporters, Aeschines was likely Philip's main ally in conquering the Greek world to the south that was within his grasp.
Aeschines was born in 389 B.C., six years before his lifelong rival Demosthenes. If we may trust that rival's elaborate details of his early life, his father taught a primary school and his mother was overseer of certain initiatory rites, to both of which occupations Aeschines gave his youthful hand and assistance. He became in time a third-rate actor, and the duties of clerk or scribe presently made him familiar with the executive and legislative affairs of Athens. Both vocations served as an apprenticeship to the public speaking toward which his ambition was turning. We hear of his serving as a heavy-armed soldier in various Athenian expeditions, and of his being privileged to carry to Athens, in 349 B.C., the first news of the victory of Tamynae, in Euboea, in reward for the bravery he had shown in the battle.
Aeschines was born in 389 B.C., six years before his lifelong rival Demosthenes. If we can trust the detailed accounts from that rival about his early life, Aeschines's father ran a primary school, and his mother oversaw certain initiation rites, both of which Aeschines helped with as a young man. Eventually, he became a mediocre actor, and his work as a clerk or scribe got him acquainted with Athens's executive and legislative affairs. Both of these roles served as training for the public speaking that he aspired to pursue. We know he served as a heavily-armed soldier in various Athenian military campaigns and had the honor of bringing back the news to Athens in 349 B.C. about the victory at Tamynae in Euboea, which he earned for his bravery in battle.
Two years afterward he was sent as an envoy into the Peloponnesus, with the object of forming a union of the Greeks against Philip for the defense of their liberties. But his mission was unsuccessful. Toward the end of the same year he served as one of the ten ambassadors sent to Philip to discuss terms of peace. The harangues of the Athenians at this meeting were followed in turn by a speech of Philip, whose openness of manner, pertinent arguments, and pretended desire for a settlement led to a second embassy, empowered to receive from him the oath of allegiance and peace. It was during this second embassy that Demothenes says he discovered the philippizing spirit and foul play of Aeschines. Upon their return to Athens, Aeschines rose before the assembly to assure the people that Philip had come to Thermopylae as the friend and ally of Athens. "We, your envoys, have satisfied him," said Aeschines. "You will hear of benefits still more direct which we have determined Philip to confer upon you, but which it would not be prudent as yet to specify."
Two years later, he was sent as an envoy to the Peloponnesus to create a coalition of the Greeks against Philip to protect their freedoms. However, his mission was a failure. Toward the end of that same year, he was one of the ten ambassadors sent to Philip to negotiate peace terms. The speeches from the Athenians at this meeting were followed by a talk from Philip, whose friendly demeanor, relevant arguments, and feigned eagerness for a resolution led to a second mission tasked with getting him to pledge loyalty and peace. During this second mission, Demosthenes claims he noticed Aeschines' pro-Philip attitude and deceitful actions. Upon their return to Athens, Aeschines stood before the assembly to tell the people that Philip had come to Thermopylae as an ally of Athens. "We, your envoys, have satisfied him," said Aeschines. "You’ll hear about even greater benefits that we’ve convinced Philip to provide you, but it wouldn’t be wise to go into specifics just yet."
But the alarm of the Athenians at the presence of Philip within the gates was not allayed. The king, however, anxious to temporize with them until he could receive his army supplies by sea, suborned Aeschines, who assured his countrymen of Philip's peaceful intentions. On another occasion, by an inflammatory speech at Delphi, he so played upon the susceptibilities of the rude Amphictyones that they rushed forth, uprooted their neighbors' harvest fields, and began a devastating war of Greek against Greek. Internal dissensions promised the shrewd Macedonian the conquest he sought. At length, in August, 338, came Philip's victory at Chaeronea, and the complete prostration of Greek power. Aeschines, who had hitherto disclaimed all connection with Philip, now boasted of his intimacy with the king. As Philip's friend, while yet an Athenian, he offered himself as ambassador to entreat leniency from the victor toward the unhappy citizens.
But the Athenians were still alarmed by Philip's presence inside their gates. The king, however, wanted to buy some time until he could get his army supplies by sea, so he bribed Aeschines, who assured his fellow citizens that Philip meant no harm. On another occasion, with a fiery speech at Delphi, he played on the emotions of the rough Amphictyones, leading them to rush out, destroy their neighbors' crops, and start a brutal war of Greek against Greek. Internal conflicts seemed to offer the clever Macedonian the victory he was after. Finally, in August 338, Philip achieved victory at Chaeronea, leading to the total collapse of Greek power. Aeschines, who had previously denied any link to Philip, now proudly claimed to be close with the king. As Philip's friend, while still an Athenian, he stepped forward as an ambassador to plead for mercy from the victor on behalf of the unfortunate citizens.
The memorable defense of Demosthenes against the attack of Aeschines was delivered in 330 B.C. Seven years before this, Ctesiphon had proposed to the Senate that the patriotic devotion and labors of Demosthenes should be acknowledged by the gift of a golden crown--a recognition willingly accorded. But as this decision, to be legal, must be confirmed by the Assembly, Aeschines gave notice that he would proceed against Ctesiphon for proposing an unconstitutional measure. He managed to postpone action on the notice for six years. At last he seized a moment when the victories of Philip's son and successor, Alexander, were swaying popular feeling, to deliver a bitter harangue against the whole life and policy of his political opponent. Demosthenes answered in that magnificent oration called by the Latin writers 'De Corona' Aeschines was not upheld by the people's vote. He retired to Asia, and, it is said, opened a school of rhetoric at Rhodes. There is a legend that after he had one day delivered in his school the masterpiece of his enemy, his students broke into applause: "What," he exclaimed, "if you had heard the wild beast thunder it out himself!"
The famous defense by Demosthenes against Aeschines' attack was delivered in 330 B.C. Seven years earlier, Ctesiphon had proposed to the Senate that Demosthenes' patriotic dedication and efforts should be recognized with a golden crown—a proposal that was gladly accepted. However, since this decision had to be confirmed by the Assembly to be legal, Aeschines announced that he would take action against Ctesiphon for suggesting an unconstitutional measure. He managed to delay this action for six years. Finally, he found a moment when the victories of Alexander, Philip's son and successor, were swaying public opinion, to give a scathing speech against his political rival's entire life and policies. Demosthenes responded with his magnificent oration known as 'De Corona.' Aeschines did not receive the support of the people, and he retreated to Asia, where it is said he opened a rhetoric school in Rhodes. There's a story that one day, after delivering a masterpiece by his enemy in class, his students broke into applause. “What,” he exclaimed, “if you had heard the wild beast himself roaring it out!”
Aeschines was what we call nowadays a self-made man. The great faults of his life, his philippizing policy and his confessed corruption, arose, doubtless, from the results of youthful poverty: a covetousness growing out of want, and a lack of principles of conduct which a broader education would have instilled. As an orator he was second only to Demosthenes; and while he may at times be compared to his rival in intellectual force and persuasiveness, his moral defects--which it must be remembered that he himself acknowledged--make a comparison of character impossible.
Aeschines was what we would call a self-made man today. The major flaws in his life, his alignment with Philip and his admitted corruption, likely stemmed from the struggles of his early poverty: a greed born from need, and a lack of ethical principles that a better education could have provided. As an orator, he was only second to Demosthenes; and while he can sometimes be compared to his rival in intelligence and persuasiveness, his moral shortcomings—which he himself admitted—make it impossible to compare their characters.
His chief works remaining to us are the speeches 'Against Timarchus,' 'On the Embassy,' 'Against Ctesiphon,' and letters, which are included in the edition of G.E. Benseler (1855-60). In his 'History of Greece,' Grote discusses at length--of course adversely--the influence of Aeschines; especially controverting Mitford's favorable view and his denunciation of Demosthenes and the patriotic party. The trend of recent writing is toward Mitford's estimate of Philip's policy, and therefore less blame for the Greek statesmen who supported it, though without Mitford's virulence toward its opponents. Mahaffy ('Greek Life and Thought') holds the whole contest over the crown to be mere academic threshing of old straw, the fundamental issues being obsolete by the rise of a new world under Alexander.
His main works that we still have are the speeches 'Against Timarchus,' 'On the Embassy,' 'Against Ctesiphon,' and letters, which are included in the edition by G.E. Benseler (1855-60). In his 'History of Greece,' Grote critiques Aeschines extensively—of course negatively—particularly challenging Mitford's positive view and his criticism of Demosthenes and the patriotic party. Recent writing tends to align more with Mitford's assessment of Philip's policy, resulting in less blame directed at the Greek statesmen who supported it, although not sharing Mitford's bitterness towards its opponents. Mahaffy ('Greek Life and Thought') believes the entire dispute over the crown is just academic rehashing of old debates, with the core issues becoming irrelevant due to the emergence of a new world under Alexander.
A DEFENSE AND AN ATTACK
In regard to the calumnies with which I am attacked, I wish to say a word or two before Demosthenes speaks. He will allege, I am told, that the State has received distinguished services from him, while from me it has suffered injury on many occasions; and that the deeds of Philip and Alexander, and the crimes to which they gave rise, are to be imputed to me. Demosthenes is so clever in the art of speaking that he does not bring accusation against me, against any point in my conduct of affairs or any counsels I may have brought to our public meetings; but he rather casts reflections upon my private life, and charges me with a criminal silence.
Regarding the slanders directed at me, I want to say a few words before Demosthenes speaks. I'm told he will claim that the State has benefited greatly from him, while I have caused harm on several occasions; he will also suggest that the actions of Philip and Alexander, along with the crimes that resulted from them, are my fault. Demosthenes is so skilled at speaking that he doesn’t directly accuse me of any specific actions in my public duties or any advice I’ve given in our meetings; instead, he casts doubt on my private life and accuses me of being criminally silent.
Moreover, in order that no circumstance may escape his calumny, he attacks my habits of life when I was in school with my young companions; and even in the introduction of his speech he will say that I have begun this prosecution, not for the benefit of the State, but because I want to make a show of myself to Alexander and gratify Alexander's resentment against him. He purposes, as I learn, to ask why I blame his administration as a whole, and yet never hindered or indicted any one separate act; why, after a considerable interval of attention to public affairs, I now return to prosecute this action....
Moreover, to ensure he doesn't miss any opportunity to slander me, he criticizes my lifestyle choices during my time in school with my friends. He even starts his speech by claiming that I initiated this prosecution not for the good of the State, but to impress Alexander and satisfy his anger towards him. I’ve heard he plans to question why I criticize his entire administration while never challenging or prosecuting any specific action; and why, after a long time away from public affairs, I now come back to pursue this case...
But what I am now about to notice--a matter which I hear Demosthenes will speak of--about this, by the Olympian deities, I cannot but feel a righteous indignation. He will liken my speech to the Sirens', it seems, and the legend anent their art is that those who listen to them are not charmed, but destroyed; wherefore the music of the Sirens is not in good repute. Even so he will aver that knowledge of my words and myself is a source of injury to those who listen to me. I, for my part, think it becomes no one to urge such allegations against me; for it is a shame if one who makes charges cannot point to facts as full evidence. And if such charges must be made, the making surely does not become Demosthenes, but rather some military man--some man of action--who has done good work for the State, and who, in his untried speech, vies with the skill of antagonists because he is conscious that he can tell no one of his deeds, and because he sees his accusers able to show his audience that he had done what in fact he never had done. But when a man made up entirely of words,--of sharp words and overwrought sentences,--when he takes refuge in simplicity and plain facts, who then can endure it?--whose tongue is like a flute, inasmuch as if you take it away the rest is nothing....
But what I'm about to mention—a topic I hear Demosthenes will address—truly makes me feel a deep sense of righteous anger. It seems he will compare my speech to that of the Sirens, who, according to the legend, do not charm their listeners but destroy them; hence, the music of the Sirens is not looked upon favorably. Similarly, he will argue that knowing my words and myself harms those who listen to me. I believe it's unacceptable for anyone to make such claims against me, as it's a shame if someone who accuses cannot provide solid evidence. If such accusations must be made, they definitely don’t suit Demosthenes, but rather should come from a military leader—someone who takes action—who has genuinely served the State. This person, when confronted with skilled opponents, might struggle because he knows he can’t share the true accounts of his achievements, and he sees his accusers able to convince the audience that he accomplished things he never actually did. But when a person is made up entirely of words—sharp words and exaggerated sentences—if he resorts to simplicity and straightforward facts, who can stand that? His tongue is like a flute; if you take it away, the rest is nothing...
This man thinks himself worthy of a crown--that his honor should be proclaimed. But should you not rather send into exile this common pest of the Greeks? Or will you not seize upon him as a thief, and avenge yourself upon him whose mouthings have enabled him to bear full sail through our commonwealth? Remember the season in which you cast your vote. In a few days the Pythian Games will come round, and the convention of the Hellenic States will hold its sessions. Our State has been concerned on account of the measures of Demosthenes regarding present crises. You will appear, if you crown him, accessory to those who broke the general peace. But if, on the other hand, you refuse the crown, you will free the State from blame. Do not take counsel as if it were for an alien, but as if it concerned, as it does, the private interest of your city; and do not dispense your honors carelessly, but with judgment; and let your public gifts be the distinctive possession of men most worthy. Not only hear, but also look around you and consider who are the men who support Demosthenes. Are they his fellow-hunters, or his associates in old athletic sports? No, by Olympian Zeus, he was never engaged in hunting the wild boar, nor in care for the well-being of his body; but he was toiling at the art of those who keep up possessions.
This guy thinks he's worthy of a crown—that his honor should be celebrated. But shouldn't you rather send this common nuisance of the Greeks into exile? Or will you not catch him like a thief and take your revenge on someone whose empty talk has allowed him to sail smoothly through our society? Remember the time when you cast your vote. In a few days, the Pythian Games will be happening, and the assembly of the Hellenic States will start its sessions. Our State is worried about Demosthenes’ actions regarding current issues. If you crown him, you'll be seen as complicit with those who broke the general peace. But if you refuse the crown, you will spare the State from blame. Don't make your decision as if it were for someone else, but as if it concerns your city’s interests, because it does; and don’t give out honors carelessly, but thoughtfully; let your public honors go to those who truly deserve them. Not only listen, but also look around and think about who supports Demosthenes. Are they his fellow hunters or his old teammates from athletic events? No, by Olympian Zeus, he was never involved in hunting wild boar or focused on his physical fitness; instead, he was dedicated to the art of maintaining wealth.
Take into consideration also his art of juggling, when he says that by his embassy he wrested Byzantium from the hands of Philip, and that his eloquence led the Acarnanians to revolt, and struck dumb the Thebans. He thinks, forsooth, that you have fallen to such a degree of weakness that he can persuade you that you have been entertaining Persuasion herself in your city, and not a vile slanderer. And when at the conclusion of his argument he calls upon his partners in bribe-taking, then fancy that you see upon these steps, from which I now address you, the benefactors of your State arrayed against the insolence of those men. Solon, who adorned our commonwealth with most noble laws, a man who loved wisdom, a worthy legislator, asking you in dignified and sober manner, as became his character, not to follow the pleading of Demosthenes rather than your oaths and laws. Aristides, who assigned to the Greeks their tributes, to whose daughters after he had died the people gave portions--imagine Aristides complaining bitterly at the insult to public justice, and asking if you are not ashamed that when your fathers banished Arthurias the Zelian, who brought gold from the Medes (although while he was sojourning in the city and a guest of the people of Athens they were scarce restrained from killing him, and by proclamation forbade him the city and any dominion the Athenians had power over), nevertheless that you are going to crown Demosthenes, who did not indeed bring gold from the Medes, but who received bribes and has them still in his possession. And Themistocles and those who died at Marathon and at Plataea, and the very graves of your ancestors--will they not cry out if you venture to grant a crown to one who confesses that he united with the barbarians against the Greeks?
Consider also his skill at juggling when he claims that through his diplomatic efforts he took Byzantium from Philip, and that his persuasive speech turned the Acarnanians to rebellion and left the Thebans speechless. He believes, indeed, that you are so weak that he can convince you that you've been hosting Persuasion herself in your city, and not a despicable slanderer. And when he wraps up his argument by calling on his accomplices in corruption, imagine you see right here, from these steps where I’m now speaking to you, the benefactors of your State standing against the arrogance of those men. Solon, who enriched our city with noble laws, a man who cherished wisdom and was a respectable lawgiver, asks you calmly and seriously, as befits his character, not to follow Demosthenes in preference to your oaths and laws. Aristides, who allocated tributes to the Greeks, whose daughters were given portions by the people after he died—imagine Aristides angrily lamenting the offense to public justice and asking if you are not ashamed that when your ancestors banished Arthurias the Zelian, who brought gold from the Medes (even though while he was staying in the city and a guest of the Athenians, they barely kept from killing him and officially banned him from the city and any influence the Athenians had), you are now going to crown Demosthenes, who didn’t bring gold from the Medes but who accepted bribes and still has them? And what about Themistocles, those who fell at Marathon and Plataea, and the very graves of your ancestors—won’t they cry out if you dare to give a crown to someone who admits to having allied with the barbarians against the Greeks?
And now, O earth and sun! virtue and intelligence! and thou, O genius of the humanities, who teachest us to judge between the noble and the ignoble, I have come to your succor and I have done. If I have made my pleading with dignity and worthily, as I looked to the flagrant wrong which called it forth, I have spoken as I wished. If I have done ill, it was as I was able. Do you weigh well my words and all that is left unsaid, and vote in accordance with justice and the interests of the city!
And now, O earth and sun! virtue and intelligence! and you, O genius of the humanities, who teach us to distinguish between the noble and the base, I have come to your aid and I have finished my plea. If I have made my case with dignity and in a worthy manner, as I faced the glaring injustice that prompted it, I have spoken as I intended. If I have erred, it was to the best of my ability. Please consider my words carefully, along with everything that remains unspoken, and make your decisions based on justice and the needs of the city!
AESCHYLUS
(B.C. 525-456)
BY JOHN WILLIAMS WHITE
he mightiest of Greek tragic poets was the son of Euphorion, an Athenian noble, and was born B.C. 525. When he was a lad of eleven, the tyrant Hipparchus fell in a public street of Athens under the daggers of Harmodius and Aristogeiton. Later, Aeschylus saw the family of tyrants, which for fifty years had ruled Attica with varying fortunes, banished from the land. With a boy's eager interest he followed the establishment of the Athenian democracy by Cleisthenes. He grew to manhood in stirring times. The new State was engaged in war with the powerful neighboring island of Aegina; on the eastern horizon was gathering the cloud that was to burst in storm at Marathon, Aeschylus was trained in that early school of Athenian greatness whose masters were Miltiades, Aristides, and Themistocles.
The greatest of Greek tragic poets was the son of Euphorion, an Athenian noble, and was born in 525 B.C. When he was eleven, the tyrant Hipparchus was assassinated in a public street in Athens by Harmodius and Aristogeiton. Later, Aeschylus witnessed the family of tyrants, who had ruled Attica for fifty years with mixed fortunes, being expelled from the land. With a boy's keen interest, he followed the establishment of Athenian democracy by Cleisthenes. He grew up during exciting times. The new state was at war with the powerful neighboring island of Aegina; on the eastern horizon, a storm was brewing that would erupt at Marathon. Aeschylus was trained in that early school of Athenian greatness, whose leaders were Miltiades, Aristides, and Themistocles.
During the struggle with Persia, fought out on Greek soil, the poet was at the height of his physical powers, and we may feel confidence in the tradition that he fought not only at Marathon, but also at Salamis. Two of his extant tragedies breathe the very spirit of war, and show a soldier's experience; and the epitaph upon his tomb, which was said to have been written by himself, recorded how he had been one of those who met the barbarians in the first shock of the great struggle and had helped to save his country.
During the conflict with Persia, fought on Greek territory, the poet was in peak physical condition, and we can trust the tradition that he fought not only at Marathon but also at Salamis. Two of his existing tragedies capture the essence of war and reflect a soldier's experiences; the epitaph on his tomb, which is believed to have been written by him, noted that he was one of those who faced the barbarians in the initial clash of the great struggle and helped to defend his country.
"How brave in battle was Euphorion's son,
"How brave in battle was Euphorion's son,
The long-haired Mede can tell who fell at Marathon."
The long-haired Mede can tell who fell at Marathon.
Before Aeschylus, Attic tragedy had been essentially lyrical. It arose from the dithyrambic chorus that was sung at the festivals of Dionysus. Thespis had introduced the first actor, who, in the pauses of the choral song, related in monologue the adventures of the god or engaged in dialogue with the leader of the chorus. To Aeschylus is due the invention of the second actor. This essentially changed the character of the performance. The dialogue could now be carried on by the two actors, who were thus able to enact a complete story. The functions of the chorus became less important, and the lyrical element was subordinated to the action. (The word "drama" signifies action.) The number of actors was subsequently increased to three, and Aeschylus in his later plays used this number. This restriction imposed upon the Greek playwright does not mean that he was limited to two or three characters in his play, but that only two, or at the most three, of these might take part in the action at once. The same actor might assume different parts. The introduction of the second actor was so capital an innovation that it rightly entitles Aeschylus to be regarded as the creator of the drama, for in his hands tragedy first became essentially dramatic. This is his great distinction, but his powerful genius wrought other changes. He perfected, if he did not discover, the practice of introducing three plays upon a connected theme (technically named a trilogy), with an after-piece of lighter character. He invented the tragic dress and buskin, and perfected the tragic mask. He improved the tragic dance, and by his use of scenic decoration and stage machinery, secured effects that were unknown before him. His chief claim to superior excellence, however, lies after all in his poetry. Splendid in diction, vivid in the portraiture of character, and powerful in the expression of passion, he is regarded by many competent critics as the greatest tragic poet of all time.
Before Aeschylus, Attic tragedy was mainly lyrical. It developed from the dithyrambic chorus that was performed at the festivals of Dionysus. Thespis introduced the first actor, who, during breaks in the choral song, would tell the god’s adventures in monologue or have conversations with the leader of the chorus. Aeschylus is credited with creating the second actor. This fundamentally changed the nature of the performance. Now, two actors could engage in dialogue, allowing them to tell a complete story. The role of the chorus became less significant, and the lyrical aspect was secondary to the action. (The word "drama" means action.) The number of actors later increased to three, which Aeschylus used in his later works. This limitation imposed on Greek playwrights does not mean they were restricted to two or three characters in their plays, but that only two, or at most three, could engage in the action at the same time. The same actor could play different roles. The introduction of the second actor was such a major innovation that it rightfully establishes Aeschylus as the creator of drama, as it was under his influence that tragedy first became truly dramatic. This is his significant contribution, but his remarkable talent brought about other changes as well. He refined, if he didn’t invent, the practice of having three plays on a connected theme (technically called a trilogy), along with a lighter after-piece. He created the tragic costume and buskin, and improved the tragic mask. He enhanced the tragic dance and, through his use of scenic decoration and stage machinery, achieved effects that were previously unknown. However, his main claim to greatness lies in his poetry. With brilliant diction, vivid character portrayal, and powerful emotional expression, many expert critics consider him the greatest tragic poet of all time.
The Greek lexicographer, Suidas, reports that Aeschylus wrote ninety plays. The titles of seventy-two of these have been handed down in an ancient register. He brought out the first of these at the age of twenty-five, and as he died at the age of sixty-nine, he wrote on an average two plays each year throughout his lifetime. Such fertility would be incredible, were not similar facts authentically recorded of the older tragic poets of Greece. The Greek drama, moreover, made unusual demands on the creative powers of the poet. It was lyrical, and the lyrics were accompanied by the dance. All these elements--poetry, song, and dance--the poet contributed; and we gain a new sense of the force of the word "poet" (it means "creator"), when we contemplate his triple function. Moreover, he often "staged" the play himself, and sometimes he acted in it. Aeschylus was singularly successful in an age that produced many great poets. He took the first prize at least thirteen times; and as he brought out four plays at each contest, more than half his plays were adjudged by his contemporaries to be of the highest quality. After the poet's death, plays which he had written, but which had not been acted in his lifetime, were brought out by his sons and a nephew. It is on record that his son Euphorion took the first prize four times with plays of his father; so the poet's art lived after him and suffered no eclipse.
The Greek lexicographer, Suidas, reports that Aeschylus wrote ninety plays. The titles of seventy-two of these have been preserved in an ancient register. He released the first of these at the age of twenty-five, and since he died at sixty-nine, he wrote an average of two plays each year throughout his life. Such productivity would be incredible, were it not for similar facts authentically recorded about the earlier tragic poets of Greece. The Greek drama also placed unique demands on the poet's creativity. It was lyrical, and the lyrics were accompanied by dance. All these elements—poetry, song, and dance—the poet contributed; and we gain a new understanding of the power of the word "poet" (it means "creator") when we consider his triple role. Additionally, he often "staged" the play himself, and sometimes he acted in it. Aeschylus was particularly successful in an era that produced many great poets. He won the first prize at least thirteen times; and since he presented four plays at each competition, more than half of his plays were judged by his contemporaries to be of the highest quality. After the poet's death, plays he had written but that were not performed during his lifetime were brought out by his sons and a nephew. It is recorded that his son Euphorion won the first prize four times with plays of his father; thus, the poet's art continued to thrive after him and did not fade away.
Only seven complete plays of Aeschylus are still extant. The best present source of the text of these is a manuscript preserved in the Laurentian Library, at Florence in Italy, which was written in the tenth or eleventh century after Christ. The number of plays still extant is small, but fortunately, among them is the only complete Greek trilogy that we possess, and luckily also the other four serve to mark successive stages in the poet's artistic development. The trilogy of the 'Oresteia' is certainly his masterpiece; in some of the other plays he is clearly seen to be still bound by the limitations which hampered the earlier writers of Greek tragedy. In the following analysis the seven plays will be presented in their probable chronological order.
Only seven complete plays by Aeschylus have survived. The best existing source for the text of these plays is a manuscript kept in the Laurentian Library in Florence, Italy, which was written in the tenth or eleventh century AD. Although the number of surviving plays is small, fortunately, one of them is the only complete Greek trilogy we have, and the other four help illustrate the poet's artistic growth over time. The trilogy known as the 'Oresteia' is definitely his masterpiece; in some of the other plays, it's clear that he is still constrained by the limitations faced by earlier Greek tragedy writers. In the following analysis, the seven plays will be presented in their likely chronological order.
The Greeks signally defeated Xerxes in the great sea fight in the bay of Salamis, B.C. 480. The poet made this victory the theme of his 'Persians.' This is the only historical Greek tragedy which we now possess: the subjects of all the rest are drawn from mythology. But Aeschylus had a model for his historical play in the 'Phoenician Women' of his predecessor Phrynichus, which dealt with the same theme. Aeschylus, indeed, is said to have imitated it closely in the 'Persians.' Plagiarism was thought to be a venial fault by the ancients, just as in the Homeric times piracy was not considered a disgrace. The scene of the play is not Athens, as one might expect, but Susa. It opens without set prologue. The Chorus consists of Persian elders, to whom the government of the country has been committed in the absence of the King. These venerable men gather in front of the royal palace, and their leader opens the play with expressions of apprehension: no news has come from the host absent in Greece. The Chorus at first express full confidence in the resistless might of the great army; but remembering that the gods are jealous of vast power and success in men, yield to gloomy forebodings. These grow stronger when Atossa, the aged mother of Xerxes, appears from the palace and relates the evil dreams which she has had on the previous night, and the omen that followed. The Chorus beseech her to make prayer to the gods, to offer libations to the dead, and especially to invoke the spirit of Darius to avert the evil which threatens his ancient kingdom. Too late! A messenger arrives and announces that all is lost. By one fell stroke the might of Persia has been laid low at Salamis. At Atossa's request, the messenger, interrupted at first by the lamentations of the Chorus, recounts what has befallen. His description of the battle in the straits is a passage of signal power, and is justly celebrated. The Queen retires, and the Chorus sing a song full of gloomy reflections. The Queen reappears, and the ghost of Darius is invoked from the lower world. He hears from Atossa what has happened, sees in this the fulfillment of certain ancient prophecies, foretells disaster still to come, and warns the Chorus against further attempts upon Greece. As he departs to the underworld, the Chorus sing in praise of the wisdom of his reign. Atossa has withdrawn. Xerxes now appears with attendants, laments with the Chorus the disaster that has overtaken him, and finally enters the palace.
The Greeks decisively defeated Xerxes in the major naval battle in the bay of Salamis, 480 B.C. The poet made this victory the focus of his 'Persians.' This is the only historical Greek tragedy we have today; all the others are based on mythology. However, Aeschylus had a model for his historical play in the 'Phoenician Women' by his predecessor Phrynichus, which tackled the same topic. Aeschylus is said to have closely imitated it in the 'Persians.' Plagiarism was seen as a minor fault by the ancients, just as piracy was not considered shameful in Homeric times. The play is set not in Athens, as one might expect, but in Susa. It begins without a formal prologue. The Chorus consists of Persian elders, who are in charge of the country while the King is away. These wise men gather in front of the royal palace, and their leader opens the play with expressions of concern: no news has come from the forces missing in Greece. Initially, the Chorus expresses complete confidence in the unstoppable strength of the large army; however, remembering that the gods are envious of great power and success in humans, they succumb to dark forebodings. These fears intensify when Atossa, the elderly mother of Xerxes, comes out from the palace and shares the troubling dreams she had the night before, along with the ominous sign that followed. The Chorus urges her to pray to the gods, make offerings to the dead, and especially to call upon the spirit of Darius to ward off the impending doom threatening his ancient kingdom. But it's too late! A messenger arrives, announcing that all is lost. In one devastating blow, the might of Persia has been brought down at Salamis. At Atossa's request, the messenger, initially interrupted by the Chorus's lamentations, recounts what has happened. His account of the battle in the straits is notably powerful and is rightfully celebrated. The Queen leaves, and the Chorus sings a song filled with gloomy thoughts. The Queen returns, and Darius's ghost is called up from the underworld. He learns from Atossa about the events, recognizes this as the fulfillment of ancient prophecies, predicts further disaster to come, and warns the Chorus against future attempts on Greece. As he departs to the underworld, the Chorus praises the wisdom of his reign. Atossa has exited. Xerxes now arrives with attendants, mourning with the Chorus over the disaster that has befallen him, and finally enters the palace.
The economy of the play is simple: only two actors are required. The first played the parts of Atossa and Xerxes, the second that of the messenger and the ghost of Darius. The play well illustrates the conditions under which Aeschylus at this period wrote. The Chorus was still of first importance; the ratio of the choral parts in the play to the dialogue is about one to two.
The economy of the play is straightforward: it only needs two actors. The first actor plays Atossa and Xerxes, while the second takes on the roles of the messenger and the ghost of Darius. The play clearly shows the conditions under which Aeschylus wrote at this time. The Chorus was still highly significant; the proportion of choral parts in the play compared to the dialogue is about one to two.
The exact date of the 'Suppliants' cannot be determined; but the simplicity of its plot, the lack of a prologue, the paucity of its characters, and the prominence of the Chorus, show that it is an early play. The scene is Argos. The Chorus consists of the daughters of Danaüs, and there are only three characters,--Danaüs, a Herald, and Pelasgus King of Argos.
The exact date of the 'Suppliants' can't be pinpointed, but its straightforward plot, absence of a prologue, limited characters, and the prominent role of the Chorus indicate that it’s an early play. The setting is Argos. The Chorus is made up of the daughters of Danaüs, and there are only three characters: Danaüs, a Herald, and Pelasgus, King of Argos.
Danaüs and Aegyptus, brothers, and descendants of Io and Epaphus, had settled near Canopus at the mouth of the Nile. Aegyptus sought to unite his fifty sons in marriage with the fifty daughters of the brother. The daughters fled with their father to Argos. Here his play opens. The Chorus appeal for protection to the country, once the home of Io, and to its gods and heroes. Pelasgus, with the consent of the Argive people, grants them refuge, and at the end of the play repels the attempt to seize them made by the Herald of the sons of Aegyptus.
Danaüs and Aegyptus, brothers and descendants of Io and Epaphus, had settled near Canopus at the mouth of the Nile. Aegyptus wanted to marry off his fifty sons to the fifty daughters of his brother. The daughters fled with their father to Argos. This is where the play begins. The Chorus calls for protection from the land, once home to Io, and its gods and heroes. Pelasgus, with the approval of the Argive people, offers them shelter, and at the end of the play, he drives off the Herald who tries to take them back for Aegyptus's sons.
A part of one of the choruses is of singular beauty, and it is doubtless to them that the preservation of the play is due. The play hardly seems to be a tragedy, for it ends without bloodshed. Further, it lacks dramatic interest, for the action almost stands still. It is a cantata rather than a tragedy. Both considerations, however, are sufficiently explained by the fact that this was the first play of a trilogy. The remaining plays must have furnished, in the death of forty-nine of the sons of Aegyptus, both action and tragedy in sufficient measure to satisfy the most exacting demands.
A part of one of the choruses is uniquely beautiful, and it’s likely that their contribution is why the play has been preserved. The play doesn’t really feel like a tragedy since it ends without any bloodshed. Also, it lacks dramatic interest because the action almost comes to a halt. It feels more like a cantata than a tragedy. However, both points can be explained by the fact that this was the first play of a trilogy. The other plays must have provided enough action and tragedy with the deaths of forty-nine of Aegyptus’s sons to meet even the highest expectations.
The 'Seven Against Thebes' deals with the gloomy myth of the house of Laïus. The tetralogy to which it belonged consisted of the 'Laïus,' 'Oedipus,' 'Seven Against Thebes,' and 'Sphinx.' The themes of Greek tragedy were drawn from the national mythology, but the myths were treated with a free hand. In his portrayal of the fortunes of this doomed race, Aeschylus departed in important particulars, with gain in dramatic effect, from the story as it is read in Homer.
The 'Seven Against Thebes' focuses on the dark legend of the house of Laïus. The set of plays it was part of included 'Laïus,' 'Oedipus,' 'Seven Against Thebes,' and 'Sphinx.' Greek tragedy often pulled from national mythology, but the myths were adapted creatively. In depicting the struggles of this cursed family, Aeschylus made significant changes that enhanced the dramatic impact compared to the version found in Homer's works.
Oedipus had pronounced an awful curse upon his sons, Eteocles and Polynices, for their unfilial neglect,--"they should one day divide their land by steel." They thereupon agreed to reign in turn, each for a year; but Eteocles, the elder, refused at the end of the first year to give up the throne. Polynices appealed to Adrastus King of Argos for help, and seven chiefs appeared before the walls of Thebes to enforce his claim, and beleaguered the town. Here the play opens, with an appeal addressed by Eteocles to the citizens of Thebes to prove themselves stout defenders of their State in its hour of peril. A messenger enters, and describes the sacrifice and oath of the seven chiefs. The Chorus of Theban maidens enter in confusion and sing the first ode. The hostile army is hurrying from its camp against the town; the Chorus hear their shouts and the rattling din of their arms, and are overcome by terror. Eteocles reproves them for their fears, and bids them sing a paean that shall hearten the people. The messenger, in a noteworthy scene, describes the appearance of each hostile chief. The seventh and last is Polynices. Eteocles, although conscious of his father's curse, nevertheless declares with gloomy resoluteness that he will meet his brother in single combat, and, resisting the entreaties of the Chorus, goes forth to his doom. The attack on the town is repelled, but the brothers fall, each by the other's hand. Thus is the curse fulfilled. Presently their bodies are wheeled in. Their sisters, Antigone and Ismene, follow and sing a lament over the dead. A herald announces that the Theban Senate forbid the burial of Polynices; his body shall be cast forth as prey of dogs. Antigone declares her resolution to brave their mandate, and perform the last sad rites for her brother.
Oedipus had placed a terrible curse on his sons, Eteocles and Polynices, for their disloyalty— "they would one day divide their land with swords." They then decided to alternate ruling, each for a year; however, Eteocles, the older brother, refused to step down at the end of the first year. Polynices sought help from Adrastus, King of Argos, and seven leaders came to the gates of Thebes to support his claim, surrounding the city. This is where the play begins, with Eteocles addressing the citizens of Thebes, urging them to stand strong in defense of their city during this crisis. A messenger arrives to recount the sacrifice and oath of the seven leaders. The Chorus of Theban maidens enters in a state of confusion and sings the first ode. The enemy army rushes from their camp towards the city; the Chorus hears their shouts and the clattering of their weapons, filling them with fear. Eteocles reprimands them for being afraid and encourages them to sing a song that will boost everyone's spirits. In a significant moment, the messenger describes each enemy leader. The last one is Polynices. Despite knowing about his father’s curse, Eteocles resolutely declares that he will face his brother in battle and, ignoring the Chorus's pleas, heads out to meet his fate. The assault on the city is pushed back, but the brothers end up killing each other. Thus, the curse comes true. Soon after, their bodies are brought in. Their sisters, Antigone and Ismene, follow and mourn over the dead. A herald states that the Theban Senate has forbidden Polynices' burial; his body is to be left exposed for the dogs. Antigone vows to defy their orders and carry out the final rites for her brother.
"Dread tie, the common womb from which we sprang,--
Of wretched mother born and hapless sire."
"Terrible fate, the shared origin from which we emerged,--
Born of a miserable mother and an unfortunate father."
The Chorus divides. The first semi-chorus sides with Antigone; the second declares its resolution to follow to its last resting-place the body of Eteocles. And thus the play ends. The theme is here sketched, just at the close of the play, in outline, that Sophocles has developed with such pathetic effect in his 'Antigone.'
The Chorus splits. The first semi-chorus supports Antigone; the second decides to follow the body of Eteocles to its final resting place. And that's how the play concludes. The theme is briefly outlined at the end, which Sophocles has developed with such emotional impact in his 'Antigone.'
The 'Prometheus' transports the reader to another world. The characters are gods, the time is the remote past, the place a desolate waste in Scythia, on the confines of the Northern Ocean. Prometheus had sinned against the authority of Zeus. Zeus wished to destroy the old race of mankind; but Prometheus gave them fire, taught them arts and handicrafts, developed in them thought and consciousness, and so assured both their existence and their happiness. The play deals with his punishment. Prometheus is borne upon the scene by Force and Strength, and is nailed to a lofty cliff by Hephaestus. His appeal to Nature, when his tormentors depart and he is left alone, is peculiarly pathetic. The daughters of Oceanus, constituting the Chorus, who have heard the sound of the hammer in their ocean cave, are now borne in aloft on a winged car, and bewail the fate of the outraged god. Oceanus appears upon a winged steed, and offers his mediation; but this is scornfully rejected. The resolution of Prometheus to resist Zeus to the last is strengthened by the coming of Io. She too, as it seems, is a victim of the Ruler of the Universe; driven by the jealous wrath of Hera, she roams from land to land. She tells the tale of her sad wandering, and finally rushes from the scene in frenzy, crazed by the sting of the gadfly that Hera has sent to torment her. Prometheus knows a secret full of menace to Zeus. Relying on this, he prophesies his overthrow, and defies him to do his worst. Hermes is sent to demand with threats its revelation, but fails to accomplish his purpose. Prometheus insults and taunts him. Hermes warns the Chorus to leave, for Zeus is about to display his wrath. At first they refuse, but then fly affrighted: the cliff is rending and sinking, the elements are in wild tumult. As he sinks, about to be engulfed in the bowels of the earth, Prometheus cries:--
The 'Prometheus' takes the reader to a different world. The characters are gods, the time is far in the past, and the setting is a desolate area in Scythia, near the Northern Ocean. Prometheus defied Zeus's authority. Zeus wanted to wipe out the old race of humanity, but Prometheus gave them fire, taught them skills and crafts, and sparked their thoughts and awareness, ensuring both their survival and happiness. The play explores his punishment. Prometheus is brought on stage by Force and Strength, and Hephaestus nails him to a high cliff. His plea to Nature, when his tormentors leave him alone, is especially moving. The daughters of Oceanus, who form the Chorus, have heard the hammer's sound in their ocean cave, and now arrive on a winged chariot, mourning the fate of the wronged god. Oceanus shows up on a winged horse and offers to mediate, but Prometheus scornfully rejects him. Prometheus's resolve to stand against Zeus until the end is strengthened by the arrival of Io. She too, it seems, is a victim of the Ruler of the Universe, driven by Hera's jealous rage to wander from land to land. She recounts her tragic journey and ultimately flees in a frenzy, driven mad by the sting of the gadfly sent by Hera to torment her. Prometheus knows a dangerous secret about Zeus. Using this knowledge, he predicts Zeus's downfall and challenges him to try his worst. Hermes is dispatched to threaten him into revealing the secret but fails in his mission. Prometheus mocks and taunts Hermes. Hermes warns the Chorus to leave because Zeus is about to unleash his anger. At first, they resist but soon flee in terror: the cliff is cracking and collapsing, and the elements are in chaos. As he descends, about to be consumed by the earth, Prometheus cries:--
"Earth is rocking in space!
"Earth is spinning in space!"
And the thunders crash up with a roar upon roar,
And the thunder crashes with a roar after roar,
And the eddying lightnings flash fire in my face,
And the swirling lightning strikes me in the face,
And the whirlwinds are whirling the dust round and round,
And the winds are swirling the dust around and around,
And the blasts of the winds universal leap free
And the sounds of the winds everywhere burst forth
And blow each upon each with a passion of sound,
And blow each onto each with a passionate sound,
And aether goes mingling in storm with the sea."
And the ether mixes with the storm and the sea.
The play is Titanic. Its huge shapes, its weird effects, its mighty passions, its wild display of the forces of earth and air,--these impress us chiefly at first; but its ethical interest is far greater. Zeus is apparently represented in it as relentless, cruel, and unjust,--a lawless ruler, who knows only his own will,--whereas in all the other plays of Aeschylus he is just and righteous, although sometimes severe. Aeschylus, we know, was a religious man. It seems incredible that he should have had two contradictory conceptions of the character of Zeus. The solution of this problem is to be found in the fact that this 'Prometheus' was the first play of the trilogy. In the second play, the 'Prometheus Unbound,' of which we have only fragments, these apparent contradictions must have been reconciled. Long ages are supposed to elapse between the plays. Prometheus yields. He reveals the secret and is freed from his bonds. What before seemed to be relentless wanton cruelty is now seen to have been only the harsh but necessary severity of a ruler newly established on his throne. By the reconciliation of this stern ruler with the wise Titan, the giver of good gifts to men, order is restored to the universe. Prometheus acknowledges his guilt, and the course of Zeus is vindicated; but the loss of the second play of the trilogy leaves much in doubt, and an extraordinary number of solutions of the problem has been proposed. The reader must not look for one of these, however, in the 'Prometheus Unbound' of Shelley, who deliberately rejected the supposition of a reconciliation.
The play is Titanic. Its huge shapes, strange effects, powerful emotions, and wild display of nature’s forces grab our attention at first, but its moral significance is much deeper. Zeus appears to be portrayed as ruthless, cruel, and unfair—a lawless ruler who only follows his own desires—while in all of Aeschylus's other plays, he is just and righteous, although sometimes harsh. Aeschylus was a religious man, so it's hard to believe he had two conflicting ideas about Zeus's character. The key to this problem lies in the fact that this 'Prometheus' was the first play in the trilogy. In the second play, 'Prometheus Unbound,' of which we only have fragments, these apparent contradictions were likely reconciled. Significant time is supposed to pass between the plays. Prometheus concedes. He reveals the secret and is freed from his chains. What once seemed like relentless cruelty is now recognized as the harsh yet necessary authority of a ruler newly established on his throne. By reconciling this harsh ruler with the wise Titan, who bestows good gifts upon humanity, order is restored to the universe. Prometheus accepts his guilt, and Zeus's actions are justified; however, the loss of the second play in the trilogy leaves many questions unanswered, and numerous interpretations of the problem have been suggested. The reader should not search for any of these interpretations in Shelley's 'Prometheus Unbound,' as he intentionally dismissed the idea of reconciliation.
The three remaining plays are founded on the woful myth of the house of Atreus, son of Pelops, a theme much treated by the Greek tragic poets. They constitute the only existing Greek trilogy, and are the last and greatest work of the poet. They were brought out at Athens, B.C. 458, two years after the author's death. The 'Agamemnon' sets forth the crime,--the murder, by his wife, of the great King, on his return home from Troy; the 'Choëphori,' the vengeance taken on the guilty wife by her own son; the 'Eumenides,' the atonement made by that son in expiation of his mother's murder.
The three remaining plays are based on the tragic myth of the house of Atreus, son of Pelops, a theme frequently explored by Greek tragic poets. They make up the only existing Greek trilogy and are the last and greatest work of the poet. They were premiered in Athens in 458 B.C., two years after the author's death. The 'Agamemnon' depicts the crime—the murder of the great King by his wife when he returns home from Troy; the 'Choëphori' shows the revenge taken on the guilty wife by her own son; and the 'Eumenides' deals with the atonement made by that son in atonement for his mother’s murder.
Agamemnon on departing for Troy left behind him in his palace a son and a daughter, Orestes and Electra. Orestes was exiled from home by his mother Clytemnestra, who in Agamemnon's absence lived in guilty union with Aegisthus, own cousin of the King, and who could no longer endure to look upon the face of her son.
Agamemnon, when he left for Troy, left behind a son and a daughter, Orestes and Electra, in his palace. Orestes was sent away from home by his mother, Clytemnestra, who, during Agamemnon's absence, was living in a guilty relationship with Aegisthus, the King's own cousin, and could no longer bear to see her son.
The scene of the 'Agamemnon' is the royal palace in Argos. The time is night. A watchman is discovered on the flat roof of the palace. For a year he has kept weary vigil there, waiting for the beacon-fire that, sped from mountain-top to mountain-top, shall announce the fall of Troy. The signal comes at last, and joyously he proclaims the welcome news. The sacrificial fires which have been made ready in anticipation of the event are set alight throughout the city. The play naturally falls into three divisions. The first introduces the Chorus of Argive elders, Clytemnestra, and a Herald who tells of the hardships of the siege and of the calamitous return, and ends with the triumphal entrance of Agamemnon with Cassandra, and his welcome by the Queen; the second comprehends the prophecy of the frenzied Cassandra of the doom about to fall upon the house and the murder of the King; the third the conflict between the Chorus, still faithful to the murdered King, and Clytemnestra, beside whom stands her paramour Aegisthus.
The setting of the 'Agamemnon' is the royal palace in Argos. The time is night. A watchman is seen on the flat roof of the palace. He has been keeping a tired watch there for a year, waiting for the beacon fire that will signal the fall of Troy. The signal finally comes, and he happily shares the good news. The sacrificial fires that were prepared in anticipation of this moment are lit throughout the city. The play is divided into three parts. The first part introduces the Chorus of Argive elders, Clytemnestra, and a Herald who talks about the struggles of the siege and the disastrous return, ending with the grand entrance of Agamemnon with Cassandra and his welcome by the Queen; the second part includes the prophecy from the frantic Cassandra about the impending doom for the house and the King's murder; the third part involves the conflict between the Chorus, still loyal to the slain King, and Clytemnestra, who stands with her lover Aegisthus.
Interest centres in Clytemnestra. Crafty, unscrupulous, resolute, remorseless, she veils her deadly hatred for her lord, and welcomes him home in tender speech:--
Interest centers around Clytemnestra. Clever, ruthless, determined, and unrepentant, she disguises her deadly hatred for her husband and greets him home with sweet words:--
"So now, dear lord, I bid thee welcome home--
True as the faithful watchdog of the fold,
Strong as the mainstay of the laboring bark,
Stately as column, fond as only child,
Dear as the land to shipwrecked mariner,
Bright as fair sunshine after winter's storms,
Sweet as fresh fount to thirsty wanderer--
All this, and more, thou art, dear love, to me."
"So now, dear lord, I welcome you home--
Loyal as a trusty watchdog,
Strong as the support of a working ship,
Majestic as a column, cherished like an only child,
Precious as land to a shipwrecked sailor,
Radiant as sunshine after winter storms,
Refreshing as a spring to a thirsty traveler--
All this, and more, you are to me, dear love."
Agamemnon passes within the palace; she slays him in his bath, enmeshed in a net, and then, reappearing, vaunts her bloody deed:
Agamemnon walks inside the palace; she kills him in his bath, trapped in a net, and then, emerging again, boasts about her bloody act:
"I smote him, and he bellowed; and again
I smote, and with a groan his knees gave way;
And as he fell before me, with a third
And last libation from the deadly mace,
I pledged the crowning draught to Hades due,
That subterranean Saviour--of the dead!
At which he spouted up the Ghost in such
A flood of purple as, bespattered with,
No less did I rejoice than the green ear
Rejoices in the largesse of the skies
That fleeting Iris follows as it flies."
"I struck him, and he shouted; then I struck again, and with a groan his knees buckled; and as he collapsed before me, with one final blow from the deadly mace, I offered the last drink owed to Hades, that underground Savior of the dead! In response, he unleashed a flood of ghostly energy as overwhelming as the joy the green crops feel when the skies bless them with rain that fleeting Iris chases as it moves."
Aeschylus departs from the Homeric account, which was followed by other poets, in making the action of the next play, the 'Choëphori,' follow closer upon that of the 'Agamemnon.' Orestes has heard in Phocis of his father's murder, and returns in secret, with his friend Pylades, to exact vengeance. The scene is still Argos, but Agamemnon's tomb is now seen in front of the palace. The Chorus consists of captive women, who aid and abet the attempt. The play sets forth the recognition of Orestes by Electra; the plot by which Orestes gains admission to the palace; the deceit of the old Nurse, a homely but capital character, by whom Aegisthus is induced to come to the palace without armed attendants; the death of Aegisthus and Clytemnestra; the appearance of the avenging Furies; and the flight of Orestes.
Aeschylus takes a different approach from the Homeric narrative, which was followed by other poets, by having the action of the next play, the 'Choëphori,' occur right after that of the 'Agamemnon.' Orestes learns about his father’s murder in Phocis and secretly returns with his friend Pylades to seek revenge. The setting is still Argos, but now Agamemnon's tomb is visible in front of the palace. The Chorus is made up of captive women who support the plan. The play features Orestes being recognized by Electra; his scheme to gain entry to the palace; the trickery of the old Nurse, a down-to-earth but key character, who convinces Aegisthus to come to the palace without guards; the deaths of Aegisthus and Clytemnestra; the arrival of the avenging Furies; and Orestes' escape.
The last play of the trilogy, the 'Eumenides,' has many singular features. The Chorus of Furies seemed even to the ancients to be a weird and terrible invention; the scene of the play shifts from Delphi to Athens; the poet introduces into the play a trial scene; and he had in it a distinct political purpose, whose development occupies one-half of the drama.
The final play of the trilogy, the 'Eumenides,' has many unique aspects. The Chorus of Furies was considered a bizarre and terrifying creation, even by the ancients; the setting of the play moves from Delphi to Athens; the poet includes a trial scene; and there's a clear political aim that takes up half of the drama.
Orestes, pursued by the avenging Furies, "Gorgon-like, vested in sable stoles, their locks entwined with clustering snakes," has fled to Delphi to invoke the aid of Apollo. He clasps the navel-stone and in his exhaustion falls asleep. Around him sleep the Furies. The play opens with a prayer made by the Pythian priestess at an altar in front of the temple. The interior of the sanctuary is then laid bare. Orestes is awake, but the Furies sleep on. Apollo, standing beside Orestes, promises to protect him, but bids him make all haste to Athens, and there clasp, as a suppliant, the image of Athena. Orestes flies. The ghost of Clytemnestra rises from the underworld, and calls upon the Chorus to pursue. Overcome by their toil, they moan in their sleep, but finally start to their feet. Apollo bids them quit the temple.
Orestes, chased by the vengeful Furies, "looking like a Gorgon, dressed in dark robes, their hair woven with twisting snakes," has escaped to Delphi to ask for Apollo's help. He holds the navel-stone and, worn out, falls asleep. The Furies are sleeping around him. The play starts with a prayer from the Pythian priestess at an altar in front of the temple. The inside of the sanctuary is then revealed. Orestes wakes up, but the Furies are still asleep. Apollo, standing next to Orestes, promises to protect him but urges him to quickly go to Athens and there, as a supplicant, grasp the image of Athena. Orestes runs off. The ghost of Clytemnestra rises from the underworld and calls on the Chorus to pursue him. Exhausted from their efforts, they moan in their sleep but eventually spring to their feet. Apollo tells them to leave the temple.
The scene changes to the ancient temple of Athena on the Acropolis at Athens, where Orestes is seen clasping the image of the goddess. The Chorus enter in pursuit of their victim, and sing an ode descriptive of their powers.
The scene shifts to the ancient temple of Athena on the Acropolis in Athens, where Orestes is holding onto the statue of the goddess. The Chorus enters, chasing their victim, and sings a song describing their abilities.
Athena appears, and learns from the Chorus and from Orestes the reasons for their presence. She declares the issue to be too grave even for her to decide, and determines to choose judges of the murder, who shall become a solemn tribunal for all future time. These are to be the best of the citizens of Athens. After an ode by the Chorus, she returns, the court is established, and the trial proceeds in due form. Apollo appears for the defense of Orestes. When the arguments have been presented, Athena proclaims, before the vote has been taken, the establishment of the court as a permanent tribunal for the trial of cases of bloodshed. Its seat shall be the Areopagus. The votes are cast and Orestes is acquitted. He departs for Argos. The Furies break forth in anger and threaten woes to the land, but are appeased by Athena, who establishes their worship forever in Attica. Heretofore they have been the Erinnyes, or Furies; henceforth they shall be the Eumenides, or Gracious Goddesses. The Eumenides are escorted from the scene in solemn procession.
Athena arrives and learns from the Chorus and Orestes why they are there. She decides that the matter is too serious for her to resolve alone and chooses judges for the murder case who will serve as a solemn court for all future occasions. These judges will be the finest citizens of Athens. After the Chorus sings an ode, she returns, the court is set up, and the trial officially begins. Apollo comes to defend Orestes. Once the arguments are presented, Athena announces, before the voting starts, that the court will be a permanent tribunal for cases of murder, seated at the Areopagus. The votes are cast, and Orestes is found not guilty. He leaves for Argos. The Furies erupt in anger and threaten the land with disaster, but Athena calms them down and establishes their worship in Attica forever. They were known as the Erinnyes, or Furies; from now on, they will be called the Eumenides, or Gracious Goddesses. The Eumenides are led away in a solemn procession.
Any analysis of the plays so brief as the preceding is necessarily inadequate. The English reader is referred to the histories of Greek Literature by K.O. Müller and by J.P. Mahaffy, to the striking chapter on Aeschylus in J.A. Symonds's 'Greek Poets,' and, for the trilogy, to Moulton's 'Ancient Classical Drama.' If he knows French, he should add Croiset's 'Histoire de la Littérature Grecque,' and should by all means read M. Patin's volume on Aeschylus in his 'Études sur les Tragique Grècs.' There are translations in English of the poet's complete works by Potter, by Plumptre, by Blackie, and by Miss Swanwick. Flaxman illustrated the plays. Ancient illustrations are easily accessible in Baumeister's 'Denkmäler,' under the names of the different characters in the plays. There is a translation of the 'Prometheus' by Mrs. Browning, and of the 'Suppliants' by Morshead, who has also translated the Atridean trilogy under the title of 'The House of Atreus.' Goldwin Smith has translated portions of six of the plays in his 'Specimens of Greek Tragedy.' Many translations of the 'Agamemnon' have been made, among others by Milman, by Symmons, by Lord Carnarvon, and by Fitzgerald. Robert Browning also translated the play, with appalling literalness.
Any analysis of the plays as brief as the one above is definitely inadequate. English readers are directed to the histories of Greek Literature by K.O. Müller and J.P. Mahaffy, the impressive chapter on Aeschylus in J.A. Symonds's 'Greek Poets,' and for the trilogy, to Moulton's 'Ancient Classical Drama.' If you know French, you should also check out Croiset's 'Histoire de la Littérature Grecque,' and definitely read M. Patin's volume on Aeschylus in his 'Études sur les Tragique Grècs.' There are translations of the poet's complete works in English by Potter, Plumptre, Blackie, and Miss Swanwick. Flaxman illustrated the plays. Ancient illustrations are readily available in Baumeister's 'Denkmäler,' under the names of the various characters in the plays. There’s a translation of 'Prometheus' by Mrs. Browning, and of 'Suppliants' by Morshead, who also translated the Atridean trilogy under the title 'The House of Atreus.' Goldwin Smith has translated parts of six of the plays in his 'Specimens of Greek Tragedy.' Numerous translations of 'Agamemnon' exist, including those by Milman, Symmons, Lord Carnarvon, and Fitzgerald. Robert Browning also translated the play, with shockingly literal accuracy.
PROMETHEUS (alone)
PROMETHEUS (by himself)
O holy Aether, and swift-winged Winds,
O holy Aether, and quick-moving Winds,
And River-wells, and laughter innumerous
And River-wells, and endless laughter
Of yon Sea-waves! Earth, mother of us all,
Of those sea waves! Earth, mother of us all,
And all-viewing cyclic Sun, I cry on you,--
And all-seeing, cyclical Sun, I call on you,--
Behold me a god, what I endure from gods!
Look at me, a god, what I suffer from other gods!
Behold, with throe on throe,
Check it out, with pain upon pain,
How, wasted by this woe,
How, consumed by this sorrow,
I wrestle down the myriad years of Time!
I struggle with the countless years of Time!
Behold, how fast around me
Look how fast it's moving around me
The new King of the happy ones sublime
The new King of the happy ones is sublime.
Has flung the chain he forged, has shamed and bound me!
Has thrown off the chain he created, has embarrassed and trapped me!
Woe, woe! to-day's woe and the coming morrow's
Woe, woe! today's sorrow and tomorrow's
I cover with one groan. And where is found me
I cover with one groan. And where am I found?
A limit to these sorrows?
Is there a limit to these sorrows?
And yet what word do I say? I have foreknown
And yet what can I say? I already knew
Clearly all things that should be; nothing done
Clearly, everything that should be done; nothing has been completed.
Comes sudden to my soul--and I must bear
Comes suddenly to my soul—and I have to endure
What is ordained with patience, being aware
What is destined with patience, being mindful
Necessity doth front the universe
Necessity confronts the universe
With an invincible gesture. Yet this curse
With an unstoppable gesture. Yet this curse
Which strikes me now, I find it hard to brave
Which strikes me now, I find it hard to face
In silence or in speech. Because I gave
In silence or in speech. Because I gave
Honor to mortals, I have yoked my soul
Honor to mortals, I have bound my soul
To this compelling fate. Because I stole
To this unavoidable destiny. Because I took
The secret fount of fire, whose bubbles went
The secret source of fire, whose bubbles rose
Over the ferrule's brim, and manward sent
Over the rim of the ferrule, and directed towards man
Art's mighty means and perfect rudiment,
Art's powerful methods and fundamental basics,
That sin I expiate in this agony,
That sin I'm paying for in this pain,
Hung here in fetters, 'neath the blanching sky.
Hung here in chains, under the pale sky.
Ah, ah me! what a sound,
Ah, oh no! What a noise,
What a fragrance sweeps up from a pinion unseen
What a scent wafts up from an unseen pine branch.
Of a god, or a mortal, or nature between,
Of a god, a human, or something in between,
Sweeping up to this rock where the earth has her bound,
Sweeping up to this rock where the earth has her held,
To have sight of my pangs, or some guerdon obtain--
To see my pain, or gain some reward--
Lo, a god in the anguish, a god in the chain!
Look, a god in pain, a god in chains!
The god Zeus hateth sore,
The god Zeus hates deeply,
And his gods hate again,
And his gods hate again,
As many as tread on his glorified floor,
As many as walk on his elevated floor,
Because I loved mortals too much evermore.
Because I loved humans too much forever.
Alas me! what a murmur and motion I hear,
Alas! What a murmur and movement I hear,
As of birds flying near!
As birds fly nearby!
And the air undersings
And the air hums
The light stroke of their wings--
The gentle flapping of their wings--
And all life that approaches I wait for in fear.
And I anxiously wait for all life that comes my way.
From E.B. Browning's Translation of 'Prometheus.'
From E.B. Browning's Translation of 'Prometheus.'
STROPHE IV
STROPHE IV
Though Zeus plan all things right,
Though Zeus plans all things right,
Yet is his heart's desire full hard to trace;
Yet his heart's desire is really hard to figure out;
Nathless in every place
Nevertheless, everywhere
Brightly it gleameth, e'en in darkest night,
Brightly it shines, even in the darkest night,
Fraught with black fate to man's speech-gifted race.
Burdened with a dark fate for humanity's gifted speakers.
ANTISTROPHE IV
ANTISTROPHE IV
Steadfast, ne'er thrown in fight,
Steadfast, never thrown in battle,
The deed in brow of Zeus to ripeness brought;
The action in front of Zeus led to maturity;
For wrapt in shadowy night,
For wrapped in shadowy night,
Tangled, unscanned by mortal sight,
Tangled, unseen by human eyes,
Extend the pathways of his secret thought.
Extend the pathways of his hidden thoughts.
STROPHE V
STROPHE V
From towering hopes mortals he hurleth prone
From high hopes, he brings mortals crashing down.
To utter doom; but for their fall
To speak of doom; but for their downfall
No force arrayeth he; for all
No force does he organize; for all
That gods devise is without effort wrought.
What the gods create is effortlessly made.
A mindful Spirit aloft on holy throne
A mindful spirit high up on a holy throne
By inborn energy achieves his thought.
By natural energy, he accomplishes his thoughts.
ANTISTROPHE V
ANTISTROPHE V
But let him mortal insolence behold:--
But let him see the arrogance of mortals:--
How with proud contumacy rife,
How with proud defiance rife,
Wantons the stem in lusty life
Wantons arise in vibrant life
My marriage craving;--frenzy over-bold,
My marriage longing;--frenzy too bold,
Spur ever-pricking, goads them on to fate,
Spur ever-pricking, goads them on to fate,
By ruin taught their folly all too late.
By destruction, they learned their mistake, but it was too late.
STROPHE VI
STROPHE VI
Thus I complain, in piteous strain,
Thus I complain, in a pitiful manner,
Grief-laden, tear-evoking, shrill;
Grief-filled, tear-jerking, piercing;
Ah woe is me! woe! woe!
Ah, woe is me! Woe! Woe!
Dirge-like it sounds; mine own death-trill
Dirge-like it sounds; my own death song
I pour, yet breathing vital air.
I pour, yet I'm still breathing the vital air.
Hear, hill-crowned Apia, hear my prayer!
Hear, hill-crowned Apia, hear my prayer!
Full well, O land,
Full well, oh land,
My voice barbaric thou canst understand;
My voice is rough, but you can understand it;
While oft with rendings I assail
While often I attack with tears
My byssine vesture and Sidonian veil.
My fine silk robe and Phoenician veil.
ANTISTROPHE VI
ANTISTROPHE VI
My nuptial right in Heaven's pure sight
My wedding right in Heaven's clear view
Pollution were, death-laden, rude;
Pollution was deadly and harsh;
Ah woe is me! woe! woe!
Ah, woe is me! Woe! Woe!
Alas for sorrow's murky brood!
Alas for sorrow's dark offspring!
Where will this billow hurl me? Where?
Where will this wave take me? Where?
Hear, hill-crowned Apia, hear my prayer;
Hear, hill-crowned Apia, hear my prayer;
ull well, O land,
All good, O land,
My voice barbaric thou canst understand,
My rough voice you can understand,
While oft with rendings I assail
While often I attack with tears
My byssine vesture and Sidonian veil.
My fine linen clothing and Sidonian shawl.
STROPHE VII
STROPHE 7
The oar indeed and home with sails
The oar and the home with sails
Flax-tissued, swelled with favoring gales,
Flax fabric, puffed up by favorable winds,
Staunch to the wave, from spear-storm free,
Staying true to the wave, safe from the storm of spears,
Have to this shore escorted me,
Have escorted me to this shore,
Nor so far blame I destiny.
Nor do I blame destiny that much.
But may the all-seeing Father send
But may the all-seeing Father send
In fitting time propitious end;
At the right time.
So our dread Mother's mighty brood,
So our terrifying Mother's powerful offspring,
The lordly couch may 'scape, ah me,
The fancy couch might survive, oh no,
Unwedded, unsubdued!
Unmarried, unrestrained!
ANTISTROPHE VII
ANTISTROPHE VII
Meeting my will with will divine,
Meeting my will with divine will,
Daughter of Zeus, who here dost hold
Daughter of Zeus, who here do you hold
Steadfast thy sacred shrine,--
Steadfast your sacred shrine,--
Me, Artemis unstained, behold,
Me, Artemis untarnished, behold,
Do thou, who sovereign might dost wield,
Do you, who hold such powerful authority,
Virgin thyself, a virgin shield;
Stay pure, a protective shield;
So our dread Mother's mighty brood
So our terrifying Mother's large family
The lordly couch may 'scape, ah me,
The fancy couch can get away, oh no,
Unwedded, unsubdued!
Unmarried, unbent!
From Miss Swanwick's Translation of 'The Suppliants.'
From Miss Swanwick's Translation of 'The Suppliants.'
THE DEFIANCE OF ETEOCLES
MESSENGER
Now at the Seventh Gate the seventh chief,
Thy proper mother's son, I will announce,
What fortune for this city, for himself,
With curses he invoketh:--on the walls
Ascending, heralded as king, to stand,
With paeans for their capture; then with thee
To fight, and either slaying near thee die,
Or thee, who wronged him, chasing forth alive,
Requite in kind his proper banishment.
Such words he shouts, and calls upon the gods
Who o'er his race preside and Fatherland,
With gracious eye to look upon his prayers.
A well-wrought buckler, newly forged, he bears,
With twofold blazon riveted thereon,
For there a woman leads, with sober mien,
A mailèd warrior, enchased in gold;
Justice her style, and thus the legend speaks:--
"This man I will restore, and he shall hold
The city and his father's palace homes."
Such the devices of the hostile chiefs.
'Tis for thyself to choose whom thou wilt send;
But never shalt thou blame my herald-words.
To guide the rudder of the State be thine!
ETEOCLES
O heaven-demented race of Oedipus,
My race, tear-fraught, detested of the gods!
Alas, our father's curses now bear fruit.
But it beseems not to lament or weep,
Lest lamentations sadder still be born.
For him, too truly Polyneikes named,--
What his device will work we soon shall know;
Whether his braggart words, with madness fraught,
Gold-blazoned on his shield, shall lead him back.
Hath Justice communed with, or claimed him hers,
Guided his deeds and thoughts, this might have been;
But neither when he fled the darksome womb,
Or in his childhood, or in youth's fair prime,
Or when the hair thick gathered on his chin,
Hath Justice communed with, or claimed him hers,
Nor in this outrage on his Fatherland
Deem I she now beside him deigns to stand.
For Justice would in sooth belie her name,
Did she with this all-daring man consort.
In these regards confiding will I go,
Myself will meet him. Who with better right?
Brother to brother, chieftain against chief,
Foeman to foe, I'll stand. Quick, bring my spear,
My greaves, and armor, bulwark against stones.
From Miss Swanwick's Translation of 'The Seven Against Thebes.'
THE DEFIANCE OF ETEOCLES
MESSENGER
Now at the Seventh Gate stands the seventh leader,
Your own mother’s son, I’m here to announce,
What fortune awaits this city and him,
With curses he's calling upon:--on the walls
Climbing, hailed as king, ready to fight,
Singing praises for their capture; then with you
To battle, either dying near you or,
Chasing you, the one who wronged him, alive,
To repay his banishment in kind.
Such words he shouts, invoking the gods
Who watch over his race and his homeland,
To look kindly upon his prayers.
He carries a finely made shield, freshly forged,
With a double emblem set upon it,
Depicting a woman, serious in demeanor,
Leading a armored warrior, adorned in gold;
Justice is her name, and the inscription reads:--
"This man I will restore, and he shall keep
The city and his father's palace homes."
These are the designs of the enemy leaders.
It’s up to you to choose whom you will send;
But you can’t fault my herald’s words.
You shall steer the course of the State!
ETEOCLES
O heavens, twisted fate of Oedipus,
My lineage, filled with tears, cursed by the gods!
Alas, our father’s curses are now bearing fruit.
But it’s not fitting to mourn or cry,
Lest our grief gives rise to even sadder woes.
For him, too rightly named Polyneikes,--
What plan he has we’ll soon find out;
Whether his boastful words, laced with madness,
Gold-embossed on his shield, will bring him back.
If Justice had indeed spoken with him,
Guided his actions and thoughts, that might’ve been;
But neither when he escaped the dark womb,
Or in his childhood, or during youth's prime,
Or when his beard grew thick,
Has Justice claimed him as her own,
Nor do I think she stands with him now
In this assault on his Fatherland.
For Justice would truly betray her name,
If she associated with this audacious man.
In this regard, I’ll trust and advance,
I will meet him myself. Who has a better claim?
Brother to brother, leader against leader,
Enemy to enemy, I’ll stand. Hurry, bring my spear,
My greaves, and armor, my shield against stones.
From Miss Swanwick's Translation of 'The Seven Against Thebes.'
CASSANDRA
Cassandra
Phoebus Apollo!
Apollo!
CHORUS
CHORUS
Hark!
Listen up!
The lips at last unlocking.
The lips finally unlocking.
CASSANDRA
CASSANDRA
Phoebus! Phoebus!
Phoebus! Phoebus!
CHORUS
CHORUS
Well, what of Phoebus, maiden? though a name
Well, what about Phoebus, girl? Though a name
'Tis but disparagement to call upon
'Tis but disparagement to call upon
In misery.
In distress.
CASSANDRA
CASSANDRA
Apollo! Apollo! Again!
Apollo! Apollo! Again!
Oh, the burning arrow through the brain!
Oh, the burning arrow through the brain!
Phoebus Apollo! Apollo!
Apollo!
CHORUS
CHORUS
Seemingly
Apparently
Possessed indeed--whether by--
Possessed for sure—whether by—
CASSANDRA
CASSIE
Phoebus! Phoebus!
Phoebus! Phoebus!
Through trampled ashes, blood, and fiery rain,
Through crushed ashes, blood, and burning rain,
Over water seething, and behind the breathing
Over water bubbling, and behind the breathing
War-horse in the darkness--till you rose again,
War horse in the darkness—until you rose again,
Took the helm--took the rein--
Took the lead--took control--
CHORUS
CHORUS
As one that half asleep at dawn recalls
As someone who is half awake at dawn remembers
A night of Horror!
A night of horror!
CASSANDRA
CASSANDRA
Hither, whither, Phoebus? And with whom,
Hither, whither, Phoebus? And with whom,
Leading me, lighting me--
Guiding me, lighting me--
CHORUS
CHORUS
I can answer that--
I can answer that—
CASSANDRA
Cassandra
Down to what slaughter-house!
Down to what slaughterhouse!
Foh! the smell of carnage through the door
Foh! The smell of blood and death coming through the door.
Scares me from it--drags me toward it--
Scares me away from it—pulls me toward it—
Phoebus Apollo! Apollo!
Apollo!
CHORUS
CHORUS
One of the dismal prophet-pack, it seems,
One of the gloomy group of prophets, it seems,
That hunt the trail of blood. But here at fault--
That hunt the trail of blood. But here at fault--
This is no den of slaughter, but the house
This isn't a place for killing, but the house
Of Agamemnon.
Of Agamemnon.
CASSANDRA
CASSANDRA
Down upon the towers,
Down on the towers,
Phantoms of two mangled children hover--and a famished man,
Phantoms of two twisted children linger--and a starving man,
At an empty table glaring, seizes and devours!
At an empty table, glaring, it seizes and devours!
CHORUS
CHORUS
Thyestes and his children! Strange enough
Thyestes and his kids! Strange enough
For any maiden from abroad to know,
For any girl from another country to know,
Or, knowing--
Or, knowing—
CASSANDRA
CASSANDRA
And look! in the chamber below
And look! in the room below
The terrible Woman, listening, watching,
The awful woman, listening, watching,
Under a mask, preparing the blow
Under a mask, getting ready to strike
In the fold of her robe--
In the fold of her robe--
CHORUS
CHORUS
Nay, but again at fault:
No, but still at fault:
For in the tragic story of this House--
For in the tragic story of this House--
Unless, indeed the fatal Helen--
Unless, of course, the fateful Helen—
No woman--
No woman—
CASSANDRA
Cassandra
No Woman--Tisiphone! Daughter
No Woman—Tisiphone! Daughter
Of Tartarus--love-grinning Woman above,
Of Tartarus—smiling Woman above,
Dragon-tailed under--honey-tongued, Harpy-clawed,
Dragon-tailed, honey-tongued, Harpy-clawed,
Into the glittering meshes of slaughter
Into the sparkling traps of death
She wheedles, entices him into the poisonous
She flatters, lures him into the toxic
Fold of the serpent--
Serpent's fold--
CHORUS
CHORUS
Peace, mad woman, peace!
Calm down, crazy lady, calm!
Whose stony lips once open vomit out
Whose stone-cold lips, when opened, spew forth
Such uncouth horrors.
Such rude horrors.
CASSANDRA
CASSANDRA
I tell you the lioness
I’m telling you about the lioness.
Slaughters the Lion asleep; and lifting
Slaughters the lion while it’s asleep; and lifting
Her blood-dripping fangs buried deep in his mane,
Her blood-dripping fangs sunk deep into his hair,
Glaring about her insatiable, bellowing,
Glaring about her greedy yelling,
Bounds hither--Phoebus Apollo, Apollo, Apollo!
Limits here--Apollo, Apollo, Apollo!
Whither have you led me, under night alive with fire,
Whither have you led me, under night alive with fire,
Through the trampled ashes of the city of my sire,
Through the crushed ashes of my father's city,
From my slaughtered kinsmen, fallen throne, insulted shrine,
From my slain relatives, fallen throne, dishonored shrine,
Slave-like to be butchered, the daughter of a royal line!
Slave-like, waiting to be slaughtered, the daughter of a royal lineage!
From Edward Fitzgerald's Version of the 'Agamemnon.'
From Edward Fitzgerald's Version of the 'Agamemnon.'
NURSE
Nurse
Aegisthus to the strangers, that he come
And hear more clearly, as a man from man,
This newly brought report. Before her slaves,
Under set eyes of melancholy cast,
She hid her inner chuckle at the events
That have been brought to pass--too well for her,
But for this house and hearth most miserably,--
As in the tale the strangers clearly told.
He, when he hears and learns the story's gist,
Will joy, I trow, in heart. Ah, wretched me!
How those old troubles, of all sorts made up,
Most hard to bear, in Atreus's palace-halls
Have made my heart full heavy in my breast!
But never have I known a woe like this.
For other ills I bore full patiently,
But as for dear Orestes, my sweet charge,
Whom from his mother I received and nursed . . .
And then the shrill cries rousing me o' nights,
And many and unprofitable toils
For me who bore them. For one needs must rear
The heedless infant like an animal,
(How can it else be?) as his humor serve
For while a child is yet in swaddling clothes,
It speaketh not, if either hunger comes,
Or passing thirst, or lower calls of need;
And children's stomach works its own content.
And I, though I foresaw this, call to mind,
How I was cheated, washing swaddling clothes,
And nurse and laundress did the selfsame work.
I then with these my double handicrafts,
Brought up Orestes for his father dear;
And now, woe's me! I learn that he is dead,
And go to fetch the man that mars this house;
And gladly will he hear these words of mine.
From Plumptre's Translation of 'The Libation-Pourers.'
From Plumptre's Translation of 'The Libation-Pourers.'
Ye who of bloodshed judge this primal cause;
Yea, and in future age shall Aegeus's host
Revere this court of jurors. This the hill
Of Ares, seat of Amazons, their tent,
What time 'gainst Theseus, breathing hate, they came,
Waging fierce battle, and their towers upreared,
A counter-fortress to Acropolis;--
To Ares they did sacrifice, and hence
This rock is titled Areopagus.
Here then shall sacred Awe, to Fear allied,
By day and night my lieges hold from wrong,
Save if themselves do innovate my laws,
If thou with mud, or influx base, bedim
The sparkling water, nought thou'lt find to drink.
Nor Anarchy, nor Tyrant's lawless rule
Commend I to my people's reverence;--
Nor let them banish from their city Fear;
For who 'mong men, uncurbed by fear, is just?
Thus holding Awe in seemly reverence,
A bulwark for your State shall ye possess,
A safeguard to protect your city walls,
Such as no mortals otherwhere can boast,
Neither in Scythia, nor in Pelops's realm.
Behold! This Court august, untouched by bribes,
Sharp to avenge, wakeful for those who sleep,
Establish I, a bulwark to this land.
This charge, extending to all future time,
I give my lieges. Meet it as ye rise,
Assume the pebbles, and decide the cause,
Your oath revering. All hath now been said.
From Miss Swanwick's Translation of 'The Eumenides.'
From Miss Swanwick's Translation of 'The Eumenides.'
AESOP
(Seventh Century B.C.)
BY HARRY THURSTON PECK
ike Homer, the greatest of the world's epic poets, Aesop (Aesopus), the most famous of the world's fabulists, has been regarded by certain scholars as a wholly mythical personage. The many improbable stories that are told about him gain some credence for this theory, which is set forth in detail by the Italian scholar Vico, who says:--"Aesop, regarded philosophically, will be found not to have been an actually existing man, but rather an abstraction representing a class,"--in other words, merely a convenient invention of the later Greeks, who ascribed to him all the fables of which they could find no certain author.
Like Homer, the greatest epic poet in history, Aesop (Aesopus), the most famous fabulist, has been considered by some scholars to be entirely a mythical figure. The many unlikely stories told about him lend some support to this idea, which is elaborated by the Italian scholar Vico. He states: "Aesop, viewed philosophically, will be found not to have been a real person, but rather an abstraction representing a class,"—in other words, simply a useful invention of the later Greeks, who attributed to him all the fables for which they could not identify a definite author.
The only narrative upon which the ancient writers are in the main agreed represents Aesop as living in the seventh century before Christ. As with Homer, so with Aesop, several cities of Asia Minor claimed the honor of having been his birthplace. Born a slave and hideously ugly, his keen wit led his admiring master to set him free; after which he traveled, visiting Athens, where he is said to have told his fable of King Log and King Stork to the citizens who were complaining of the rule of Pisistratus. Still later, having won the favor of King Croesus of Lydia, he was sent by him to Delphi with a gift of money for the citizens of that place; but in the course of a dispute as to its distribution, he was slain by the Delphians, who threw him over a precipice.
The main story that ancient writers mostly agree on says that Aesop lived in the seventh century BC. Just like with Homer, several cities in Asia Minor claimed to be his birthplace. Aesop was born a slave and was quite ugly, but his sharp wit impressed his master so much that he set him free. After that, he traveled and visited Athens, where he supposedly shared his fable of King Log and King Stork with the citizens who were unhappy with Pisistratus’s rule. Later on, after gaining the favor of King Croesus of Lydia, he was sent to Delphi with a gift of money for the citizens there; however, during a dispute over how to distribute the money, he was killed by the Delphians, who threw him off a cliff.
The fables that bore his name seem not to have been committed by him to writing, but for a long time were handed down from generation to generation by oral tradition; so that the same fables are sometimes found quoted in slightly different forms, and we hear of men learning them in conversation rather than from books. They were, however, universally popular. Socrates while in prison amused himself by turning some of them into verse. Aristophanes cites them in his plays; and he tells how certain suitors once tried to win favor of a judge by repeating to him some of the amusing stories of Aesop. The Athenians even erected a statue in his honor. At a later period, the fables were gathered together and published by the Athenian statesman and orator, Demetrius Phalereus, in B.C. 320, and were versified by Babrius (of uncertain date), whose collection is the only one in Greek of which any substantial portion still survives. They were often translated by the Romans, and the Latin version by Phaedrus, the freedman of Augustus Caesar, is still preserved and still used as a school-book. Forty-two of them are likewise found in a Latin work by one Avianus, dating from the fifth century after Christ. During the Middle Ages, when much of the classical literature had been lost or forgotten, Aesop, who was called by the mediaevals "Isopet," was still read in various forms; and in modern times he has served as a model for a great number of imitations, of which the most successful are those in French by Lafontaine and those in English by John Gay.
The fables that carried his name don't seem to have been written down by him, but for a long time they were passed down orally from generation to generation. As a result, the same fables are sometimes quoted in slightly different versions, and we know that people learned them through conversation rather than from books. However, they were extremely popular. Socrates, while in prison, entertained himself by turning some of them into verse. Aristophanes references them in his plays and tells how some suitors once tried to win favor with a judge by sharing some of Aesop's amusing stories. The Athenians even built a statue in his honor. Later, the fables were collected and published by the Athenian statesman and orator Demetrius Phalereus in 320 B.C., and they were turned into verse by Babrius (whose date is uncertain), with his collection being the only substantial Greek version that still survives. They were often translated by the Romans, and the Latin version by Phaedrus, a freedman of Augustus Caesar, has been preserved and is still used as a school book. Forty-two of them can also be found in a Latin work by Avianus, dating from the fifth century A.D. During the Middle Ages, when much of classical literature was lost or forgotten, Aesop, referred to as "Isopet" by medieval readers, was still available in various forms. In modern times, he has inspired many imitations, the most successful being the French versions by Lafontaine and the English versions by John Gay.
Whether or not such a person as Aesop ever lived, and whether or not he actually narrated the fables that are ascribed to him, it is certain that he did not himself invent them, but merely gave them currency in Greece; for they can be shown to have existed long before his time, and in fact to antedate even the beginnings of Hellenic civilization. With some changes of form they are found in the oldest literature of the Chinese; similar stories are preserved on the inscribed Babylonian bricks; and an Egyptian papyrus of about the year 1200 B.C. gives the fable of 'The Lion and the Mouse' in its finished form. Other Aesopic apologues are essentially identical with the Jatakas or Buddhist stories of India, and occur also in the great Sanskrit story-book, the 'Panchatantra,' which is the very oldest monument of Hindu literature.
Whether or not a person named Aesop ever existed, and whether or not he actually told the fables attributed to him, it's clear that he didn't create them himself but just popularized them in Greece; they can be traced back long before his time, even before Hellenic civilization began. With some alterations, they appear in the oldest Chinese literature; similar tales are found on inscribed Babylonian bricks; and an Egyptian papyrus from around 1200 B.C. contains the fable of 'The Lion and the Mouse' in its complete form. Other fables attributed to Aesop are very similar to the Jatakas or Buddhist stories from India, and they are also present in the ancient Sanskrit collection known as the 'Panchatantra,' which is the oldest known work of Hindu literature.
The so-called Aesopic Fables are in fact only a part of the primitive folk-lore, that springs up in prehistoric times, and passes from country to country and from race to race by the process of popular story-telling. They reached Greece, undoubtedly through Egypt and Persia, and even in their present form they still retain certain Oriental, or at any rate non-Hellenic elements, such as the introduction of Eastern animals,--the panther, the peacock, and the ape. They represent the beginnings of conscious literary effort, when man first tried to enforce some maxim of practical wisdom and to teach some useful truth through the fascinating medium of a story. The Fable embodies a half-unconscious desire to give concrete form to an abstract principle, and a childish love for the picturesque and striking, which endows rocks and stones and trees with life, and gives the power of speech to animals.
The so-called Aesopic Fables are actually just a part of the ancient folklore that originated in prehistoric times and spread from one country and culture to another through storytelling. They made their way to Greece, likely via Egypt and Persia, and even in their current form, they still include certain Oriental, or at least non-Greek, elements, such as the introduction of Eastern animals—the panther, the peacock, and the ape. They represent the beginnings of intentional literary effort, when people first tried to convey some practical wisdom and teach valuable truths through engaging stories. The Fable captures a somewhat unconscious desire to express an abstract principle in a tangible way, along with a childlike love for the vivid and striking, which brings rocks, stones, and trees to life and gives animals the ability to speak.
That beasts with the attributes of human beings should figure in these tales involves, from the standpoint of primeval man, only a very slight divergence from probability. In nothing, perhaps, has civilization so changed us as in our mental attitude toward animals. It has fixed a great gulf between us and them--a gulf far greater than that which divided them from our first ancestors. In the early ages of the world, when men lived by the chase, and gnawed the raw flesh of their prey, and slept in lairs amid the jungle, the purely animal virtues were the only ones they knew and exercised. They adored courage and strength, and swiftness and endurance. They respected keenness of scent and vision, and admired cunning. The possession of these qualities was the very condition of existence, and they valued them accordingly; but in each one of them they found their equals, and in fact their superiors, among the brutes. A lion was stronger than the strongest man. The hare was swifter. The eagle was more keen-sighted. The fox was more cunning. Hence, so far from looking down upon the animals from the remotely superior height that a hundred centuries of civilization have erected for us, the primitive savage looked up to the beast, studied his ways, copied him, and went to school to him. The man, then, was not in those days the lord of creation, and the beast was not his servant; but they were almost brothers in the subtle sympathy between them, like that which united Mowgli, the wolf-nursed shikarri, and his hairy brethren, in that most weirdly wonderful of all Mr. Kipling's inventions--the one that carries us back, not as his other stories do, to the India of the cities and the bazaars, of the supercilious tourist and the sleek Babu, but to the older India of unbroken jungle, darkling at noonday through its green mist of tangled leaves, and haunted by memories of the world's long infancy when man and brute crouched close together on the earthy breast of the great mother.
That creatures with human-like traits should appear in these stories reflects, from the perspective of early humans, only a slight departure from what was likely. Perhaps nothing has changed us as much as civilization's impact on our attitude toward animals. It has created a vast divide between us and them—a divide much greater than that which separated them from our primitive ancestors. In the early ages of the world, when people lived by hunting, ate the raw flesh of their catches, and rested in dens in the jungle, the basic animal virtues were all they knew and practiced. They valued courage, strength, speed, and endurance. They respected sharp senses and admired cleverness. Having these traits was essential for survival, and they appreciated them accordingly; however, in each of these areas, they found equals and even superiors among the animals. A lion was stronger than even the strongest man. The hare was faster. The eagle had better eyesight. The fox was more cunning. Therefore, instead of looking down on animals from the elevated position that hundreds of centuries of civilization have given us, the primitive hunter actually looked up to these creatures, observed their behaviors, mimicked them, and learned from them. Back then, man was not the ruler of creation, and the beast was not his servant; instead, they were almost like brothers in the deep connection between them, similar to that which linked Mowgli, the wolf-raised hunter, and his furry siblings, in that most uniquely wondrous of all of Mr. Kipling's creations—one that takes us back, unlike his other stories, to the India of unspoiled jungle, dim at midday through its green mist of tangled foliage, and filled with echoes of the world's distant childhood when man and beast huddled closely together on the earthy lap of the great mother.
The Aesopic Fables, then, are the oldest representative that we have of the literary art of primitive man. The charm that they have always possessed springs in part from their utter simplicity, their naiveté, and their directness; and in part from the fact that their teachings are the teachings of universal experience, and therefore appeal irresistibly to the consciousness of every one who hears them, whether he be savage or scholar, child or sage. They are the literary antipodes of the last great effort of genius and art working upon the same material, and found in Mr. Kipling's Jungle Books. The Fables show only the first stirrings of the literary instinct, the Jungle Stories bring to bear the full development of the fictive art,--creative imagination, psychological insight, brilliantly picturesque description, and the touch of one who is a daring master of vivid language; so that no better theme can be given to a student of literary history than the critical comparison of these two allied forms of composition, representing as they do the two extremes of actual development.
The Aesopic Fables are the earliest example we have of the literary art of primitive people. Their appeal comes partly from their sheer simplicity, innocence, and straightforwardness, and partly from the fact that their lessons reflect universal human experiences, making them resonate with everyone who hears them, whether they're a savage or a scholar, a child or a wise person. They serve as the literary opposite of the last great work of genius and art using the same themes, found in Mr. Kipling's Jungle Books. The Fables only show the initial signs of literary instinct, while the Jungle Stories showcase the full development of narrative art—creative imagination, psychological insight, vibrant descriptions, and the skill of someone who is a bold master of expressive language. Thus, no better subject exists for a student of literary history than the critical comparison of these two related forms of writing, representing the two extremes of genuine development.
The best general account in English of the origin of the Greek Fable is that of Rutherford in the introduction to his 'Babrius' (London, 1883). An excellent special study of the history of the Aesopic Fables is that by Joseph Jacobs in the first volume of his 'Aesop' (London, 1889). The various ancient accounts of Aesop's life are collected by Simrock in 'Aesops Leben' (1864). The best scientific edition of the two hundred and ten fables is that of Halm (Leipzig, 1887). Good disquisitions on their history during the Middle Ages are those of Du Méril in French (Paris, 1854) and Bruno in German (Bamberg, 1892). See also the articles in the present work under the titles 'Babrius,' 'Bidpai,' 'John Gay,' 'Lafontaine,' 'Lokman,' 'Panchatantra,' 'Phaedrus,' 'Reynard the Fox.'
The best general overview in English of the origins of the Greek Fable is by Rutherford in the introduction to his 'Babrius' (London, 1883). An excellent in-depth study of the history of Aesopic Fables is by Joseph Jacobs in the first volume of his 'Aesop' (London, 1889). Various ancient accounts of Aesop's life are compiled by Simrock in 'Aesops Leben' (1864). The best scholarly edition of the two hundred and ten fables is by Halm (Leipzig, 1887). Notable discussions on their history during the Middle Ages include those by Du Méril in French (Paris, 1854) and Bruno in German (Bamberg, 1892). Also, check out the articles in this work under the titles 'Babrius,' 'Bidpai,' 'John Gay,' 'Lafontaine,' 'Lokman,' 'Panchatantra,' 'Phaedrus,' 'Reynard the Fox.'
THE FOX AND THE LION
The first time the Fox saw the Lion, he fell down at his feet, and was ready to die of fear. The second time, he took courage and could even bear to look upon him. The third time, he had the impudence to come up to him, to salute him, and to enter into familiar conversation with him.
The first time the Fox saw the Lion, he collapsed at his feet, almost dying of fear. The second time, he gathered some courage and could manage to look at him. By the third time, he was bold enough to approach him, greet him, and have a casual conversation with him.
THE ASS IN THE LION'S SKIN
An Ass, finding the skin of a Lion, put it on; and, going into the woods and pastures, threw all the flocks and herds into a terrible consternation. At last, meeting his owner, he would have frightened him also; but the good man, seeing his long ears stick out, presently knew him, and with a good cudgel made him sensible that, notwithstanding his being dressed in a Lion's skin, he was really no more than an Ass.
A Donkey found a Lion's skin and put it on. As he wandered through the woods and pastures, he caused panic among all the flocks and herds. Eventually, when he encountered his owner, he tried to scare him too. However, the kind man recognized him immediately because of his long ears and taught him a lesson with a sturdy stick, reminding him that despite wearing a Lion's skin, he was still just a Donkey.
THE ASS EATING THISTLES
An Ass was loaded with good provisions of several sorts, which, in time of harvest, he was carrying into the field for his master and the reapers to dine upon. On the way he met with a fine large thistle, and being very hungry, began to mumble it; which while he was doing, he entered into this reflection:--"How many greedy epicures would think themselves happy, amidst such a variety of delicate viands as I now carry! But to me this bitter, prickly thistle is more savory and relishing than the most exquisite and sumptuous banquet."
An ass was carrying a load of various good provisions to the field for his master and the reapers' lunch during harvest time. On the way, he came across a big thistle and, feeling very hungry, started to munch on it. While he was eating, he thought to himself: "How many greedy food lovers would consider themselves lucky with the wide selection of delicious food I'm carrying! But to me, this bitter, prickly thistle tastes better than the fanciest banquet."
THE WOLF IN SHEEP'S CLOTHING
A Wolf, clothing himself in the skin of a sheep, and getting in among the flock, by this means took the opportunity to devour many of them. At last the shepherd discovered him, and cunningly fastening a rope about his neck, tied him up to a tree which stood hard by. Some other shepherds happening to pass that way, and observing what he was about, drew near, and expressed their admiration at it. "What!" says one of them, "brother, do you make hanging of a sheep?" "No," replied the other, "but I make hanging of a Wolf whenever I catch him, though in the habit and garb of a sheep." Then he showed them their mistake, and they applauded the justice of the execution.
A Wolf, disguised in a sheep's skin, mingled with the flock and seized the chance to eat many of them. Eventually, the shepherd noticed him and cleverly tied a rope around his neck, securing him to a nearby tree. Some other shepherds happened to pass by, saw what was happening, and came closer to admire it. "What!" one of them said, "brother, are you hanging a sheep?" "No," the other replied, "I'm hanging a Wolf whenever I catch him, even if he's dressed like a sheep." Then he explained their mistake, and they praised the fairness of the punishment.
THE COUNTRYMAN AND THE SNAKE
A Villager, in a frosty, snowy winter, found a Snake under a hedge, almost dead with cold. He could not help having a compassion for the poor creature, so brought it home, and laid it upon the hearth, near the fire; but it had not lain there long, before (being revived with the heat) it began to erect itself, and fly at his wife and children, filling the whole cottage with dreadful hissings. The Countryman heard an outcry, and perceiving what the matter was, catched up a mattock and soon dispatched him; upbraiding him at the same time in these words:--"Is this, vile wretch, the reward you make to him that saved your life? Die as you deserve; but a single death is too good for you."
A villager, during a cold, snowy winter, found a snake under a hedge, nearly frozen to death. Feeling compassion for the poor creature, he brought it home and laid it by the fire on the hearth. However, it didn’t take long before the heat revived the snake, and it began to lift itself up and attack his wife and children, filling the whole cottage with terrifying hissing. The villager heard the commotion and, realizing what was happening, grabbed a mattock and quickly killed the snake, scolding it with these words: "Is this, worthless creature, how you repay the one who saved your life? You deserve to die, but a single death is too good for you."
THE BELLY AND THE MEMBERS
In former days, when the Belly and the other parts of the body enjoyed the faculty of speech, and had separate views and designs of their own, each part, it seems, in particular for himself, and in the name of the whole, took exception to the conduct of the Belly, and were resolved to grant him supplies no longer. They said they thought it very hard that he should lead an idle, good-for-nothing life, spending and squandering away, upon his own ungodly guts, all the fruits of their labor; and that, in short, they were resolved, for the future, to strike off his allowance, and let him shift for himself as well as he could. The Hands protested they would not lift up a finger to keep him from starving; and the Mouth wished he might never speak again if he took in the least bit of nourishment for him as long as he lived; and, said the Teeth, may we be rotten if ever we chew a morsel for him for the future. This solemn league and covenant was kept as long as anything of that kind can be kept, which was until each of the rebel members pined away to skin and bone, and could hold out no longer. Then they found there was no doing without the Belly, and that, idle and insignificant as he seemed, he contributed as much to the maintenance and welfare of all the other parts as they did to his.
In the past, when the Belly and other body parts could speak and had their own opinions and plans, each part, particularly for itself and on behalf of the whole, took issue with the Belly's behavior and decided to stop supplying it. They thought it was unfair that he lived a lazy, worthless life, consuming and wasting all the fruits of their labor on his selfish needs. In short, they were determined to cut off his allowance and let him fend for himself as best as he could. The Hands declared they wouldn’t lift a finger to keep him from starving; the Mouth wished he could never speak again if he took even a morsel of food for himself as long as he lived, and the Teeth vowed they would rot before they chewed a single bite for him again. This serious agreement lasted as long as such things typically do, which was until each of the rebellious members became skin and bones and could endure no longer. Then they realized they couldn't manage without the Belly and that, despite seeming idle and insignificant, he contributed just as much to the support and well-being of all the other parts as they did to his.
THE SATYR AND THE TRAVELER
A Satyr, as he was ranging the forest in an exceeding cold, snowy season, met with a Traveler half-starved with the extremity of the weather. He took compassion on him, and kindly invited him home to a warm, comfortable cave he had in the hollow of a rock. As soon as they had entered and sat down, notwithstanding there was a good fire in the place, the chilly Traveler could not forbear blowing his fingers' ends. Upon the Satyr's asking why he did so, he answered, that he did it to warm his hands. The honest sylvan having seen little of the world, admired a man who was master of so valuable a quality as that of blowing heat, and therefore was resolved to entertain him in the best manner he could. He spread the table before him with dried fruits of several sorts; and produced a remnant of cold wine, which as the rigor of the season made very proper, he mulled with some warm spices, infused over the fire, and presented to his shivering guest. But this the Traveler thought fit to blow likewise; and upon the Satyr's demanding a reason why he blowed again, he replied, to cool his dish. This second answer provoked the Satyr's indignation as much as the first had kindled his surprise: so, taking the man by the shoulder, he thrust him out of doors, saying he would have nothing to do with a wretch who had so vile a quality as to blow hot and cold with the same mouth.
A Satyr was wandering through a very cold, snowy forest when he encountered a Traveler who was nearly frozen and starving from the harsh weather. Feeling sympathy, he kindly invited the Traveler to his warm, cozy cave in a rock. Once they entered and sat down, even though there was a nice fire, the chilly Traveler couldn’t help but blow on his fingertips. When the Satyr asked why he was doing that, the Traveler replied that he was trying to warm his hands. The simple Satyr, having seen little of the world, was amazed by a person who possessed such a useful skill as blowing heat, so he decided to host him as best as he could. He set the table with various dried fruits and brought out some leftover cold wine, which he thought was suitable given the cold season. He warmed it with spices over the fire and offered it to his shivering guest. However, the Traveler also chose to blow on the drink, and when the Satyr asked why he was blowing again, he said it was to cool his drink. This second response outraged the Satyr just as the first had surprised him, so he grabbed the Traveler by the shoulder and pushed him outside, saying he wanted nothing to do with someone who could blow both hot and cold with the same mouth.
THE LION AND THE OTHER BEASTS
The Lion and several other beasts entered into an alliance, offensive and defensive, and were to live very sociably together in the forest. One day, having made a sort of an excursion by way of hunting, they took a very fine, large, fat deer, which was divided into four parts; there happening to be then present his Majesty the Lion, and only three others. After the division was made, and the parts were set out, his Majesty, advancing forward some steps and pointing to one of the shares, was pleased to declare himself after the following manner:-- "This I seize and take possession of as my right, which devolves to me, as I am descended by a true, lineal, hereditary succession from the royal family of Lion. That [pointing to the second] I claim by, I think, no unreasonable demand; considering that all the engagements you have with the enemy turn chiefly upon my courage and conduct, and you very well know that wars are too expensive to be carried on without proper supplies. Then [nodding his head toward the third] that I shall take by virtue of my prerogative; to which, I make no question but so dutiful and loyal a people will pay all the deference and regard that I can desire. Now, as for the remaining part, the necessity of our present affairs is so very urgent, our stock so low, and our credit so impaired and weakened, that I must insist upon your granting that, without any hesitation or demur; and hereof fail not at your peril."
The Lion and several other animals formed an alliance, both offensive and defensive, and agreed to live harmoniously together in the forest. One day, after going on a hunting trip, they successfully caught a large, plump deer, which was divided into four pieces; at that time, only his Majesty the Lion and three others were present. Once the division was done and the pieces were laid out, his Majesty stepped forward, pointed to one of the portions, and declared: "I claim this as my right, which naturally falls to me, as I am a true descendant of the royal Lion family. As for that one" (pointing to the second piece), "I believe it’s a reasonable request, given that all our battles rely heavily on my bravery and leadership. You all know that wars are costly and require proper resources. Then" (nodding toward the third piece), "I shall take this by my own privilege; I trust that such dutiful and loyal subjects will show me the respect I deserve. Now, regarding the last piece, our current situation is urgent, our resources are low, and our reputation has suffered, so I must insist that you grant me that portion without any objections; do not ignore this, or it will be at your own risk."
THE ASS AND THE LITTLE DOG
The Ass, observing how great a favorite the little Dog was with his Master, how much caressed and fondled, and fed with good bits at every meal; and for no other reason, as he could perceive, but for skipping and frisking about, wagging his tail, and leaping up into his Master's lap: he was resolved to imitate the same, and see whether such a behavior would not procure him the same favors. Accordingly, the Master was no sooner come home from walking about his fields and gardens, and was seated in his easy-chair, but the Ass, who observed him, came gamboling and braying towards him, in a very awkward manner. The Master could not help laughing aloud at the odd sight. But his jest was soon turned into earnest, when he felt the rough salute of the Ass's fore-feet, who, raising himself upon his hinder legs, pawed against his breast with a most loving air, and would fain have jumped into his lap. The good man, terrified at this outrageous behavior, and unable to endure the weight of so heavy a beast, cried out; upon which, one of his servants running in with a good stick, and laying on heartily upon the bones of the poor Ass, soon convinced him that every one who desires it is not qualified to be a favorite.
The Donkey noticed how much the little Dog was favored by his Master, getting lots of affection, being petted, and treated to tasty bits at every meal. The Donkey figured that it was because the Dog would romp around, wag his tail, and jump into his Master’s lap. So, he decided to copy that behavior and see if it would earn him the same kind of affection. When the Master came home from strolling through his fields and gardens and sat down in his comfy chair, the Donkey, noticing him, came bounding over and braying in a rather clumsy way. The Master couldn’t help but laugh at the funny sight. But his laughter quickly turned serious when the Donkey, trying to get attention, stood on his hind legs and pawed at his chest in a loving manner, attempting to jump into his lap. The poor man, shocked by such wild behavior and unable to handle the weight of such a large animal, shouted out loud. One of his servants rushed in with a sturdy stick and started hitting the Donkey, making it clear that not everyone who wants to be a favorite is suited for it.
THE COUNTRY MOUSE AND THE CITY MOUSE
An honest, plain, sensible Country Mouse is said to have entertained at his hole one day a fine Mouse of the Town. Having formerly been playfellows together, they were old acquaintances, which served as an apology for the visit. However, as master of the house, he thought himself obliged to do the honors of it in all respects, and to make as great a stranger of his guest as he possibly could. In order to do this he set before him a reserve of delicate gray pease and bacon, a dish of fine oatmeal, some parings of new cheese, and, to crown all with a dessert, a remnant of a charming mellow apple. In good manners, he forbore to eat any himself, lest the stranger should not have enough; but that he might seem to bear the other company, sat and nibbled a piece of a wheaten straw very busily. At last, says the spark of the town:--"Old crony, give me leave to be a little free with you: how can you bear to live in this nasty, dirty, melancholy hole here, with nothing but woods, and meadows, and mountains, and rivulets about you? Do not you prefer the conversation of the world to the chirping of birds, and the splendor of a court to the rude aspect of an uncultivated desert? Come, take my word for it, you will find it a change for the better. Never stand considering, but away this moment. Remember, we are not immortal, and therefore have no time to lose. Make sure of to-day, and spend it as agreeably as you can: you know not what may happen to-morrow." In short, these and such like arguments prevailed, and his Country Acquaintance was resolved to go to town that night. So they both set out upon their journey together, proposing to sneak in after the close of the evening. They did so; and about midnight made their entry into a certain great house, where there had been an extraordinary entertainment the day before, and several tit-bits, which some of the servants had purloined, were hid under the seat of a window. The Country Guest was immediately placed in the midst of a rich Persian carpet: and now it was the Courtier's turn to entertain; who indeed acquitted himself in that capacity with the utmost readiness and address, changing the courses as elegantly, and tasting everything first as judiciously, as any clerk of the kitchen. The other sat and enjoyed himself like a delighted epicure, tickled to the last degree with this new turn of his affairs; when on a sudden, a noise of somebody opening the door made them start from their seats, and scuttle in confusion about the dining-room. Our Country Friend, in particular, was ready to die with fear at the barking of a huge mastiff or two, which opened their throats just about the same time, and made the whole house echo. At last, recovering himself:--"Well," says he, "if this be your town-life, much good may you do with it: give me my poor, quiet hole again, with my homely but comfortable gray pease."
A straightforward, sensible Country Mouse once hosted a fancy Town Mouse at his home. They were old friends from their days of playing together, which made his visit more understandable. As the host, the Country Mouse felt he needed to make the guest feel special, so he presented an assortment of treats: some delicate gray peas and bacon, a bowl of fine oatmeal, some scraps of fresh cheese, and to top it off, a leftover slice of a lovely ripe apple. Being polite, he didn’t eat any of the food himself, worried that his guest might not have enough; instead, he pretended to nibble on a piece of wheat straw. Eventually, the Town Mouse said: "Old buddy, can I be frank with you? How can you stand living in this messy, gloomy hole surrounded by nothing but woods, meadows, mountains, and streams? Don’t you prefer the chatter of society to the chirping of birds, and the glamour of the city to the rough look of an untamed countryside? Trust me, it’ll be a change for the better. Don’t hesitate, let’s go right now. Remember, we aren’t immortal, so we can’t waste time. Enjoy today and make the most of it; you never know what tomorrow might bring." In short, these kinds of arguments convinced the Country Mouse, and he decided to head to the city that very night. Both of them set off on their journey, planning to sneak in after dark. They did, and around midnight they entered a large house where there had been a lavish party the previous day, and some leftovers were hidden under a window seat. The Country Mouse was placed right in the middle of a luxurious Persian carpet, and now it was the Town Mouse’s turn to play host. He managed his role excellently, elegantly presenting the dishes and sampling everything first, just like any good kitchen clerk would. The Country Mouse sat back, enjoying himself like a delighted foodie, thrilled with this new experience, when suddenly they heard someone opening the door, and they panicked, scurrying around the dining room in confusion. The Country Mouse, in particular, nearly died from fear at the loud barking of a couple of large mastiffs that erupted at the same moment, echoing throughout the house. Finally, regaining his composure, he said: "Well, if this is what city life is like, you can keep it: I’d rather have my simple, quiet hole back, with my humble but cozy gray peas."
THE DOG AND THE WOLF
A lean, hungry, half-starved Wolf happened, one moonshiny night, to meet with a jolly, plump, well-fed Mastiff; and after the first compliments were passed, says the Wolf:--"You look extremely well. I protest, I think I never saw a more graceful, comely person; but how comes it about, I beseech you, that you should live so much better than I? I may say, without vanity, that I venture fifty times more than you do; and yet I am almost ready to perish with hunger." The Dog answered very bluntly, "Why, you may live as well, if you will do the same for it that I do."--"Indeed? what is that?" says he.--"Why," says the Dog, "only to guard the house a-nights, and keep it from thieves."--"With all my heart," replies the Wolf, "for at present I have but a sorry time of it; and I think to change my hard lodging in the woods, where I endure rain, frost, and snow, for a warm roof over my head, and a bellyful of good victuals, will be no bad bargain."--"True," says the Dog; "therefore you have nothing more to do but to follow me." Now, as they were jogging on together, the Wolf spied a crease in the Dog's neck, and having a strange curiosity, could not forbear asking him what it meant. "Pooh! nothing," says the Dog.--"Nay, but pray--" says the Wolf.--"Why," says the Dog, "if you must know, I am tied up in the daytime, because I am a little fierce, for fear I should bite people, and am only let loose a-nights. But this is done with design to make me sleep a-days, more than anything else, and that I may watch the better in the night-time; for as soon as ever the twilight appears, out I am turned, and may go where I please. Then my master brings me plates of bones from the table with his own hands, and whatever scraps are left by any of the family, all fall to my share; for you must know I am a favorite with everybody. So you see how you are to live. Come, come along: what is the matter with you?"--"No," replied the Wolf, "I beg your pardon: keep your happiness all to yourself. Liberty is the word with me; and I would not be a king upon the terms you mention."
A lean, hungry, half-starved Wolf stumbled upon a cheerful, plump, well-fed Mastiff one moonlit night. After exchanging some polite greetings, the Wolf said, "You look great! Honestly, I've never seen anyone so graceful and good-looking. But I must ask, how do you manage to live so much better than I do? I can say, without being vain, that I take many more risks than you do, yet I'm about to starve." The Dog replied bluntly, "Well, you could live just as well if you did what I do."--"Oh really? What’s that?" asked the Wolf.--"It's simple," said the Dog, "I just guard the house at night and keep it safe from burglars."--"That sounds good to me," replied the Wolf, "because right now I'm having a tough time in the woods. I think trading my rough nights in the rain, frost, and snow for a warm roof and plenty of food would be a great deal."--"True," said the Dog, "so all you have to do is follow me." As they walked together, the Wolf noticed a mark on the Dog’s neck and, curious, asked about it. "Oh, it’s nothing," said the Dog.--"Come on, please tell me," said the Wolf.--"Well," the Dog explained, "the reason I have this is because I’m tied up during the day since I can be a little fierce and might bite someone. I'm only let loose at night. But that’s mainly so I can rest during the day and watch better at night; as soon as it gets dark, I can go wherever I want. My master gives me plates of bones from the table and whatever scraps the family doesn't eat all go to me because I'm a favorite. So you see how you could live. Come on, what’s holding you back?"--"No," replied the Wolf, "I appreciate the offer, but I’d rather keep my freedom. I wouldn’t trade that for all the advantages you mention."
JEAN LOUIS RODOLPHE AGASSIZ
(1807-1873)
t first, when a mere boy, twelve years of age," writes the great Swiss naturalist, "I did what most beginners do. I picked up whatever I could lay my hands on, and tried, by such books and authorities as I had at my command, to find the names of these objects. My highest ambition at that time, was to be able to designate the plants and animals of my native country correctly by a Latin name, and to extend gradually a similar knowledge in its application to the productions of other countries. This seemed to me, in those days, the legitimate aim and proper work of a naturalist. I still possess manuscript volumes in which I entered the names of all the animals and plants with which I became acquainted, and I well remember that I then ardently hoped to acquire the same superficial familiarity with the whole creation. I did not then know how much more important it is to the naturalist to understand the structure of a few animals than to command the whole field of scientific nomenclature. Since I have become a teacher, and have watched the progress of students, I have seen that they all begin in the same way. But how many have grown old in the pursuit, without ever rising to any higher conception of the study of nature, spending their life in the determination of species, and in extending scientific terminology! Long before I went to the university, and before I began to study natural history under the guidance of men who were masters in the science during the early part of this century, I perceived that though nomenclature and classification, as then understood, formed an important part of the study, being, in fact, its technical language, the study of living beings in their natural element was of infinitely greater value. At that age--namely, about fifteen--I spent most of the time I could spare from classical and mathematical studies in hunting the neighboring woods and meadows for birds, insects, and land and fresh-water shells. My room became a little menagerie, while the stone basin under the fountain in our yard was my reservoir for all the fishes I could catch. Indeed, collecting, fishing, and raising caterpillars, from which I reared fresh, beautiful butterflies, were then my chief pastimes. What I know of the habits of the fresh-water fishes of Central Europe I mostly learned at that time; and I may add, that when afterward I obtained access to a large library and could consult the works of Bloch and Lacépède, the only extensive works on fishes then in existence. I wondered that they contained so little about their habits, natural attitudes, and mode of action, with which I was so familiar."
“At first, when I was just a boy of twelve,” writes the great Swiss naturalist, “I did what most beginners do. I picked up anything I could find and tried, using the books and resources I had, to identify those objects. My biggest goal at that time was to correctly label the plants and animals of my home country with their Latin names and to gradually expand my knowledge to include the species from other countries. This seemed to me back then to be the rightful aim and proper work of a naturalist. I still have handwritten volumes where I recorded the names of all the animals and plants I encountered, and I remember eagerly hoping to gain the same basic knowledge about all of nature. I didn’t realize then how much more crucial it is for a naturalist to understand the anatomy of a few animals rather than just learning scientific names. Since becoming a teacher and observing my students’ development, I’ve noticed that they all start out the same way. But how many have aged in this pursuit without ever attaining a deeper understanding of nature, spending their lives determining species and expanding technical terminology! Long before I attended university and began studying natural history under experts in the field from the early part of this century, I realized that while nomenclature and classification were important parts of the study and indeed formed its technical language, studying living beings in their natural habitats was of far greater importance. At that age—around fifteen—I spent most of my free time outside of classical and math studies searching the nearby woods and meadows for birds, insects, and both land and freshwater shells. My room turned into a little menagerie, and the stone basin under the fountain in our yard became my fish tank for all the fish I could catch. Collecting, fishing, and raising caterpillars into fresh, beautiful butterflies were my main pastimes. What I know about the habits of freshwater fish in Central Europe I mostly learned during that time; and I can add that when I later had access to a large library and could consult the works of Bloch and Lacépède, the only extensive books on fish available then, I was surprised to find they included so little about their habits, natural behaviors, and actions, all of which I was already familiar with.”
It is this way of looking at things that gives to Agassiz's writings their literary and popular interest. He was born in Mortier, Canton Fribourg, May 28th, 1807, the son of a clergyman, who sent his gifted son to the Universities of Zürich, Heidelberg, and Munich, where he acquired reputation for his brilliant powers, and entered into the enthusiastic, intellectual, and merry student-life, taking his place in the formal duels, and becoming known as a champion fencer. Agassiz was an influence in every centre that he touched; and in Munich, his room and his laboratory, thick with clouds of smoke from the long-stemmed German pipes, was a gathering-place for the young scientific aspirants, who affectionately called it "The Little Academy." At the age of twenty-two, he had published his 'Fishes of Brazil,' a folio that brought him into immediate recognition. Cuvier, the greatest ichthyologist of his time, to whom the first volume was dedicated, received him as a pupil, and gave to him all the material that he had been collecting during fifteen years for a contemplated work on Fossil Fishes. In Paris Agassiz also won the friendship of Humboldt, who, learning that he stood in need of money, presented him with so generous a sum as to enable the ambitious young naturalist to work with a free and buoyant spirit.
It’s this perspective that makes Agassiz's writings both engaging and relatable. He was born in Mortier, Canton Fribourg, on May 28, 1807, the son of a pastor who sent his talented son to universities in Zürich, Heidelberg, and Munich. There, he gained a reputation for his exceptional abilities and immersed himself in the dynamic, intellectual, and lively student culture, participating in formal duels and becoming a well-known fencer. Agassiz influenced every place he visited, and in Munich, his room and laboratory, filled with smoke from long German pipes, became a hub for young scientists, who endearingly referred to it as "The Little Academy." By the age of twenty-two, he had published 'Fishes of Brazil,' a folio that brought him immediate fame. Cuvier, the leading ichthyologist of his time, to whom the first volume was dedicated, welcomed him as a student and handed over all the materials he had collected for fifteen years for a planned work on Fossil Fishes. In Paris, Agassiz also gained the friendship of Humboldt, who, upon realizing he needed financial support, gave him such a generous amount that it allowed the ambitious young naturalist to work freely and energetically.
His practical career began in 1832, when he was installed at Neufchâtel, from which point he easily studied the Alps. Two years later, after the 'Poissons fossiles' (Fossil Fishes) appeared, he visited England to lecture. Then returning to his picturesque home, he applied himself to original investigation, and through his lectures and publications won honors and degrees. His daring opinions, however, sometimes provoked ardent discussion and angry comment.
His professional career started in 1832 when he took a position in Neufchâtel, which allowed him to study the Alps easily. Two years later, after the release of 'Poissons fossiles' (Fossil Fishes), he traveled to England to give lectures. Upon returning to his beautiful home, he focused on original research and earned honors and degrees through his lectures and publications. However, his bold opinions occasionally sparked intense debates and heated reactions.
Agassiz's passion for investigation frequently led him into dangers that imperiled both life and limb. In the summer of 1841, for example, he was lowered into a deep crevasse bristling with huge stalactites of ice, to reach the heart of a glacier moving at the rate of forty feet a day. While he was observing the blue bands on the glittering ice, he suddenly touched a well of water, and only after great difficulty made his companions understand his signal for rescue. These Alpine experiences are well described by Mrs. Elizabeth Gary Agassiz, and also by Edouard Desors in his 'Séjours dans les Glaciers' (Sojourn among the Glaciers: Neufchâtel, 1844). Interesting particulars of these glacial studies ('Études des Glaciers') were soon issued, and Agassiz received many gifts from lovers of science, among whom was numbered the King of Prussia. His zoölogical and geological investigations were continued, and important works on 'Fossil Mollusks,' 'Tertiary Shells,' and 'Living and Fossil Echinoderms' date from this period.
Agassiz's passion for research often put him in danger that threatened his life and safety. In the summer of 1841, for instance, he was lowered into a deep crevasse filled with large ice stalactites to study the core of a glacier moving at forty feet a day. While he was examining the blue bands on the sparkling ice, he unexpectedly came across a pool of water and, after much effort, managed to signal his companions for help. These Alpine adventures are well documented by Mrs. Elizabeth Gary Agassiz and also by Edouard Desors in his 'Séjours dans les Glaciers' (Sojourn among the Glaciers: Neufchâtel, 1844). Interesting details from these glacial studies ('Études des Glaciers') were published soon after, and Agassiz received many gifts from science enthusiasts, including the King of Prussia. He continued his zoological and geological research, producing significant works on 'Fossil Mollusks,' 'Tertiary Shells,' and 'Living and Fossil Echinoderms' during this time.
He had long desired to visit America, when he realized this wish in 1846 by an arrangement with the Lowell Institute of Boston, where he gave a series of lectures, afterwards repeated in various cities. So attractive did he find the fauna and flora of America, and so vast a field did he perceive here for his individual studies and instruction, that he returned the following year. In 1848 the Prussian government, which had borne the expenses of his scientific mission,--a cruise along our Atlantic coast to study its marine life,--released him from further obligation that he might accept the chair of geology in the Lawrence Scientific School of Harvard University. His cruises, his explorations, and his methods, combined with his attractive personality, gave him unique power as a teacher; and many of his biographers think that of all his gifts, the ability to instruct was the most conspicuous. He needed no text-books, for he went directly to Nature, and did not believe in those technical, dry-as-dust terms which lead to nothing and which are swept away by the next generation. Many noted American men of science remember the awakening influence of his laboratories in Charleston and Cambridge, his museum at Harvard, and his summer school at Penikese Island in Buzzard's Bay, Massachusetts, where natural history was studied under ideal conditions. It was here that he said to his class:--"A laboratory of natural history is a sanctuary where nothing profane should be tolerated." Whittier has left a poem called "The Prayer of Agassiz," describing
He had long wanted to visit America, and he fulfilled this desire in 1846 through an arrangement with the Lowell Institute in Boston, where he gave a series of lectures that were later repeated in various cities. He found the flora and fauna of America so fascinating and saw such a vast opportunity for his individual studies and teaching that he returned the following year. In 1848, the Prussian government, which had covered the expenses of his scientific mission—a cruise along the Atlantic coast to study marine life—released him from further obligations so he could take the chair of geology at the Lawrence Scientific School of Harvard University. His voyages, explorations, and methods, combined with his engaging personality, made him a powerful teacher; many of his biographers believe that his ability to teach was his most notable gift. He didn’t use textbooks, as he went directly to Nature, rejecting the technical, dry terms that lead nowhere and get forgotten by the next generation. Many prominent American scientists remember the inspiring influence of his labs in Charleston and Cambridge, his museum at Harvard, and his summer school on Penikese Island in Buzzard's Bay, Massachusetts, where natural history was studied in ideal conditions. It was here that he told his class: “A laboratory of natural history is a sanctuary where nothing profane should be tolerated.” Whittier wrote a poem called "The Prayer of Agassiz," describing
"The isle of Penikese
"Penikese Island"
Ranged about by sapphire seas."
Surrounded by sapphire seas.
Just as he was realizing two of his ambitions, the establishment of a great museum and a practical school of zoölogy, he died, December 14th, 1873, at his home in Cambridge, and was buried at Mount Auburn beneath pine-trees sent from Switzerland, while a bowlder from the glacier of the Aar was selected to mark his resting-place.
Just as he was achieving two of his dreams, setting up a great museum and a practical school of zoology, he died on December 14, 1873, at his home in Cambridge. He was buried at Mount Auburn under pine trees sent from Switzerland, with a boulder from the glacier of the Aar chosen to mark his grave.
Agassiz was greatly beloved by his pupils and associates, and was identified with the brilliant group--Emerson, Longfellow, Holmes, and Lowell,--each of whom has written of him. Lowell considered his 'Elegy on Agassiz,' written in Florence in 1874, among his best verses; Longfellow wrote a poem for 'The Fiftieth Birthday of Agassiz,' and Holmes 'A Farewell to Agassiz' on his departure for the Andes, whose affectionate and humorous strain thus closes:--
Agassiz was greatly loved by his students and colleagues, and was part of the brilliant circle that included Emerson, Longfellow, Holmes, and Lowell, each of whom has written about him. Lowell considered his "Elegy on Agassiz," written in Florence in 1874, to be among his best poems; Longfellow wrote a poem for "The Fiftieth Birthday of Agassiz," and Holmes wrote "A Farewell to Agassiz" as he left for the Andes, which ends with a fond and humorous tone:--
"Till their glorious raid is o'er,
And they touch our ransomed shore!
Then the welcome of a nation,
With its shout of exultation,
Shall awake the dumb creation,
And the shapes of buried aeons
Join the living creatures' paeans,
While the mighty megalosaurus
Leads the palaeozoic chorus,--
God bless the great Professor,
And the land its proud possessor,--
Bless them now and evermore!"
"Until their glorious raid is over,
And they reach our freed shore!
Then the welcome of a nation,
With its shout of joy,
Shall awaken the silent creation,
And the forms of ancient ages
Join the living creatures' songs,
While the mighty megalosaurus
Leads the Paleozoic choir,--
God bless the great Professor,
And the land's proud owner,--
Bless them now and forever!"
Numerous biographies and monographs of Agassiz exist in many languages, a complete list of which is given in the last published 'Life of Agassiz,' by Jules Marcou (New York and London, 1896), and also in the 'Life of Agassiz,' by Charles F. Holder (New York, 1893). Complete lists of Agassiz's works are also given in these biographies, and these titles show how versatile was his taste and how deep and wide his research. His principal contributions to science are in French and Latin, but his most popular books appeared in English. These include 'The Structure of Animal Life,' 'Methods of Study,' 'Geological Sketches,' and 'Journey in Brazil,' the latter written with Mrs. Agassiz. His 'Contributions to the Natural History of the United States,' planned to be in ten large books, only reached four volumes.
Numerous biographies and monographs about Agassiz are available in many languages, and a complete list is provided in the most recent 'Life of Agassiz' by Jules Marcou (New York and London, 1896) and in 'Life of Agassiz' by Charles F. Holder (New York, 1893). These biographies also contain comprehensive lists of Agassiz's works, which illustrate the versatility of his interests and the depth and breadth of his research. His main contributions to science are in French and Latin, but his most well-known books were published in English. These include 'The Structure of Animal Life,' 'Methods of Study,' 'Geological Sketches,' and 'Journey in Brazil,' the last of which was co-written with Mrs. Agassiz. His 'Contributions to the Natural History of the United States,' which was intended to consist of ten large volumes, only produced four.
In his 'Researches concerning Fossil Fishes,' Agassiz expressed the views that made him a lifelong opponent of the Darwinian theories, although he was a warm friend of Darwin. Considering the demands upon his time as teacher, lecturer, and investigator, the excellence not less than the amount of the great naturalist's work is remarkable, and won such admiration that he was made a member of nearly every scientific society in the world. One of his favorite pastimes was deep-sea dredging, which embraced the excitement of finding strange specimens and studying their singular habits.
In his 'Researches concerning Fossil Fishes,' Agassiz shared his views that made him a lifelong critic of Darwin's theories, even though he was a close friend of Darwin. Given the demands on his time as a teacher, lecturer, and researcher, the quality as well as the quantity of the great naturalist's work is impressive, earning him such respect that he became a member of nearly every scientific society worldwide. One of his favorite pastimes was deep-sea dredging, which included the thrill of discovering unusual specimens and studying their unique behaviors.
Of his love and gift for instructing, Mrs. Agassiz says in her 'Life' (Boston, 1885):--
Of his love and talent for teaching, Mrs. Agassiz mentions in her 'Life' (Boston, 1885):--
"Teaching was a passion with him, and his power over his pupils might be measured by his own enthusiasm. He was, intellectually as well as socially, a democrat in the best sense. He delighted to scatter broadcast the highest results of thought and research, and to adapt them even to the youngest and most uninformed minds. In his later American travels he would talk of glacial phenomena to the driver of a country stage-coach among the mountains, or to some workman splitting rock at the roadside, with as much earnestness as if he had been discussing problems with a brother geologist; he would take the common fisherman into his scientific confidence, telling him the intimate secrets of fish-culture or fish-embryology, till the man in his turn grew enthusiastic and began to pour out information from the stores of his own rough and untaught habits of observation. Agassiz's general faith in the susceptibility of the popular intelligence, however untaught, to the highest truths of nature, was contagious, and he created or developed that in which he believed."
"Teaching was his passion, and his influence over his students was reflected in his enthusiasm. He was, both intellectually and socially, a true democrat. He loved to share the highest achievements of thought and research, adapting them for even the youngest and least informed minds. During his later travels in America, he would engage the driver of a country coach in the mountains about glacial phenomena, or discuss it with a worker splitting rock by the roadside, as earnestly as if he were conversing with a fellow geologist. He would share his scientific insights on fish-culture and fish-embryology with common fishermen, sparking their enthusiasm and prompting them to share their own observations from their untrained experiences. Agassiz's unwavering belief in the ability of ordinary people to grasp the greatest truths of nature was infectious, and he fostered that belief in others."
The following citations exhibit his powers of observation, and that happy method of stating scientific facts which interests the specialist and general reader alike.
The following citations show his keen powers of observation and his effective way of presenting scientific facts, which appeals to both specialists and general readers.
THE SILURIAN BEACH
With what interest do we look upon any relic of early human history! The monument that tells of a civilization whose hieroglyphic records we cannot even decipher, the slightest trace of a nation that vanished and left no sign of its life except the rough tools and utensils buried in the old site of its towns or villages, arouses our imagination and excites our curiosity. Men gaze with awe at the inscription on an ancient Egyptian or Assyrian stone; they hold with reverential touch the yellow parchment-roll whose dim, defaced characters record the meagre learning of a buried nationality; and the announcement that for centuries the tropical forests of Central America have hidden within their tangled growth the ruined homes and temples of a past race, stirs the civilized world with a strange, deep wonder.
With what interest we look at any relic of early human history! The monument that tells of a civilization whose hieroglyphs we can’t even read, the slightest trace of a nation that disappeared and left no sign of its existence except the rough tools and utensils buried in the old sites of its towns or villages, sparks our imagination and piques our curiosity. People gaze in awe at the inscription on an ancient Egyptian or Assyrian stone; they handle with reverent care the yellow parchment-roll whose faded, worn characters record the scant knowledge of a forgotten culture; and the news that for centuries the tropical forests of Central America have concealed within their tangled growth the ruined homes and temples of a past civilization stirs the modern world with a strange, profound wonder.
To me it seems, that to look on the first land that was ever lifted above the wasted waters, to follow the shore where the earliest animals and plants were created when the thought of God first expressed itself in organic forms, to hold in one's hand a bit of stone from an old sea-beach, hardened into rock thousands of centuries ago, and studded with the beings that once crept upon its surface or were stranded there by some retreating wave, is even of deeper interest to men than the relics of their own race, for these things tell more directly of the thoughts and creative acts of God.
To me, it seems that looking at the first land ever raised above the flooded waters, following the coastline where the earliest plants and animals came into being when God's thought first took shape in living forms, and holding a piece of stone from an ancient beach, solidified into rock thousands of years ago, filled with the creatures that once crawled on its surface or were left behind by a receding wave, is even more fascinating to people than the artifacts of their own kind, because these things speak more directly of God's thoughts and creative actions.
The statement that different sets of animals and plants have characterized the successive epochs is often understood as indicating a difference of another kind than that which distinguishes animals now living in different parts of the world. This is a mistake. They are so-called representative types all over the globe, united to each other by structural relations and separated by specific differences of the same kind as those that unite and separate animals of different geological periods. Take, for instance, mud-flats or sandy shores in the same latitudes of Europe and America: we find living on each, animals of the same structural character and of the same general appearance, but with certain specific differences, as of color, size, external appendages, etc. They represent each other on the two continents. The American wolves, foxes, bears, rabbits, are not the same as the European. but those of one continent are as true to their respective types as those of the other; under a somewhat different aspect they represent the same groups of animals. In certain latitudes, or under conditions of nearer proximity, these differences may be less marked. It is well known that there is a great monotony of type, not only among animals and plants but in the human races also, throughout the Arctic regions; and some animals characteristic of the high North reappear under such identical forms in the neighborhood of the snow-fields in lofty mountains, that to trace the difference between the ptarmigans, rabbits, and other gnawing animals of the Alps, for instance, and those of the Arctics, is among the most difficult problems of modern science.
The idea that different groups of animals and plants have defined each era is often misunderstood as suggesting a difference that’s greater than what sets apart animals living in various parts of the world today. This is a misconception. They are representative types found all over the world, connected by structural relationships and separated by specific differences that are similar to those that connect and distinguish animals from different geological periods. For example, look at the mudflats or sandy shores in the same latitudes in Europe and America: we see animals with the same structural traits and general appearance living in both places, but with some specific differences like color, size, external appendages, and so on. They correspond to each other on the two continents. The American wolves, foxes, bears, and rabbits are not identical to their European counterparts, but the animals from one continent adhere to their respective types just as those from the other do; in a slightly different way, they represent the same groups of animals. In certain latitudes or under conditions where they are closer together, these differences might be less noticeable. It’s well known that there's a significant sameness in types, not just among animals and plants but also in human races, throughout the Arctic regions; and some animals typical of the far North appear in such identical forms near the snowfields in high mountains that determining the differences between the ptarmigans, rabbits, and other small mammals of the Alps, for example, and those of the Arctic is one of the most challenging problems in modern science.
And so is it also with the animated world of past ages: in similar deposits of sand, mud, or lime, in adjoining regions of the same geological age, identical remains of animals and plants may be found; while at greater distances, but under similar circumstances, representative species may occur. In very remote regions, however, whether the circumstances be similar or dissimilar, the general aspect of the organic world differs greatly, remoteness in space being thus in some measure an indication of the degree of affinity between different faunae. In deposits of different geological periods immediately following each other, we sometimes find remains of animals and plants so closely allied to those of earlier or later periods that at first sight the specific differences are hardly discernible. The difficulty of solving these questions, and of appreciating correctly the differences and similarities between such closely allied organisms, explains the antagonistic views of many naturalists respecting the range of existence of animals, during longer or shorter geological periods; and the superficial way in which discussions concerning the transition of species are carried on, is mainly owing to an ignorance of the conditions above alluded to. My own personal observation and experience in these matters have led me to the conviction that every geological period has had its own representatives, and that no single species has been repeated in successive ages.
And the same goes for the lively world of past ages: in similar layers of sand, mud, or lime, in neighboring areas of the same geological age, you can find identical remains of animals and plants; while at greater distances, but under similar conditions, representative species may appear. However, in very distant regions, whether the conditions are similar or different, the overall appearance of the organic world varies greatly, with distance indicating, to some extent, how closely different fauna are related. In deposits from different geological periods that follow one another, we sometimes find remains of animals and plants so closely related to those from earlier or later periods that at first glance the specific differences are barely noticeable. The challenge of addressing these questions and correctly understanding the differences and similarities between such closely related organisms explains the conflicting views of many naturalists regarding the duration of existence of animals during longer or shorter geological periods; and the superficial way discussions about species transition are conducted is mainly due to a lack of understanding of the conditions mentioned above. My own personal observations and experiences in these matters have convinced me that each geological period had its own unique representatives, and that no single species has been repeated in successive ages.
The laws regulating the geographical distribution of animals, and their combination into distinct zoölogical provinces called faunae, with definite limits, are very imperfectly understood as yet; but so closely are all things linked together from the beginning till to-day, that I am convinced we shall never find the clew to their meaning till we carry on our investigations in the past and the present simultaneously. The same principle according to which animal and vegetable life is distributed over the surface of the earth now, prevailed in the earliest geological periods. The geological deposits of all times have had their characteristic faunae under various zones, their zoölogical provinces presenting special combinations of animal and vegetable life over certain regions, and their representative types reproducing in different countries, but under similar latitudes, the same groups with specific differences.
The laws that govern how animals are distributed geographically and how they combine into distinct zoological areas called faunae, with set boundaries, are still poorly understood. However, everything is so interconnected from the beginning to now that I believe we won't uncover their true meaning until we explore both the past and the present at the same time. The same principle that determines how animal and plant life is spread across the earth today was also in place in the earliest geological periods. Geological deposits from all times have showcased their unique faunae across different zones, with their zoological regions displaying specific combinations of animal and plant life in certain areas, and their representative types showing similar groups with specific differences in different countries, but at similar latitudes.
Of course, the nearer we approach the beginning of organic life, the less marked do we find the differences to be; and for a very obvious reason. The inequalities of the earth's surface, her mountain-barriers protecting whole continents from the Arctic winds, her open plains exposing others to the full force of the polar blasts, her snug valleys and her lofty heights, her tablelands and rolling prairies, her river-systems and her dry deserts, her cold ocean-currents pouring down from the high North on some of her shores, while warm ones from tropical seas carry their softer influence to others,--in short, all the contrasts in the external configuration of the globe, with the physical conditions attendant upon them, are naturally accompanied by a corresponding variety in animal and vegetable life.
Of course, as we get closer to the beginning of organic life, the differences become less pronounced, and for a very clear reason. The unevenness of the Earth's surface, with its mountain barriers protecting entire continents from Arctic winds, its open plains exposing others to the full force of polar blasts, its cozy valleys and high peaks, its plateaus and rolling prairies, its river systems and arid deserts, and its cold ocean currents flowing down from the North onto some shores while warm currents from tropical seas bring a milder influence to others—basically, all the differences in the Earth's external features, along with the physical conditions that go with them, naturally lead to a corresponding variety in both animal and plant life.
But in the Silurian age, when there were no elevations higher than the Canadian hills, when water covered the face of the earth with the exception of a few isolated portions lifted above the almost universal ocean, how monotonous must have been the conditions of life! And what should we expect to find on those first shores? If we are walking on a sea-beach to-day, we do not look for animals that haunt the forests or roam over the open plains, or for those that live in sheltered valleys or in inland regions or on mountain-heights. We look for Shells, for Mussels and Barnacles, for Crabs, for Shrimps, for Marine Worms, for Star-Fishes and Sea-Urchins, and we may find here and there a fish stranded on the sand or strangled in the sea-weed. Let us remember, then, that in the Silurian period the world, so far as it was raised above the ocean, was a beach; and let us seek there for such creatures as God has made to live on seashores, and not belittle the Creative work, or say that He first scattered the seeds of life in meagre or stinted measure, because we do not find air-breathing animals when there was no fitting atmosphere to feed their lungs, insects with no terrestrial plants to live upon, reptiles without marshes, birds without trees, cattle without grass,--all things, in short, without the essential conditions for their existence....
But during the Silurian age, when there were no elevations higher than the Canadian hills and water covered most of the earth apart from a few isolated areas above the nearly universal ocean, how monotonous life must have been! And what should we expect to find on those first shores? If we walk on a beach today, we don’t look for animals that inhabit forests or roam across open plains, or those that live in sheltered valleys, inland regions, or mountain heights. We look for shells, mussels, barnacles, crabs, shrimp, marine worms, starfish, and sea urchins, and we might occasionally find a fish washed up on the sand or tangled in seaweed. Let's remember that in the Silurian period, the world, as far as it was above the ocean, was a beach; and let’s search there for the creatures created to thrive on seashores, without downplaying the greatness of the Creator's work, or claiming that He first scattered life's seeds in a sparse or limited way, just because we don’t find air-breathing animals when there was no suitable atmosphere for their lungs, insects without terrestrial plants to depend on, reptiles without marshes, birds without trees, or cattle without grass—essentially, everything that lacks the necessary conditions for their existence.
I have spoken of the Silurian beach as if there were but one, not only because I wished to limit my sketch, and to attempt at least to give it the vividness of a special locality, but also because a single such shore will give us as good an idea of the characteristic fauna of the time as if we drew our material from a wider range. There are, however, a great number of parallel ridges belonging to the Silurian and Devonian periods, running from east to west, not only through the State of New York, but far beyond, through the States of Michigan and Wisconsin into Minnesota; one may follow nine or ten such successive shores in unbroken lines, from the neighborhood of Lake Champlain to the Far West. They have all the irregularities of modern seashores, running up to form little bays here, and jutting out in promontories there....
I’ve talked about the Silurian beach as if there’s just one, not only because I wanted to keep my description focused and to try to give it the vividness of a specific place, but also because a single coastline can give us as clear an idea of the characteristic wildlife of that time as if we gathered our information from a broader area. However, there are many parallel ridges from the Silurian and Devonian periods stretching from east to west, not just through New York State, but far beyond, into Michigan and Wisconsin and into Minnesota; you can trace nine or ten of these successive shores in continuous lines, from the Lake Champlain area all the way to the Far West. They have all the same irregularities as today’s coastlines, forming small bays here and sticking out in points there...
Although the early geological periods are more legible in North America, because they are exposed over such extensive tracts of land, yet they have been studied in many other parts of the globe. In Norway, in Germany, in France, in Russia, in Siberia, in Kamchatka, in parts of South America,--in short, wherever the civilization of the white race has extended, Silurian deposits have been observed, and everywhere they bear the same testimony to a profuse and varied creation. The earth was teeming then with life as now; and in whatever corner of its surface the geologist finds the old strata, they hold a dead fauna as numerous as that which lives and moves above it. Nor do we find that there was any gradual increase or decrease of any organic forms at the beginning and close of the successive periods. On the contrary, the opening scenes of every chapter in the world's history have been crowded with life, and its last leaves as full and varied as its first.
Although the early geological periods are clearer in North America due to their extensive exposure across large areas of land, they have also been studied in many other places around the world. In Norway, Germany, France, Russia, Siberia, Kamchatka, and parts of South America—basically, wherever white civilization has spread—Silurian deposits have been found, and they consistently show evidence of a rich and diverse creation. The earth was full of life back then, just as it is now; and no matter where geologists find the ancient layers, they contain a once-living fauna as numerous as the one that exists above it. We don't see any gradual rise or fall in the different kinds of organisms at the beginning or end of these periods. On the contrary, the early moments of every chapter in the planet's history have been filled with life, and its final stages are just as full and diverse as the first.
VOICES
There is a chapter in the Natural History of animals that has hardly been touched upon as yet, and that will be especially interesting with reference to families. The voices of animals have a family character not to be mistaken. All the Canidae bark and howl!--the fox, the wolf, the dog, have the same kind of utterance, though on a somewhat different pitch. All the bears growl, from the white bear of the Arctic snows to the small black bear of the Andes. All the cats meow, from our quiet fireside companion to the lions and tigers and panthers of the forests and jungle. This last may seem a strange assertion; but to any one who has listened critically to their sounds and analyzed their voices, the roar of the lion is but a gigantic meow, bearing about the same proportion to that of a cat as its stately and majestic form does to the smaller, softer, more peaceful aspect of the cat. Yet notwithstanding the difference in their size, who can look at the lion, whether in his more sleepy mood, as he lies curled up in the corner of his cage, or in his fiercer moments of hunger or of rage, without being reminded of a cat? And this is not merely the resemblance of one carnivorous animal to another; for no one was ever reminded of a dog or wolf by a lion.
There’s a chapter in the Natural History of animals that hasn’t been explored much yet, and it will be particularly interesting when discussing family relationships. The sounds of animals have a distinct family resemblance that’s hard to miss. All the Canidae bark and howl! The fox, the wolf, and the dog have similar types of vocalization, though at slightly different pitches. All bears growl, from the white bear of the Arctic to the small black bear of the Andes. All cats meow, from our calm home companion to the lions, tigers, and panthers in the forests and jungles. This might seem like a strange claim; however, for anyone who has listened carefully and analyzed their sounds, the lion's roar is just a massive meow, comparable to the relationship between its grand, majestic form and the smaller, softer, and more tranquil appearance of a domestic cat. Yet, despite the size difference, who can observe the lion—whether in its lazy state, curled up in the corner of its cage, or in its more aggressive moments driven by hunger or rage—without being reminded of a cat? This isn’t just the similarity of one carnivorous animal to another; no one has ever thought of a dog or wolf when seeing a lion.
Again, all the horses and donkeys neigh; for the bray of a donkey is only a harsher neigh, pitched on a different key, it is true, but a sound of the same character--as the donkey himself is but a clumsy and dwarfish horse. All the cows low, from the buffalo roaming the prairie, the musk-ox of the Arctic ice-fields, or the yak of Asia, to the cattle feeding in our pastures.
Again, all the horses and donkeys neigh; the bray of a donkey is just a harsher version of a neigh, set to a different tone, it’s true, but it’s the same kind of sound—just like the donkey himself is nothing more than a clunky and smaller horse. All the cows moo, from the buffalo wandering the prairie, the musk ox of the Arctic ice fields, or the yak of Asia, to the cattle grazing in our fields.
Among the birds, this similarity of voice in families is still more marked. We need only recall the harsh and noisy parrots, so similar in their peculiar utterance. Or, take as an example the web-footed family: Do not all the geese and the innumerable host of ducks quack? Does not every member of the crow family caw, whether it be the jackdaw, the jay, or the magpie, the rook in some green rookery of the Old World, or the crow of our woods, with its long, melancholy caw that seems to make the silence and solitude deeper? Compare all the sweet warblers of the songster family--the nightingales, the thrushes, the mocking-birds, the robins; they differ in the greater or less perfection of their note, but the same kind of voice runs through the whole group.
Among birds, the similarity of vocalizations within families is even more pronounced. Just think of the harsh and loud parrots, which all share a unique way of speaking. Or consider the web-footed family: don’t all the geese and countless ducks quack? Every member of the crow family caws, whether it’s the jackdaw, the jay, the magpie, the rook in a lush rookery of the Old World, or our woods’ crow, with its long, sad caw that seems to make the silence and solitude feel deeper. Compare all the sweet singers in the songbird family—the nightingales, thrushes, mockingbirds, robins; they vary in the quality of their notes, but a similar type of voice connects the entire group.
These affinities of the vocal systems among the animals form a subject well worthy of the deepest study, not only as another character by which to classify the animal kingdom correctly, but as bearing indirectly also on the question of the origin of animals. Can we suppose that characteristics like these have been communicated from one animal to another? When we find that all the members of one zoölogical family, however widely scattered over the surface of the earth, inhabiting different continents and even different hemispheres, speak with one voice, must we not believe that they have originated in the places where they now occur, with all their distinctive peculiarities? Who taught the American thrush to sing like his European relative? He surely did not learn it from his cousin over the waters. Those who would have us believe that all animals originated from common centres and single pairs, and have been thence distributed over the world, will find it difficult to explain the tenacity of such characters, and their recurrence and repetition under circumstances that seem to preclude the possibility of any communication, on any other supposition than that of their creation in the different regions where they are now found. We have much yet to learn, from investigations of this kind, with reference not only to families among animals, but to nationalities among men also....
These similarities in the vocal systems of animals deserve serious study, not just as a way to better classify the animal kingdom, but also because they indirectly relate to the question of animal origins. Can we really think that these traits were passed from one animal to another? When we notice that all members of a single zoological family, no matter how far apart they are on different continents or even in different hemispheres, communicate in a similar way, shouldn't we believe that they developed in the places where they are currently found, along with their unique traits? Who taught the American thrush to sing like its European counterpart? It clearly didn't learn it from its cousin across the ocean. Those who argue that all animals came from common origins and single pairs, and then spread across the world, will struggle to explain the persistence of these traits and their consistent occurrence in conditions that seem to rule out any form of communication, except by the idea that they were created in the specific regions where they exist today. We still have a lot to learn from this kind of research, not just about animal families, but also about nationalities among humans.
The similarity of motion in families is another subject well worth the consideration of the naturalist: the soaring of the birds of prey,--the heavy flapping of the wings in the gallinaceous birds,--the floating of the swallows, with their short cuts and angular turns,--the hopping of the sparrows,--the deliberate walk of the hens and the strut of the cocks,--the waddle of the ducks and geese,--the slow, heavy creeping of the land-turtle,--the graceful flight of the sea-turtle under the water,--the leaping and swimming of the frog,--the swift run of the lizard, like a flash of green or red light in the sunshine,--the lateral undulation of the serpent,--the dart of the pickerel,--the leap of the trout,--the rush of the hawk-moth through the air,--the fluttering flight of the butterfly,--the quivering poise of the humming-bird,--the arrow-like shooting of the squid through the water,--the slow crawling of the snail on the land,--the sideway movement of the sand-crab,--the backward walk of the crawfish,--the almost imperceptible gliding of the sea-anemone over the rock,--the graceful, rapid motion of the Pleurobrachia, with its endless change of curve and spiral. In short, every family of animals has its characteristic action and its peculiar voice; and yet so little is this endless variety of rhythm and cadence both of motion and sound in the organic world understood, that we lack words to express one-half its richness and beauty.
The similarity of movement in families is another topic that deserves the attention of naturalists: the soaring of birds of prey, the heavy flapping of gallinaceous birds' wings, the way swallows float with their quick maneuvers and sharp turns, the hopping of sparrows, the deliberate walking of hens and the strutting of roosters, the waddling of ducks and geese, the slow, heavy crawling of land turtles, the graceful swimming of sea turtles, the jumping and swimming of frogs, the lightning-fast run of lizards that appear as flashes of green or red light in the sun, the side-to-side motion of serpents, the dart of pickerels, the leap of trout, the swift rush of hawk moths through the air, the fluttering flight of butterflies, the quivering stillness of hummingbirds, the arrow-like movement of squids through the water, the slow crawl of snails on land, the sideways motion of sand crabs, the backward movement of crawfish, the almost imperceptible gliding of sea anemones over rocks, and the graceful, rapid motion of Pleurobrachia with its endless curves and spirals. In short, every family of animals has its unique actions and distinct sounds; yet, despite this endless variety of rhythm and flow in both movement and sound in the organic world, we lack the words to convey even half of its richness and beauty.
FORMATION OF CORAL REEFS
For a long time it was supposed that the reef-builders inhabited very deep waters; for they were sometimes brought up upon sounding-lines from a depth of many hundreds or even thousands of feet, and it was taken for granted that they must have had their home where they were found: but the facts recently ascertained respecting the subsidence of ocean-bottoms have shown that the foundation of a coral-wall may have sunk far below the place where it was laid. And it is now proved, beyond a doubt, that no reef-building coral can thrive at a depth of more than fifteen fathoms, though corals of other kinds occur far lower, and that the dead reef-corals, sometimes brought to the surface from much greater depths, are only broken fragments of some reef that has subsided with the bottom on which it was growing. But though fifteen fathoms is the maximum depth at which any reef-builder can prosper, there are many which will not sustain even that degree of pressure; and this fact has, as we shall see, an important influence on the structure of the reef.
For a long time, it was believed that reef-building corals lived in very deep waters; they were sometimes brought up using sounding lines from depths of hundreds or even thousands of feet, leading people to assume they must have originated where they were found. However, recent discoveries about the sinking of ocean floors have shown that the base of a coral wall could have sunk far below where it initially formed. It is now established, without a doubt, that no reef-building coral can thrive at depths greater than fifteen fathoms, even though other types of corals can be found much deeper. The dead reef corals occasionally brought to the surface from much greater depths are merely broken pieces of a reef that has sunk along with the ocean floor it was growing on. Though fifteen fathoms is the deepest depth at which any reef-building coral can thrive, there are many species that can’t withstand even that level of pressure, and this fact, as we will see, significantly affects the structure of the reef.
Imagine now a sloping shore on some tropical coast descending gradually below the surface of the sea. Upon that slope, at a depth of from ten to twelve or fifteen fathoms, and two or three or more miles from the mainland, according to the shelving of the shore, we will suppose that one of those little coral animals, to whom a home in such deep waters is congenial, has established itself. How it happens that such a being, which we know is immovably attached to the ground, and forms the foundation of a solid wall, was ever able to swim freely about in the water till it found a suitable resting-place, I shall explain hereafter, when I say something of the mode of reproduction of these animals. Accept, for the moment, my unsustained assertion, and plant our little coral on this sloping shore, some twelve or fifteen fathoms below the surface of the sea.
Imagine a sloping shore on a tropical coast gradually descending beneath the sea's surface. On that slope, at a depth of about ten to fifteen fathoms and two to three miles from the mainland, depending on how the shore shelves, let's say one of those little coral creatures, which thrives in such deep waters, has settled. How this being, which we know is firmly attached to the ground and creates the foundation of a solid wall, was ever able to swim freely until it found a suitable spot, I'll explain later when I discuss how these animals reproduce. For now, just accept my unproven statement and imagine our little coral on this sloping shore, about twelve or fifteen fathoms below the ocean's surface.
The internal structure of such a coral corresponds to that of the sea-anemone. The body is divided by vertical partitions from top to bottom, leaving open chambers between; while in the centre hangs the digestive cavity, connected by an opening in the bottom with all these chambers. At the top is an aperture serving as a mouth, surrounded by a wreath of hollow tentacles, each one of which connects at its base with one of the chambers, so that all parts of the animal communicate freely with each other. But though the structure of the coral is identical in all its parts with the sea-anemone, it nevertheless presents one important difference. The body of the sea-anemone is soft, while that of the coral is hard.
The internal structure of this coral resembles that of a sea anemone. The body is divided by vertical partitions from top to bottom, creating open chambers in between; in the center hangs the digestive cavity, linked by an opening at the bottom to all these chambers. At the top is an opening that serves as the mouth, surrounded by a ring of hollow tentacles, each connecting at its base to one of the chambers, allowing all parts of the animal to communicate freely with one another. However, even though the structure of the coral is the same in all its parts as the sea anemone, there is one key difference: the body of the sea anemone is soft, while the body of the coral is hard.
It is well known that all animals and plants have the power of appropriating to themselves and assimilating the materials they need, each selecting from the surrounding elements whatever contributes to its well-being. Now, corals possess in an extraordinary degree, the power of assimilating to themselves the lime contained in the salt water around them; and as soon as our little coral is established on a firm foundation, a lime deposit begins to form in all the walls of its body, so that its base, its partitions, and its outer wall, which in the sea-anemone remain always soft, become perfectly solid in the polyp coral, and form a frame as hard as bone.
It’s widely recognized that all animals and plants can take in and use the materials they need, each picking from their environment whatever helps them thrive. Corals have a remarkable ability to absorb the lime found in the salt water around them; once our small coral is anchored on a solid base, a lime deposit starts to build up in all parts of its structure. In polyp corals, this means that its base, partitions, and outer wall—which stay soft in sea anemones—become completely solid, creating a framework as tough as bone.
It may naturally be asked where the lime comes from in the sea which the corals absorb in such quantities. As far as the living corals are concerned the answer is easy, for an immense deal of lime is brought down to the ocean by rivers that wear away the lime deposits through which they pass. The Mississippi, whose course lies through extensive lime regions, brings down yearly lime enough to supply all the animals living in the Gulf of Mexico. But behind this lies a question, not so easily settled, as to the origin of the extensive deposits of limestone found at the very beginning of life upon earth. This problem brings us to the threshold of astronomy; for the base of limestone is metallic in character, susceptible therefore of fusion, and may have formed a part of the materials of our earth, even in an incandescent state, when the worlds were forming. But though this investigation as to the origin of lime does not belong either to the naturalist or the geologist, its suggestion reminds us that the time has come when all the sciences and their results are so intimately connected that no one can be carried on independently of the others. Since the study of the rocks has revealed a crowded life whose records are hoarded within them, the work of the geologist and the naturalist has become one and the same; and at that border-land where the first crust of the earth was condensed out of the igneous mass of materials which formed its earliest condition, their investigation mingles with that of the astronomer, and we cannot trace the limestone in a little coral without going back to the creation of our solar system, when the worlds that compose it were thrown off from a central mass in a gaseous condition.
It’s a natural question to ask where the lime in the sea comes from that corals absorb in such large amounts. For living corals, the answer is straightforward: a huge amount of lime is carried to the ocean by rivers that erode lime deposits along their paths. The Mississippi River, which flows through extensive lime areas, brings down enough lime each year to support all the animals living in the Gulf of Mexico. However, a more complex question arises about the origin of the vast limestone deposits that were present at the very beginnings of life on Earth. This issue leads us to the edge of astronomy, as limestone is metallic in nature and can therefore melt; it may have been part of the materials that formed our planet, even while it was still glowing hot during the formation of the worlds. Although figuring out the origin of lime isn’t strictly within the fields of naturalists or geologists, it suggests that the time has come when all sciences and their findings are so closely interconnected that none can operate in isolation. With the study of rocks unveiling a multitude of life whose records are stored within them, the tasks of geologists and naturalists have merged. At the boundary where the Earth’s first crust solidified from the hot material that formed its earliest state, their research overlaps with that of astronomers. We cannot trace limestone in a small coral without reflecting back to the creation of our solar system, when the planets that make it up were ejected from a central mass while in a gaseous state.
When the coral has become in this way permeated with lime, all parts of the body are rigid, with the exception of the upper margin, the stomach, and the tentacles. The tentacles are soft and waving, projected or drawn in at will; they retain their flexible character through life, and decompose when the animal dies. For this reason the dried specimens of corals preserved in museums do not give us the least idea of the living corals, in which every one of the millions of beings composing such a community is crowned by a waving wreath of white or green or rose-colored tentacles.
When the coral becomes saturated with lime like this, every part of its body is stiff, except for the upper edge, the stomach, and the tentacles. The tentacles are soft and fluttery, extending or retracting at will; they remain flexible throughout their life and break down when the organism dies. Because of this, the dried coral specimens kept in museums give us no real sense of what living corals are like, where each of the millions of individuals in such a community is adorned with a flowing crown of white, green, or pink tentacles.
As soon as the little coral is fairly established and solidly attached to the ground, it begins to bud. This may take place in a variety of ways, dividing at the top or budding from the base or from the sides, till the primitive animal is surrounded by a number of individuals like itself, of which it forms the nucleus, and which now begin to bud in their turn, each one surrounding itself with a numerous progeny, all remaining, however, attached to the parent. Such a community increases till its individuals are numbered by millions, and I have myself counted no less than fourteen millions of individuals in a coral mass of Porites measuring not more than twelve feet in diameter. The so-called coral heads, which make the foundation of a coral wall, and seem by their massive character and regular form especially adapted to give a strong, solid base to the whole structure, are known in our classification as the Astraeans, so named on account of the little [star-shaped] pits crowded upon their surface, each one of which marks the place of a single more or less isolated individual in such a community.
As soon as the little coral gets firmly established and securely attached to the ground, it starts to bud. This can happen in different ways, such as splitting at the top or budding from the base or sides, until the original organism is surrounded by many individuals like itself, forming a central part of the group. These new individuals then begin to bud in turn, each one surrounded by numerous offspring, all staying connected to the parent. This community grows until there are millions of individuals, and I have personally counted at least fourteen million individuals in a coral mass of Porites that was only about twelve feet in diameter. The so-called coral heads, which provide the base for a coral wall and are specially suited by their solid and uniform shape to create a strong foundation for the entire structure, are classified as Astraeans, named for the small [star-shaped] pits crowded on their surface, each marking the spot of a single more or less isolated individual in that community.
Selections used by permission of Houghton, Mifflin & Company, Publishers.
Selections used with permission from Houghton, Mifflin & Company, Publishers.
AGATHIAS
(536-581)
gathas tells us, in his 'Prooemium,' that he was born at Myrina, Asia Minor, that his father's name was Memnonius, and his own profession the law of the Romans and practice in courts of justice. He was born about A.D. 536, and was educated at Alexandria. In Constantinople he studied and practiced his profession, and won his surname of "Scholasticus," a title then given to a lawyer. He died, it is believed, at the age of forty-four or forty-five. He was a Christian, as he testifies in his epigrams. In the sketch of his life prefixed to his works, Niebuhr collates the friendships he himself mentions, with his fellow-poet Paulus Silentiarius, with Theodorus the decemvir, and Macedonius the ex-consul. To these men he dedicated some of his writings.
gathas tells us in his 'Prooemium' that he was born in Myrina, Asia Minor, and that his father's name was Memnonius. His profession was the law of the Romans and working in courts. He was born around A.D. 536 and was educated in Alexandria. In Constantinople, he studied and practiced law, earning the title "Scholasticus," which was given to lawyers at the time. He is believed to have died at the age of forty-four or forty-five. He was a Christian, as he confirms in his epigrams. In the overview of his life that precedes his works, Niebuhr lists the friends he mentions himself, including his fellow-poet Paulus Silentiarius, Theodorus the decemvir, and Macedonius the ex-consul. He dedicated some of his writings to these men.
Of his works, he says in his 'Prooemium' that he wrote in his youth the 'Daphniaca,' a volume of short poems in hexameters, set off with love-tales. His 'Anthology,' or 'Cyclus,' was a collection of poems of early writers, and also compositions of his friend Paulus Silentiarius and others of his time. A number of his epigrams, preserved because they were written before or after his publication of the 'Cyclus,' have come down to us and are contained in the 'Anthologia Graeca.' His principal work is his 'Historia,' which is an account of the conquest of Italy by Narses, of the first war between the Greeks and Franks, of the great earthquakes and plagues, of the war between the Greeks and Persians, and the deeds of Belisarius in his contest with the Huns,--of all that was happening in the world Agathias knew between 553 and 558 A.D., while he was a young man. He tells, for instance, of the rebuilding of the great Church of St. Sophia by Justinian, and he adds:--"If any one who happens to live in some place remote from the city wishes to get a clear notion of every part, as though he were there, let him read what Paulus [Silentiarius] has composed in hexameter verse."
Of his works, he mentions in his 'Prooemium' that he wrote 'Daphniaca,' a collection of short poems in hexameters filled with love stories, during his youth. His 'Anthology,' or 'Cyclus,' was a collection of poems from early writers, as well as pieces by his friend Paulus Silentiarius and others from his time. Several of his epigrams, preserved because they were written before or after he published the 'Cyclus,' have survived and are included in the 'Anthologia Graeca.' His main work is his 'Historia,' which details the conquest of Italy by Narses, the first war between the Greeks and Franks, significant earthquakes and plagues, the war between the Greeks and Persians, and Belisarius's actions against the Huns—all events that Agathias observed between 553 and 558 A.D. while he was still young. He recounts, for example, the rebuilding of the grand Church of St. Sophia by Justinian, and he adds: "If anyone living far from the city wants to understand every part as if they were there, let them read what Paulus [Silentiarius] wrote in hexameter verse."
The history of Agathias is valuable as a chronicle. It shows that the writer had little knowledge of geography, and was not enough of a philosopher to look behind events and trace the causes from which they proceeded. He is merely a simple and honest writer, and his history is a business-like entry of facts. He dwells upon himself and his wishes with a minuteness that might seem self-conscious, but is really naif; and goes so far in his outspokenness as to say that if for the sake of a livelihood he took up another profession, his taste would have led him to devote himself to the Muses and Graces.
The history of Agathias is valuable as a record. It shows that the writer had limited knowledge of geography and wasn't philosophical enough to dig deeper into events and understand their underlying causes. He is just a straightforward and honest writer, and his history is a straightforward account of facts. He focuses on himself and his desires with a detail that might seem self-aware but is actually naive; he even goes as far as to state that if he needed to find a different job for a living, he would have chosen to dedicate himself to the Muses and Graces.
He wrote in the Ionic dialect of his time. The best edition of his 'Historia' is that of Niebuhr (1828). Those of his epigrams preserved in the Greek anthology have not infrequently been turned into English; the happiest translation of all is that of Dryden, in his 'Life of Plutarch.'
He wrote in the Ionic dialect of his time. The best edition of his 'Historia' is by Niebuhr (1828). Many of his epigrams preserved in the Greek anthology have often been translated into English; the best translation is by Dryden, in his 'Life of Plutarch.'
GRACE AGUILAR
(1816-1847)
ifty years ago a Jewish writer of English fiction was a new and interesting figure in English literature. Disraeli, indeed, had flashed into the literary world with 'Coningsby,' that eloquent vindication of the Jewish race. His grandiose 'Tancred' had revealed to an astonished public the strange life of the Desert, of the mysterious vastness whence swept forth the tribes who became the Moors of Spain and the Jews of Palestine. Disraeli, however, stood in no category, and established no precedent. But when Miss Aguilar's stories began to appear, they were eagerly welcomed by a public with whom she had already won reputation and favor as the defender and interpreter of her faith.
Fifty years ago, a Jewish author writing in English was a fresh and intriguing presence in English literature. Disraeli had made a splash in the literary scene with 'Coningsby,' a powerful defense of the Jewish people. His grand 'Tancred' unveiled to a surprised audience the unusual life of the Desert, revealing the mysterious expanse from which emerged the tribes that became the Moors of Spain and the Jews of Palestine. However, Disraeli didn't fit into any category and set no precedent. But when Miss Aguilar's stories started being published, they were enthusiastically embraced by an audience that already saw her as a reputable and favorable defender and interpreter of her faith.
The youngest child of a rich and refined household, Grace Aguilar was born in 1816 at Hackney, near London, of that historic strain of Spanish-Jewish blood which for generations had produced not only beauty and artistic sensibility, but intellect. Her ancestors were refugees from persecution, and in her burned that ardor of faith which persecution kindles. Fragile and sensitive, she was educated at home, by her cultivated father and mother, under whose solicitous training she developed an alarming precocity. At the age of twelve she had written a heroic drama on her favorite hero, Gustavus Vasa. At fourteen she had published a volume of poems. At twenty-four she accomplished her chief work on the Jewish religion, 'The Spirit of Judaism,' a book republished in America with preface and notes by a well-known rabbi, Dr. Isaac Leeser of Philadelphia. Although the orthodox priest found much in the book to criticize, he was forced to commend its ability.--It insists on the importance of the spiritual and moral aspects of the faith delivered to Abraham, and deprecates a superstitious reverence for the mere letter of the law. It presents Judaism as a religion of love, and the Old Testament as the inspiration of the teachings of Jesus. Written more than half a century ago, the book is widely read to-day by students of the Jewish religion.
The youngest child of a wealthy and cultured family, Grace Aguilar was born in 1816 in Hackney, near London, from a historic line of Spanish-Jewish heritage that had for generations produced not just beauty and artistic talent, but also intellect. Her ancestors were refugees from persecution, and within her burned the passion for faith that persecution ignites. Delicate and sensitive, she was educated at home by her cultured parents, under whose careful guidance she developed an alarming precocity. By the age of twelve, she had written a heroic play about her favorite hero, Gustavus Vasa. At fourteen, she published a collection of poems. By twenty-four, she completed her main work on the Jewish religion, 'The Spirit of Judaism,' a book that was republished in America with a preface and notes by the well-known rabbi, Dr. Isaac Leeser of Philadelphia. Although the orthodox priest found much in the book to critique, he was compelled to commend its quality. It emphasizes the importance of the spiritual and moral aspects of the faith given to Abraham and criticizes a superstitious reverence for the literal law. It portrays Judaism as a religion of love and the Old Testament as the inspiration for Jesus’s teachings. Written over fifty years ago, the book is still widely read today by students of the Jewish religion.
Four years later Miss Aguilar published 'The Jewish Faith: Its Spiritual Consolation, Moral Guidance, and Immortal Hope,' and 'The Women of Israel,' a series of essays on Biblical history, which was followed by 'Essays and Miscellanies.' So great was the influence of her writings that the Jewesses of London gave her a public testimonial, and addressed her as "the first woman who had stood forth as the public advocate of the faith of Israel." While on her way to visit a brother then residing at Schwalbach, Germany, she was taken ill at Frankfurt, and died there, at the early age of thirty-one.
Four years later, Miss Aguilar published 'The Jewish Faith: Its Spiritual Consolation, Moral Guidance, and Immortal Hope,' and 'The Women of Israel,' a series of essays on Biblical history, which was followed by 'Essays and Miscellanies.' Her writings had such a significant impact that the Jewish women of London gave her a public acknowledgment and referred to her as "the first woman who had stepped forward as the public advocate of the faith of Israel." While traveling to visit a brother who was living in Schwalbach, Germany, she fell ill in Frankfurt and died there at the young age of thirty-one.
The earliest and the best known of Miss Aguilar's novels is 'Home Influence,' which rapidly passed through thirty editions, and is still a favorite book with young girls. There is little incident in the story, which is the history of the development of character in a household of six or seven young persons of very different endowments and tendencies. It was the fashion of the day to be didactic, and Mrs. Hamilton, from whom the "home influence" radiates, seems to the modern reader somewhat inclined to preach, in season and out of season. But the story is interesting, and the characters are distinctly individualized, while at least one episode is dramatically treated.
The earliest and most well-known of Miss Aguilar's novels is 'Home Influence,' which quickly ran through thirty editions and is still a favorite among young girls. The story has minimal action; it's about the development of character within a household of six or seven young people with very different traits and tendencies. At the time, it was common to include moral lessons, and Mrs. Hamilton, from whom the "home influence" emanates, may come off as a bit preachy to today's readers. However, the story is engaging, the characters are distinctly defined, and at least one episode is portrayed dramatically.
'The Mother's Recompense' is a sequel to 'Home Influence,' wherein the further fortunes of the Hamilton family are so set forth that the wordly-minded reader is driven to the inference that the brilliant marriages of her children are a sensible part of Mrs. Hamilton's "recompense." The story is vividly and agreeably told.
'The Mother's Recompense' is a sequel to 'Home Influence,' where the ongoing story of the Hamilton family is presented in a way that leads the practical reader to conclude that the successful marriages of her children are a fitting part of Mrs. Hamilton's "recompense." The narrative is engagingly and pleasantly written.
Of a different order is 'The Days of Bruce,' a historic romance of the late thirteenth century, which is less historic than romantic, and in whose mirror the rugged chieftain would hardly recognize his angularities.
Of a different kind is 'The Days of Bruce,' a historical romance from the late thirteenth century, which is more about romance than history, and in which the rough chieftain would probably barely recognize his own features.
'The Vale of Cedars' is a historic tale of the persecution of the Jews in Spain under the Inquisition. It is told with intense feeling, with much imagination, and with a strong love of local color. It is said that family traditions are woven into the story. This book, as well as 'Home Influence,' had a wide popularity in a German version.
'The Vale of Cedars' is a historical story about the persecution of Jews in Spain during the Inquisition. It's narrated with deep emotion, plenty of creativity, and a strong appreciation for local culture. Family traditions are believed to be intertwined in the narrative. This book, along with 'Home Influence,' was quite popular in its German version.
In reading Grace Aguilar it is not easy to believe her the contemporary of Currer Bell and George Eliot. Both her manner and her method are earlier. Her lengthy and artificial periods, the rounded and decorative sentences that she puts into the mouths of her characters under the extremest pressure of emotion or suffering, the italics, the sentimentalities, are of another age than the sinewy English and hard sense of 'Jane Eyre' or 'Adam Bede.' Doubtless her peculiar, sheltered training, her delicate health, and a luxuriant imagination that had seldom been measured against the realities of life, account for the old-fashioned air of her work. But however antiquated their form may become, the substance of all her tales is sweet and sound, their charm for young girls is abiding, their atmosphere is pure, and the spirit that inspires them is touched only to fine issues.
Reading Grace Aguilar, it's hard to believe she was a contemporary of Currer Bell and George Eliot. Her style and approach feel earlier than theirs. Her lengthy and artificial sentences, the ornate and decorative language she gives her characters during intense emotions or suffering, the italics, and the sentimental elements belong to another time compared to the robust English and straightforwardness of 'Jane Eyre' or 'Adam Bede.' Her unique, sheltered upbringing, fragile health, and a rich imagination that rarely faced real-life challenges explain the old-fashioned vibe of her work. Yet, despite the outdated style, the essence of all her stories is sweet and solid, they continue to resonate with young girls, the atmosphere is pure, and the spirit that drives them is directed toward noble themes.
The citation from 'The Days of Bruce' illustrates her narrative style; that from 'Woman's Friendship' her habit of disquisition; and the passage from 'Home Influence' her rendering of conversation.
The quote from 'The Days of Bruce' shows her storytelling style; the one from 'Woman's Friendship' showcases her tendency to discuss ideas; and the excerpt from 'Home Influence' highlights her way of presenting dialogue.
THE GREATNESS OF FRIENDSHIP
It is the fashion to deride woman's influence over woman, to laugh at female friendship, to look with scorn on all those who profess it; but perhaps the world at large little knows the effect of this influence,--how often the unformed character of a young, timid, and gentle girl may be influenced for good or evil by the power of an intimate female friend. There is always to me a doubt of the warmth, the strength, and purity of her feelings, when a young girl merges into womanhood, passing over the threshold of actual life, seeking only the admiration of the other sex; watching, pining, for a husband, or lovers, perhaps, and looking down on all female friendship as romance and folly. No young spirit was ever yet satisfied with the love of nature.
It’s trendy to mock the influence women have on each other, to laugh at female friendships, and to look down on those who celebrate it; but maybe the world doesn’t really understand how powerful this influence can be—how the developing character of a young, shy, and gentle girl can be shaped for better or worse by a close female friend. I always question the depth, strength, and purity of her feelings when a young girl transitions into adulthood, stepping into the real world while only seeking the approval of men; yearning, longing for a husband or maybe several romantic interests, viewing all female friendships as silly and naive. No young spirit has ever been fully satisfied by the love of nature alone.
Friendship, or love, gratifies self-love; for it tacitly acknowledges that we must possess some good qualities to attract beyond the mere love of nature. Coleridge justly observes, "that it is well ordered that the amiable and estimable should have a fainter perception of their own qualities than their friends have, otherwise they would love themselves." Now, friendship, or love, permits their doing this unconsciously: mutual affection is a tacit avowal and appreciation of mutual good qualities,--perhaps friendship yet more than love, for the latter is far more an aspiration, a passion, than the former, and influences the permanent character much less. Under the magic of love a girl is generally in a feverish state of excitement, often in a wrong position, deeming herself the goddess, her lover the adorer; whereas it is her will that must bend to his, herself be abnegated for him. Friendship neither permits the former nor demands the latter. It influences silently, often unconsciously; perhaps its power is never known till years afterwards. A girl who stands alone, without acting or feeling friendship, is generally a cold unamiable being, so wrapt in self as to have no room for any person else, except perhaps a lover, whom she only seeks and values as offering his devotion to that same idol, self. Female friendship may be abused, may be but a name for gossip, letter-writing, romance, nay worse, for absolute evil: but that Shakespeare, the mighty wizard of human hearts, thought highly and beautifully of female friendship, we have his exquisite portraits of Rosalind and Celia, Helen and the Countess, undeniably to prove; and if he, who could portray every human passion, every subtle feeling of humanity, from the whelming tempest of love to the fiendish influences of envy and jealousy and hate; from the incomprehensible mystery of Hamlet's wondrous spirit, to the simplicity of the gentle Miranda, the dove-like innocence of Ophelia, who could be crushed by her weight of love, but not reveal it;--if Shakespeare scorned not to picture the sweet influences of female friendship, shall women pass by it as a theme too tame, too idle for their pens?
Friendship, or love, satisfies our self-esteem; it acknowledges that we must have some good qualities to attract others beyond just a basic liking. Coleridge rightly points out that it’s fitting for people who are kind and admirable to have a lesser perception of their own qualities than their friends do; otherwise, they would just love themselves. Now, friendship, or love, allows them to do this without realizing it: mutual affection is a quiet acknowledgment and appreciation of each other's good qualities—perhaps even more so in friendship than in love, since love is more often an aspiration, a passion, than friendship, which influences a person's permanent character much less. In the glow of love, a girl is usually in a state of excited anticipation, sometimes misplacing her position, thinking of herself as the goddess and her lover as the admirer; while in reality, it’s her will that needs to bend to his, with herself being set aside for him. Friendship does not require either of those. It influences quietly, often without awareness; maybe its impact isn’t fully realized until years later. A girl who stands alone, without forming friendships or feelings, is often cold and unlikable, absorbed in herself to the point of having no space for anyone else, except possibly a lover, whom she only seeks and values for his devotion to that same idol, herself. Female friendship can be misused, sometimes just a cover for gossip, letter-writing, romance, or even worse, for harmful behavior. But Shakespeare, the great master of human emotions, thought highly and beautifully of female friendship; his exquisite portrayals of Rosalind and Celia, and Helen and the Countess, undeniably prove this. If he, who could capture every human passion and subtle feeling—from the overwhelming storm of love to the dark influences of envy and jealousy and hate; from the complex mystery of Hamlet's extraordinary spirit to the simplicity of gentle Miranda, and the pure innocence of Ophelia, who was crushed by her love but didn’t reveal it—if Shakespeare didn’t shy away from illustrating the sweet influences of female friendship, should women overlook it as a topic too simple, too trivial for their writing?
THE ORDER OF KNIGHTHOOD
A right noble and glorious scene did the great hall of the palace present the morning which followed this eventful night. The king, surrounded by his highest prelates and nobles, mingling indiscriminately with the high-born dames and maidens of his court, all splendidly attired, occupied the upper part of the hall, the rest of which was crowded by both his military followers and many of the good citizens of Scone, who flocked in great numbers to behold the august ceremony of the day. Two immense oaken doors at the south side of the hall were flung open, and through them was discerned the large space forming the palace yard, prepared as a tilting-ground, where the new-made knights were to prove their skill. The storm had given place to a soft, breezy morning, the cool freshness of which appeared peculiarly grateful from the oppressiveness of the night; light downy clouds sailed over the blue expanse of heaven, tempering without clouding the brilliant rays of the sun. Every face was clothed with smiles, and the loud shouts which hailed the youthful candidates for knighthood, as they severally entered, told well the feeling with which the patriots of Scotland were regarded.
A truly noble and glorious scene awaited in the great hall of the palace the morning after that memorable night. The king, surrounded by his top clergy and nobles, mingled freely with the distinguished ladies and maidens of his court, all dressed in splendid attire, occupying the upper part of the hall. The rest of the space was packed with his military followers and many good citizens of Scone, who gathered in large numbers to witness the grand ceremony of the day. Two massive oak doors at the south side of the hall swung open, revealing the palace yard, which had been set up as a tilting ground where the newly made knights would showcase their skills. The storm had given way to a soft, breezy morning, the cool freshness of which felt especially refreshing after the oppressive night; light, fluffy clouds drifted across the blue sky, softening the brilliant rays of the sun without hiding them. Every face wore a smile, and the loud cheers welcoming the young candidates for knighthood as they entered made it clear how the patriots of Scotland felt about them.
Some twenty youths received the envied honor at the hand of their sovereign this day; but our limits forbid a minute scrutiny of the bearing of any, however well deserving, save of the two whose vigils have already detained us so long. A yet longer and louder shout proclaimed the appearance of the youngest scion of the house of Bruce and his companion. The daring patriotism of Isabella of Buchan had enshrined her in every heart, and so disposed all men towards her children that the name of their traitorous father was forgotten.
About twenty young people received the coveted honor from their ruler today; however, we can't go into detail about anyone, no matter how deserving, except for the two whose stories have already held our attention for so long. An even louder and longer cheer announced the arrival of the youngest member of the Bruce family and his friend. The brave patriotism of Isabella of Buchan had won her a place in everyone’s hearts, and as a result, people had come to regard her children with favor, forgetting their father's treachery.
Led by their godfathers, Nigel by his brother-in-law Sir Christopher Seaton, and Alan by the Earl of Lennox, their swords, which had been blessed by the abbot at the altar, slung round their necks, they advanced up the hall. There was a glow on the cheek of the young Alan, in which pride and modesty were mingled; his step at first was unsteady and his lip was seen to quiver from very bashfulness, as he first glanced round the hall and felt that every eye was turned toward him; but when that glance met his mother's fixed on him, and breathing that might of love that filled her heart, all boyish tremors fled, the calm, staid resolve of manhood took the place of the varying glow upon his cheek, the quivering lip became compressed and firm, and his step faltered not again.
Led by their godfathers—Nigel by his brother-in-law Sir Christopher Seaton, and Alan by the Earl of Lennox—their swords, blessed by the abbot at the altar, hung around their necks as they walked up the hall. There was a flush on the young Alan's cheek, a mix of pride and modesty; his step was initially unsteady and his lip trembled from shyness as he glanced around the hall, feeling every eye on him. But when his gaze met his mother’s, filled with the love that warmed her heart, all his boyish nervousness disappeared. The calm determination of manhood replaced the varied blush on his cheek, his trembling lip became firm, and he no longer faltered in his step.
The cheek of Nigel Bruce was pale, but there was firmness in the glance of his bright eye, and a smile unclouded in its joyance on his lip. The frivolous lightness of the courtier, the mad bravado of knight-errantry, which was not uncommon to the times, indeed, were not there. It was the quiet courage of the resolved warrior, the calm of a spirit at peace with itself, shedding its own high feeling and poetic glory over all around him.
The cheek of Nigel Bruce was pale, but his bright eye had a firm gaze, and his smile was clear and joyful. The lightheartedness of a courtier and the reckless bravado of a knight, common in those times, were certainly missing. Instead, it was the quiet courage of a determined warrior, the calm of a spirit at peace with itself, radiating its own noble feelings and poetic glory to everyone around him.
On reaching the foot of King Robert's throne, both youths knelt and laid their sheathed swords at his feet. Their armor-bearers then approached, and the ceremony of clothing the candidates in steel commenced; the golden spur was fastened on the left foot of each by his respective godfather, while Athol, Hay, and other nobles advanced to do honor to the youths, by aiding in the ceremony. Nor was it warriors alone.
On arriving at the foot of King Robert's throne, both young men knelt and placed their sheathed swords at his feet. Their armor bearers then stepped forward, and the ceremony of dressing the candidates in armor began; the golden spur was attached to the left foot of each by their respective godfathers, while Athol, Hay, and other nobles came forward to honor the young men by assisting in the ceremony. And it wasn’t just warriors.
"Is this permitted, lady?" demanded the king, smiling, as the Countess of Buchan approached the martial group, and, aided by Lennox, fastened the polished cuirass on the form of her son. "Is it permitted for a matron to arm a youthful knight? Is there no maiden to do such inspiring office?"
"Is this allowed, my lady?" asked the king, smiling, as the Countess of Buchan walked up to the group of warriors and, with Lennox's help, secured the shiny armor on her son. "Is it okay for a mother to equip a young knight? Isn't there a maiden who can perform such an inspiring task?"
"Yes, when the knight is one like this, my liege," she answered, in the same tone. "Let a matron arm him, good my liege," she added, sadly: "let a mother's hand enwrap his boyish limbs in steel, a mother's blessing mark him thine and Scotland's, that those who watch his bearing in the battle-field may know who sent him there, may thrill his heart with memories of her who stands alone of her ancestral line, that though he bears the name of Comyn, the blood of Fife flows reddest in his veins!"
"Yes, when the knight is like this, my lord," she replied in the same tone. "Let a woman suit him up, my lord," she added sadly: "let a mother wrap his youthful limbs in armor, a mother's blessing mark him yours and Scotland's, so that those who see him in battle may know who sent him there, may fill his heart with memories of her who stands alone in her family line, that even though he carries the name of Comyn, the blood of Fife flows the strongest in his veins!"
"Arm him and welcome, noble lady," answered the king, and a buzz of approbation ran through the hall; "and may thy noble spirit and dauntless loyalty inspire him: we shall not need a trusty follower while such as he are around us. Yet, in very deed, my youthful knight must have a lady fair for whom he tilts to-day. Come hither, Isoline, thou lookest verily inclined to envy thy sweet friend her office, and nothing loth to have a loyal knight thyself. Come, come, my pretty one, no blushing now. Lennox, guide those tiny hands aright."
"Arm him and welcome, noble lady," replied the king, and a murmur of approval filled the hall; "may your noble spirit and fearless loyalty inspire him: we won't need a loyal follower while he’s around us. But truly, my young knight needs a fair lady for whom he will compete today. Come here, Isoline, you look quite jealous of your sweet friend’s role and not at all averse to having a loyal knight for yourself. Come on, my lovely one, no blushing now. Lennox, help those little hands along."
Laughing and blushing, Isoline, the daughter of Lady Campbell, a sister of the Bruce, a graceful child of some thirteen summers, advanced nothing loth, to obey her royal uncle's summons; and an arch smile of real enjoyment irresistibly stole over the countenance of Alan, dispersing the emotion his mother's words produced.
Laughing and blushing, Isoline, the daughter of Lady Campbell, a sister of the Bruce, a graceful girl of around thirteen, stepped forward willingly to answer her royal uncle's call; an amused smile of genuine enjoyment spread across Alan's face, lifting the mood created by his mother's words.
"Nay, tremble not, sweet one," the king continued, in a lower and yet kinder tone, as he turned from the one youth to the other, and observed that Agnes, overpowered by emotion, had scarcely power to perform her part, despite the whispered words of encouraging affection Nigel murmured in her ear. One by one the cuirass and shoulder-pieces, the greaves and gauntlets, the gorget and brassards, the joints of which were so beautifully burnished that they shone as mirrors, and so flexible that every limb had its free use, enveloped those manly forms. Their swords once again girt to their sides, and once more kneeling, the king descended from his throne, alternately dubbing them knight in the name of God, St. Michael, and St. George.
"Nah, don't be afraid, sweet one," the king said gently, his tone softer as he turned from one young man to the other. He noticed that Agnes, overwhelmed with emotion, could barely fulfill her role, despite the encouraging whispers of affection that Nigel was murmuring in her ear. One by one, they put on the breastplate and shoulder pads, the shin guards and gloves, the neck armor and arm plates, all beautifully polished to shine like mirrors and so flexible that every limb could move freely. With their swords fastened to their sides again, they knelt once more. The king stepped down from his throne, formally dubbing them knights in the name of God, St. Michael, and St. George.
THE CULPRIT AND THE JUDGE
Mrs. Hamilton was seated at one of the tables on the dais nearest the oriel window, the light from which fell on her, giving her figure--though she was seated naturally enough in one of the large maroon-velvet oaken chairs--an unusual effect of dignity and command, and impressing the terrified beholder with such a sensation of awe that had her life depended on it, she could not for that one minute have gone forward; and even when desired to do so by the words "I desired your presence, Ellen, because I wished to speak to you: come here without any more delay,"--how she walked the whole length of that interminable room, and stood facing her aunt, she never knew.
Mrs. Hamilton was sitting at one of the tables on the raised platform nearest the oriel window, with the light streaming in and illuminating her. Even though she was seated comfortably in one of the large maroon-velvet oak chairs, she had an unusual air of dignity and authority that left those looking at her feeling terrified and in awe. If her life had depended on it, she wouldn’t have been able to move for that moment. Even when she was asked, “I wanted your presence, Ellen, because I needed to speak to you: come here without any more delay,” she had no idea how she walked the entire length of that endless room and stood facing her aunt.
Mrs. Hamilton for a full minute did not speak, but she fixed that searching look, to which we have once before alluded, upon Ellen's face; and then said, in a tone which, though very low and calm, expressed as much as that earnest look:--
Mrs. Hamilton didn’t speak for a full minute, but she locked that intense gaze, which we have mentioned before, on Ellen's face; and then said, in a tone that, while very quiet and composed, conveyed as much as that sincere look:--
"Ellen! is it necessary for me to tell you why you are here--necessary to produce the proof that my words are right, and that you have been influenced by the fearful effects of some unconfessed and most heinous sin? Little did I dream its nature."
"Ellen! Do I really need to explain why you’re here—why I have to show you that I’m right, and that you have been affected by the terrible impact of some hidden and awful sin? I had no idea what it was."
For a moment Ellen stood as turned to stone, as white and rigid--the next she had sunk down with a wild, bitter cry, at Mrs. Hamilton's feet, and buried her face in her hands.
For a moment, Ellen stood frozen, pale and stiff—then she sank down at Mrs. Hamilton's feet with a wild, bitter cry and buried her face in her hands.
"Is it true--can it be true--that you, offspring of my own sister; dear to me, cherished by me as my own child--you have been the guilty one to appropriate, and conceal the appropriation of money, which has been a source of distress by its loss, and the suspicion thence proceeding, for the last seven weeks?--that you could listen to your uncle's words, absolving his whole household as incapable of a deed which was actual theft, and yet, by neither word nor sign, betray remorse or guilt?--could behold the innocent suffering, the fearful misery of suspicion, loss of character, without the power of clearing himself, and stand calmly, heedlessly by--only proving by your hardened and rebellious temper that all was not right within--Ellen, can this be true?"
"Is it true—can it really be true—that you, the child of my own sister; someone I care for deeply, as if you were my own child—are the one who took and hid money, which has caused so much distress over its loss and the resulting suspicion for the last seven weeks?—that you could hear your uncle saying that his entire household is incapable of such a crime, which is actual theft, and yet not show any sign of remorse or guilt?—could witness the innocent suffering, the terrible misery caused by suspicion, the loss of reputation, without being able to clear his name, and stand there calmly, thoughtlessly watching—only showing through your hardened and defiant attitude that something was seriously wrong inside—Ellen, can this really be true?"
"Yes!" was the reply, but with such a fearful effort that her slight frame shook as with an ague: "thank God that it is known! I dared not bring down the punishment on myself; but I can bear it."
"Yes!" was the reply, but with such a fearful effort that her slight frame shook as if with a chill: "thank God that it's known! I couldn’t bring that punishment on myself; but I can handle it."
"This is mere mockery, Ellen: how dare I believe even this poor evidence of repentance, with the recollection of your past conduct? What were the notes you found?"
"This is just mockery, Ellen: how can I believe even this weak sign of remorse, given what I remember of your past behavior? What were the notes you found?"
Ellen named them.
Ellen gave them names.
"Where are they?--This is but one, and the smallest."
"Where are they?—This is just one, and the smallest."
Ellen's answer was scarcely audible.
Ellen's response was barely audible.
"Used them--and for what?"
"Used them—so for what?"
There was no answer; neither then nor when Mrs. Hamilton sternly reiterated the question. She then demanded:--
There was no answer; not then nor when Mrs. Hamilton firmly repeated the question. She then insisted:--
"How long have they been in your possession?"
"How long have you had them?"
"Five or six weeks;" but the reply was so tremulous it carried no conviction with it.
"Five or six weeks;" but the answer was so shaky that it didn't convince anyone.
"Since Robert told his story to your uncle, or before?"
"Was it since Robert shared his story with your uncle, or before that?"
"Before."
"Prior."
"Then your last answer was a falsehood, Ellen: it is full seven weeks since my husband addressed the household on the subject. You could not have so miscounted time, with such a deed to date by. Where did you find them?"
"Then your last answer was a lie, Ellen: it’s been seven full weeks since my husband talked to the household about this. You couldn’t have miscounted time so badly, with such a serious matter to keep track of. Where did you find them?"
Ellen described the spot.
Ellen pointed out the spot.
"And what business had you there? You know that neither you nor your cousins are ever allowed to go that way to Mrs. Langford's cottage, and more especially alone. If you wanted to see her, why did you not go the usual way? And when was this?--you must remember the exact day. Your memory is not in general so treacherous."
"And what were you doing there? You know that you and your cousins are never allowed to go that way to Mrs. Langford's cottage, especially not alone. If you wanted to see her, why didn’t you take the usual route? And when did this happen? You need to remember the exact day. Your memory usually isn’t this unreliable."
Again Ellen was silent.
Ellen was quiet again.
"Have you forgotten it?"
"Did you forget it?"
She crouched lower at her aunt's feet, but the answer was audible--"No."
She crouched down lower at her aunt's feet, but the answer was clear--"No."
"Then answer me, Ellen, this moment, and distinctly: for what purpose were you seeking Mrs. Langford's cottage by that forbidden path, and when?"
"Then answer me, Ellen, right now, and clearly: what were you looking for at Mrs. Langford's cottage along that forbidden path, and when?"
"I wanted money, and I went to ask her to take my trinkets--my watch, if it must be--and dispose of them as I had read of others doing, as miserable as I was; and the wind blew the notes to my very hand, and I used them. I was mad then; I have been mad since, I believe: but I would have returned the whole amount to Robert if I could have but parted with my trinkets in time."
"I wanted money, so I went to ask her to sell my little possessions—my watch, if necessary—and get rid of them like I had read about others doing, as desperate as I was; and the wind blew the bills right into my hand, and I used them. I was crazy back then; I think I’ve been crazy ever since: but I would have given back the whole amount to Robert if I could have just sold my things in time."
To describe the tone of utter despair, the recklessness as to the effect her words would produce, is impossible. Every word increased Mrs. Hamilton's bewilderment and misery. To suppose that Ellen did not feel was folly. It was the very depth of wretchedness which was crushing her to earth, but every answered and unanswered question but deepened the mystery, and rendered her judge's task more difficult.
Describing the tone of complete hopelessness and the disregard for how her words would affect others is impossible. Every word just added to Mrs. Hamilton's confusion and sadness. To think that Ellen wasn't affected was foolish. It was the sheer depth of her despair that was bringing her down, yet every question, whether answered or not, only added to the mystery and made the judge's job harder.
"And when was this, Ellen? I will have no more evasion--tell me the exact day."
"And when did this happen, Ellen? I won’t accept any more dodging—tell me the exact day."
But she asked in vain. Ellen remained moveless and silent as the dead.
But she asked in vain. Ellen stayed completely still and silent like a corpse.
After several minutes Mrs. Hamilton removed her hands from her face, and compelling her to lift up her head, gazed searchingly on her death-like countenance for some moments in utter silence, and then said, in a tone that Ellen never in her life forgot:--
After a few minutes, Mrs. Hamilton took her hands away from her face and, urging her to lift her head, stared intently at her deathly pale face in complete silence. Then she spoke in a tone that Ellen would never forget for the rest of her life:—
"You cannot imagine, Ellen, that this half confession will either satisfy me, or in the smallest degree redeem your sin. One, and one only path is open to you; for all that you have said and left unsaid but deepens your apparent guilt, and so blackens your conduct, that I can scarcely believe I am addressing the child I so loved--and could still so love, if but one real sign be given of remorse and penitence--one hope of returning truth. But that sign, that hope, can only be a full confession. Terrible as is the guilt of appropriating so large a sum, granted it came by the merest chance into your hand; dark as is the additional sin of concealment when an innocent person was suffering--something still darker, more terrible, must be concealed behind it, or you would not, could not, continue thus obdurately silent. I can believe that under some heavy pressure of misery, some strong excitement, the sum might have been used without thought, and that fear might have prevented the confession of anything so dreadful; but what was this heavy necessity for money, this strong excitement? What fearful and mysterious difficulties have you been led into to call for either? Tell me the truth, Ellen, the whole truth; let me have some hope of saving you and myself the misery of publicly declaring you the guilty one, and so proving Robert's innocence. Tell me what difficulty, what misery so maddened you, as to demand the disposal of your trinkets. If there be the least excuse, the smallest possibility of your obtaining in time forgiveness, I will grant it. I will not believe you so utterly fallen. I will do all I can to remove error, and yet to prevent suffering; but to win this, I must have a full confession--every question that I put to you must be clearly and satisfactorily answered, and so bring back the only comfort to yourself, and hope to me. Will you do this, Ellen?"
"You can't imagine, Ellen, that this half-hearted confession will satisfy me or redeem your wrongdoing in any way. There's only one way forward for you; everything you’ve said and left unsaid only deepens your apparent guilt and tarnishes your actions, making it hard for me to believe I’m talking to the child I once loved—and could still love if you showed even a hint of remorse and regret—one glimmer of returning honesty. But that hint, that glimmer, can only come from a complete confession. As terrible as it is to take such a large amount of money, even if it came to you purely by chance; as dark as your additional sin of hiding it is while an innocent person suffers—there must be something even darker and more terrible behind it, or you wouldn’t be so stubbornly silent. I can imagine that under some extreme pressure or intense emotion, the money might have been spent thoughtlessly, and that fear could have stopped you from confessing such a dreadful act; but what was this heavy need for money, this strong emotion? What frightening and mysterious troubles have you found yourself in to necessitate either? Tell me the truth, Ellen, the whole truth; let me have some hope of saving both you and myself from the misery of publicly declaring you the guilty one, and thus proving Robert's innocence. Tell me what trouble, what distress drove you to sell your belongings. If there's even the slightest justification, the smallest chance of earning forgiveness in time, I will grant it. I refuse to believe you’ve fallen so far. I will do everything I can to clear up any misunderstandings and to avoid suffering; but to accomplish this, I need a complete confession—every question I ask must be answered clearly and satisfactorily, bringing back not just comfort for you, but hope for me. Will you do this, Ellen?"
"Oh that I could!" was the reply in such bitter anguish, Mrs. Hamilton actually shuddered. "But I cannot--must not--dare not. Aunt Emmeline, hate me; condemn me to the severest, sharpest suffering; I wish for it, pine for it: you cannot loathe me more than I do myself, but do not--do not speak to me in these kind tones--I cannot bear them. It was because I knew what a wretch I am, that I have so shunned you. I was not worthy to be with you; oh, sentence me at once! I dare not answer as you wish."
"Oh, how I wish I could!" was the reply, filled with deep anguish, that made Mrs. Hamilton shudder. "But I can’t—mustn’t—won’t dare to. Aunt Emmeline, hate me; condemn me to the worst suffering imaginable; I long for it, crave it: you couldn’t despise me more than I despise myself, but please—please don’t speak to me in such kind tones—I can’t handle it. It’s because I know what a terrible person I am that I’ve kept my distance from you. I’m not worthy to be around you; oh, just pass judgment on me already! I can’t respond the way you want me to."
"Dare not!" repeated Mrs. Hamilton, more and more bewildered; and to conceal the emotion Ellen's wild words and agonized manner had produced, adopting a greater sternness.
"Dare not!" repeated Mrs. Hamilton, increasingly confused; and to hide the impact of Ellen's frantic words and distressed demeanor, she took on a harsher tone.
"You dare commit a sin, from which the lowest of my household would shrink in horror, and yet tell me you dare not make the only atonement, give me the only proof of real penitence I demand. This is a weak and wicked subterfuge, Ellen, and will not pass with me. There can be no reason for this fearful obduracy, not even the consciousness of greater guilt, for I promise forgiveness, if it be possible, on the sole condition of a full confession. Once more, will you speak? Your hardihood will be utterly useless, for you cannot hope to conquer me; and if you permit me to leave you with your conduct still clothed in this impenetrable mystery, you will compel me to adopt measures to subdue that defying spirit, which will expose you and myself to intense suffering, but which must force submission at last."
"You dare to commit a sin that even the lowest member of my household would be appalled by, and yet you tell me you can't make the one atonement I require, the only proof of true remorse I ask for. This is a weak and wicked excuse, Ellen, and I won't accept it. There’s no reason for this stubbornness, not even the awareness of greater guilt, because I promise forgiveness, if it's possible, on the condition of a complete confession. So once more, will you speak? Your boldness will be completely useless, because you can't hope to overpower me; and if you let me leave without understanding your actions, still shrouded in this impenetrable mystery, you will force me to take measures to break that defiant spirit, which will lead to intense suffering for both of us, but which must ultimately result in your submission."
"You cannot inflict more than I have endured the last seven weeks," murmured Ellen, almost inarticulately. "I have borne that; I can bear the rest."
"You can't do more to me than what I've gone through in the last seven weeks," Ellen murmured, her voice barely understandable. "I've dealt with that; I can handle the rest."
"Then you will not answer? You are resolved not to tell me the day on which you found that money, the use to which it was applied, the reason of your choosing that forbidden path, permitting me to believe you guilty of heavier sins than may be the case in reality. Listen to me, Ellen; it is more than time this interview should cease; but I will give you one chance more. It is now half-past seven,"--she took the watch from her neck, and laid it on the table--"I will remain here one-half hour longer: by that time this sinful temper may have passed away, and you will consent to give me the confession I demand. I cannot believe you so altered in two months as to choose obduracy and misery, when pardon, and in time confidence and love, are offered in their stead. Get up from that crouching posture; it can be but mock humility, and so only aggravates your sin."
"Are you not going to answer? You've decided not to tell me the day you found that money, how you used it, or why you chose that forbidden path, letting me think you're guilty of worse sins than might actually be the case. Listen to me, Ellen; it’s time for this conversation to end, but I’ll give you one more chance. It’s now 7:30,"—she took the watch from around her neck and placed it on the table—"I will stay here for another half hour: by then, this sinful attitude may have faded, and you might agree to give me the confession I’m asking for. I can’t believe you’ve changed so much in two months that you’d choose stubbornness and misery when forgiveness, and eventually trust and love, are offered instead. Stand up from that crouching position; it can only be false humility, which only worsens your sin."
Ellen rose slowly and painfully, and seating herself at the table some distance from her aunt, leaned her arms upon it, and buried her face within them. Never before and never after did half an hour appear so interminable to either Mrs. Hamilton or Ellen. It was well for the firmness of the former, perhaps, that she could not read the heart of that young girl, even if the cause of its anguish had been still concealed. Again and again did the wild longing, turning her actually faint and sick with its agony, come over her to reveal the whole, to ask but rest and mercy for herself, pardon and security for Edward: but then, clear as if held before her in letters of fire, she read every word of her brother's desperate letter, particularly "Breathe it to my uncle or aunt--for if she knows it he will--and you will never see me more." Her mother, pallid as death, seemed to stand before her, freezing confession on her heart and lips, looking at her threateningly, as she had so often seen her, as if the very thought were guilt. The rapidly advancing twilight, the large and lonely room, all added to that fearful illusion; and if Ellen did succeed in praying it was with desperate fervor for strength not to betray her brother. If ever there were a martyr spirit, it was enshrined in that young, frail form.
Ellen got up slowly and with difficulty. She sat down at the table a little way from her aunt, rested her arms on it, and buried her face in them. For both Mrs. Hamilton and Ellen, that half hour felt endless. It was probably better for Mrs. Hamilton's composure that she couldn’t understand the turmoil in the young girl's heart, even if the reason for her pain was still hidden. Again and again, the intense desire to confess overwhelmed Ellen, making her feel faint and sick with the intensity of it. She wanted to ask for mercy for herself, and forgiveness and safety for Edward. But then, as if it were written in bold letters before her, she recalled every word of her brother's desperate letter, especially "Don't tell my uncle or aunt—because if she knows, he will—and you will never see me again." Her mother, pale as a ghost, seemed to appear before her, freezing her ability to confess with a piercing gaze, just as Ellen had often seen her, making the mere thought feel like a crime. The deepening twilight and the empty room only added to the suffocating feeling. If Ellen managed to pray, it was with a desperate fervor for the strength to protect her brother. If there ever was a martyr's spirit, it resided in that young, delicate form.
"Aunt Emmeline, Aunt Emmeline, speak to me but one word--only one word of kindness before you go. I do not ask for mercy--there can be none for such a wretch as I am; I will bear without one complaint, one murmur, all you may inflict--you cannot be too severe. Nothing can be such agony as the utter loss of your affection; I thought, the last two months, that I feared you so much that it was all fear, no love: but now, now that you know my sin, it has all, all come back to make me still more wretched." And before Mrs. Hamilton could prevent, or was in the least aware of her intention, Ellen had obtained possession of one of her hands, and was covering it with kisses, while her whole frame shook with those convulsed, but completely tearless sobs.
"Aunt Emmeline, Aunt Emmeline, just say one word to me—only one kind word before you leave. I'm not asking for mercy—there’s none for someone as terrible as I am; I’ll endure everything you throw at me without a single complaint or whimper—you can’t be too harsh. Nothing could hurt more than completely losing your love; for the past two months, I thought I was so afraid of you that it was all fear, no love at all: but now, now that you know my wrongdoing, it’s all come rushing back, making me even more miserable." And before Mrs. Hamilton could stop her or even realized what she was doing, Ellen had grabbed one of her hands and was covering it with kisses, her whole body shaking with those convulsed, but completely tearless sobs.
"Will you confess, Ellen, if I stay? Will you give me the proof that it is such agony to lose my affection, that you do love me as you profess, and that it is only one sin which has so changed you? One word, and, tardy as it is, I will listen, and it I can, forgive."
"Will you admit it, Ellen, if I stick around? Will you show me that it really hurts to lose my love, that you truly love me as you say, and that it’s just one mistake that has changed you so much? Just one word, and even though it’s late, I’ll listen, and if I can, I’ll forgive."
Ellen made no answer, and Mrs. Hamilton's newly raised hopes vanished; she waited full two or three minutes, then gently disengaged her hand and dress from Ellen's still convulsive grasp; the door closed, with a sullen, seemingly unwilling sound, and Ellen was alone. She remained in the same posture, the same spot, till a vague, cold terror so took possession of her, that the room seemed filled with ghostly shapes, and all the articles of furniture suddenly transformed to things of life; and springing up, with the wild, fleet step of fear, she paused not till she found herself in her own room, where, flinging herself on her bed, she buried her face on her pillow, to shut out every object--oh, how she longed to shut out thought!
Ellen didn't respond, and Mrs. Hamilton's hopes faded away; she waited for about two or three minutes, then gently pulled her hand and dress away from Ellen's still tight grip. The door closed with a heavy, reluctant sound, and Ellen was left alone. She stayed in the same position, in the same place, until a vague, chilling fear overwhelmed her, making the room feel filled with ghostly figures, and all the furniture suddenly seemed alive. Then, springing up with the frantic, quick movements of fear, she didn’t stop until she found herself in her own room, where she threw herself onto her bed, burying her face in her pillow to block out everything—oh, how she wished she could block out her thoughts!
WILLIAM HARRISON AINSWORTH
(1805-1882)
n the year 1881, at a commemorative dinner given to her native novelist by the city of Manchester, it was announced that the public library contained two hundred and fifty volumes of his works, which passed through seven thousand six hundred and sixty hands annually, so that his stories were read at the rate of twenty volumes a day throughout the year. This exceptional prophet, who was thus not without honor in his own country, was the son of a prosperous attorney, and was himself destined to the bar. But he detested the law and he loved letters, and before he was twenty he had helped to edit a paper, had written essays, a story, and a play,--none of which, fortunately for him, survive,--and had gone to London, ostensibly to read in a lawyer's office, and really to spin his web of fiction whenever opportunity offered. Chance connected the fortunes of young Ainsworth with periodical literature, where most of his early work appeared. His first important tale was 'Rookwood,' published in 1834. This describes the fortunes of a family of Yorkshire gentry in the last century; but its real interest lies in an episode which includes certain experiences of the notorious highwayman, Dick Turpin, and his furious ride to outrun the hue and cry. Sporting England was enraptured with the dash and breathlessness of this adventure, and the novelist's fame was established.
In 1881, during a celebration dinner honoring her native novelist in Manchester, it was announced that the public library held two hundred and fifty volumes of his works, which were read by over seven thousand six hundred people each year, meaning his stories were consumed at a rate of twenty volumes a day all year round. This exceptional writer, who was not without recognition in his own country, was the son of a successful lawyer and was himself expected to follow in his father's legal footsteps. However, he hated the law and loved literature. Before turning twenty, he had helped edit a magazine, written essays, a story, and a play—none of which, fortunately for him, remain—and had moved to London, supposedly to work in a lawyer's office, but in reality to weave his fiction whenever he could. Luck brought young Ainsworth into the world of periodical literature, where most of his early work was published. His first significant story, 'Rookwood,' came out in 1834. It tells the tale of a Yorkshire gentry family from the previous century, but its main attraction lies in a scene featuring the infamous highwayman, Dick Turpin, and his frantic ride to escape capture. Sporting England was captivated by the thrill and excitement of this adventure, solidifying the novelist's fame.
His second romance, 'Crichton,' appeared in 1836. The hero of this tale is the brilliant Scottish gentleman whose handsome person, extraordinary scholarship, great accomplishments, courage, eloquence, subtlety, and achievement gained him the sobriquet of "The Admirable." The chief scenes are laid in Paris at the time of Catherine de' Medici's rule and Henry III.'s reign, when the air was full of intrigue and conspiracy, and when religious quarrels were not more bitter and dangerous than political wrangles. The inscrutable king, the devout Queen Louise of Lorraine, the scheming queen-mother, and Marguerite of Valois, half saint, half profligate, a pearl of beauty and grace; Henry of Navarre, ready to buy his Paris with sword or mass; well-known great nobles, priests, astrologers, learned doctors, foreign potentates, ambassadors, pilgrims, and poisoners,--pass before the reader's eye. The pictures of student life, at a time when all the world swarmed to the great schools of Paris, serve to explain the hero and the period.
His second novel, 'Crichton,' came out in 1836. The protagonist of this story is a brilliant Scottish gentleman whose good looks, exceptional intelligence, impressive skills, bravery, eloquence, cleverness, and accomplishments earned him the nickname "The Admirable." The main events take place in Paris during the reign of Catherine de' Medici and Henry III, a time filled with intrigue and conspiracy, where religious conflicts were just as fierce and perilous as political struggles. The enigmatic king, the devout Queen Louise of Lorraine, the manipulative queen-mother, and Marguerite of Valois, who embodies both saintliness and debauchery, are depicted as a paragon of beauty and grace. Henry of Navarre, willing to conquer Paris with either a sword or a prayer; and a host of notable nobles, priests, astrologers, learned doctors, foreign rulers, ambassadors, pilgrims, and poisoners all come to life for the reader. The portrayals of student life during an era when everyone flocked to the prestigious schools of Paris provide context for both the hero and the time period.
When, in 1839, Dickens resigned the editorship of Bentley's Miscellany, Ainsworth succeeded him. "The new whip," wrote the old one afterward, "having mounted the box, drove straight to Newgate. He there took in Jack Sheppard, and Cruikshank the artist; and aided by that very vulgar but very wonderful draughtsman, he made an effective story of the burglar's and housebreaker's life." Everybody read the story, and most persons cried out against so ignoble a hero, so mean a history, and so misdirected a literary energy. The author himself seems not to have been proud of the success which sold thousands of copies of an unworthy book, and placed a dramatic version of its vulgar adventures on the stage of eight theatres at once. He turned his back on this profitable field to produce, in rapid succession, 'Guy Fawkes,' a tale of the famous Gunpowder Plot; 'The Tower of London,' a story of the Princess Elizabeth, the reign of Queen Mary, and the melancholy episode of Lady Jane Grey's brief glory; 'Old Saint Paul,' a story of the time of Charles II., which contains the history of the Plague and of the Great Fire; 'The Miser's Daughter'; 'Windsor Castle,' whose chief characters are Katharine of Aragon, Anne Boleyn, Cardinal Wolsey, and Henry the Eighth; 'St. James,' a tale of the court of Queen Anne; 'The Lancashire Witches'; 'The Star-Chamber,' a historical story of the time of Charles I.; 'The Constable of the Tower'; 'The Lord Mayor of London'; 'Cardinal Pole,' which deals with the court and times of Philip and Mary; 'John Law,' a story of the great Mississippi Bubble; 'Tower Hill,' whose heroine is the luckless Catharine Howard; 'The Spanish Match,' a story of the romantic pilgrimage of Prince Charles and "Steenie" Buckingham to Spain for the fruitless wooing of the Spanish Princess; and at least ten other romances, many of them in three volumes, all appearing between 1840 and 1873. Two of these were published simultaneously, in serial form; and no year passed without its book, to the end of the novelist's long life.
When, in 1839, Dickens stepped down as the editor of Bentley's Miscellany, Ainsworth took over. "The new guy," the old one wrote later, "having taken the position, drove straight to Newgate. There, he picked up Jack Sheppard and the artist Cruikshank; and with the help of that very crude but very talented illustrator, he created a compelling story about the life of a burglar and a housebreaker." Everyone read the story, and most people criticized such an unworthy hero, such a petty history, and such a misguided use of literary talent. The author himself didn’t seem to take pride in the success that sold thousands of copies of such a mediocre book and brought a dramatic adaptation of its vulgar adventures to the stage of eight theaters at once. He turned away from this lucrative path to quickly produce 'Guy Fawkes,' a tale about the famous Gunpowder Plot; 'The Tower of London,' a story of Princess Elizabeth, Queen Mary's reign, and the sad episode of Lady Jane Grey's brief glory; 'Old Saint Paul,' a narrative set during the time of Charles II., covering the Plague and the Great Fire; 'The Miser's Daughter'; 'Windsor Castle,' featuring main characters like Katharine of Aragon, Anne Boleyn, Cardinal Wolsey, and Henry the Eighth; 'St. James,' a story about Queen Anne's court; 'The Lancashire Witches'; 'The Star-Chamber,' a historical tale from the time of Charles I.; 'The Constable of the Tower'; 'The Lord Mayor of London'; 'Cardinal Pole,' which explores the court and times of Philip and Mary; 'John Law,' a story about the great Mississippi Bubble; 'Tower Hill,' whose heroine is the unfortunate Catharine Howard; 'The Spanish Match,' which tells the romantic story of Prince Charles and "Steenie" Buckingham's fruitless wooing of the Spanish Princess in Spain; and at least ten other romances, many in three volumes, all published between 1840 and 1873. Two of these were released simultaneously in serialized form, and not a year went by without a new book, right up to the end of the novelist's long life.
Whatever the twentieth century may say to Ainsworth's historic romances, many of them have found high favor in the past. Concerning 'Crichton,' so good a critic as "Father Prout" wrote:--"Indeed, I scarcely know any of the so-called historical novels of this frivolous generation which has altogether so graphically reproduced the spirit and character of the time as this daring and dashing portraiture of the young Scot and his contemporaries." The author of 'Waverley' praised more than one of the romances, saying that they were written in his own vein. Even Maginn, the satirical, thought that the novelist was doing excellent service to history in making Englishmen understand how full of comedy and tragedy were the old streets and the old buildings of London. And if Ainsworth the writer received some buffetings, Ainsworth the man seems to have been universally loved and approved. All the literary men of his time were his cordial friends. Scott wrote for him 'The Bonnets of Bonnie Dundee,' and objected to being paid. Dickens was eager to serve him. Talfourd, Barham, Hood, Howitt, James, Jerrold, delighted in his society. At dinner-parties and in country-houses he was a favorite guest. Thus, easy in circumstances, surrounded by affection, happy in the labor of his choice, passed the long life of the upright and kindly English gentleman who spent fifty industrious years in recording the annals of tragedy, wretchedness, and crime.
Whatever the twentieth century may think of Ainsworth's historical romances, many of them were highly regarded in the past. Regarding 'Crichton,' a respected critic like "Father Prout" wrote: "I hardly know any of the so-called historical novels of this frivolous generation that has captured the spirit and character of the time as vividly as this bold and striking portrayal of the young Scot and his peers." The author of 'Waverley' praised several of the romances, noting they were written in his own style. Even Maginn, the satirist, believed that the novelist was helping history by making English people understand how filled with comedy and tragedy the old streets and buildings of London were. While Ainsworth the writer faced some criticism, Ainsworth the man seems to have been universally liked and admired. All the literary figures of his time were his warm friends. Scott wrote 'The Bonnets of Bonnie Dundee' for him and didn’t want to be paid. Dickens was eager to help him. Talfourd, Barham, Hood, Howitt, James, and Jerrold enjoyed his company. At dinner parties and in country houses, he was a popular guest. Thus, living comfortably, surrounded by affection, and happy in his chosen work, passed the long life of the good and kind English gentleman who spent fifty productive years documenting stories of tragedy, misery, and crime.
THE STUDENTS OF PARIS
Toward the close of Wednesday, the 4th of February, 1579, a vast assemblage of scholars was collected before the Gothic gateway of the ancient College of Navarre. So numerous was this concourse, that it not merely blocked up the area in front of the renowned seminary in question, but extended far down the Rue de la Montagne Sainte-Généviève, in which it is situated. Never had such a disorderly rout been brought together since the days of the uproar in 1557, when the predecessors of these turbulent students took up arms, marched in a body to the Pré-aux-Clercs, set fire to three houses in the vicinity, and slew a sergeant of the guard, who vainly endeavored to restrain their fury. Their last election of a rector, Messire Adrien d'Amboise,--pater eruditionum, as he is described in his epitaph, when the same body congregated within the cloisters of the Mathurins, and thence proceeded, in tumultuous array, to the church of Saint Louis, in the isle of the same name,--had been nothing to it. Every scholastic hive sent forth its drones. Sorbonne, and Montaigu, Cluny, Harcourt, the Four Nations, and a host of minor establishments--in all, amounting to forty-two--each added its swarms; and a pretty buzzing they created! The fair of Saint-Germain had only commenced the day before; but though its festivities were to continue until Palm Sunday, and though it was the constant resort of the scholars, who committed, during their days of carnival, ten thousand excesses, it was now absolutely deserted.
Toward the end of Wednesday, February 4, 1579, a huge crowd of scholars gathered in front of the Gothic gateway of the ancient College of Navarre. There were so many people that it not only blocked the area in front of the famous seminary but stretched far down the Rue de la Montagne Sainte-Généviève where it’s located. Never had such a chaotic gathering been seen since the uproar in 1557, when the predecessors of these unruly students took up arms, marched together to the Pré-aux-Clercs, set fire to three nearby houses, and killed a guard who tried in vain to stop them. Their last election of a rector, Messire Adrien d'Amboise—referred to as pater eruditionum in his epitaph—when the same group gathered in the cloisters of the Mathurins and then marched in tumultuous fashion to the church of Saint Louis on the namesake island, had been nothing compared to this. Every academic hive sent out its drones. Sorbonne, Montaigu, Cluny, Harcourt, the Four Nations, and a host of smaller institutions—totaling forty-two—each contributed to this swarm; and what a commotion they made! The fair of Saint-Germain had only begun the day before; but although its festivities were set to continue until Palm Sunday and it was a popular hangout for scholars, who indulged in countless excesses during carnival time, it was now completely deserted.
The Pomme-de-Pin, the Castel, the Magdaleine, and the Mule, those "capital caverns," celebrated in Pantagruel's conference with the Limosin student, which has conferred upon them an immortality like that of our own hostel, the Mermaid, were wholly neglected; the dice-box was laid aside for the nonce; and the well-used cards were thrust into the doublets of these thirsty tipplers of the schools.
The Pomme-de-Pin, the Castel, the Magdaleine, and the Mule, those "famous hangouts," made legendary in Pantagruel's talk with the Limosin student, which has given them a lasting fame like our own place, the Mermaid, were completely ignored; the dice were put away for the moment; and the well-worn cards were tucked into the jackets of these thirsty scholars.
But not alone did the crowd consist of the brawler, the gambler, the bully, and the debauchee, though these, it must be confessed, predominated. It was a grand medley of all sects and classes. The modest demeanor of the retiring, pale-browed student was contrasted with the ferocious aspect and reckless bearing of his immediate neighbor, whose appearance was little better than that of a bravo. The grave theologian and embryo ecclesiastic were placed in juxtaposition with the scoffing and licentious acolyte; while the lawyer in posse, and the law-breaker in esse, were numbered among a group whose pursuits were those of violence and fraud.
But the crowd was made up not just of the fighter, the gambler, the bully, and the party animal, although it has to be said that those types were most common. It was a huge mix of people from all backgrounds and classes. The shy, pale student stood in stark contrast to the aggressive and reckless guy next to him, who looked little better than a thug. The serious theologian and aspiring clergyman were lined up next to the mocking and immoral acolyte; meanwhile, the wannabe lawyer and the actual lawbreaker were part of a group focused on violence and deception.
Various as were the characters that composed it, not less diversified were the costumes of this heterogeneous assemblage. Subject to no particular regulations as to dress, or rather openly infracting them, if any such were attempted to be enforced--each scholar, to whatever college he belonged, attired himself in such garments as best suited his taste or his finances. Taking it altogether, the mob was neither remarkable for the fashion, nor the cleanliness of the apparel of its members.
The characters in this group were diverse, and so were their outfits. With no specific dress code to follow, or openly disregarding any attempts to enforce one, each student, no matter which college they were from, wore whatever clothes they liked or could afford. Overall, the crowd wasn't known for the style or cleanliness of their clothing.
From Rabelais we learn that the passion of play was so strongly implanted in the students of his day, that they would frequently stake the points of their doublets at tric-trac or troumadame; and but little improvement had taken place in their morals or manners some half-century afterward. The buckle at their girdle--the mantle on their shoulders--the shirt to their back--often stood the hazard of the die; and hence it not unfrequently happened, that a rusty pourpoint and ragged chaussés were all the covering which the luckless dicers could enumerate, owing, no doubt, "to the extreme rarity and penury of money in their pouches."
From Rabelais, we learn that the love of playing games was so deeply rooted in the students of his time that they often wagered their doublets while playing tric-trac or troumadame; and there wasn’t much improvement in their morals or behavior half a century later. The buckle on their belts—the cloak on their shoulders—the shirt on their backs—often faced the risk of the dice; and so it frequently happened that a worn-out pourpoint and tattered chaussés were all that the unlucky gamblers could claim, probably due to "the extreme rarity and lack of money in their pockets."
Round or square caps, hoods and cloaks of black, gray, or other sombre hue, were, however, the prevalent garb of the members of the university; but here and there might be seen some gayer specimen of the tribe, whose broad-brimmed, high-crowned felt hat and flaunting feather; whose puffed-out sleeves and exaggerated ruff--with starched plaits of such amplitude that they had been not inappropriately named plats de Saint Jean-Baptiste, from the resemblance which the wearer's head bore to that of the saint, when deposited in the charger of the daughter of Herodias--were intended to ape the leading mode of the elegant court of their sovereign, Henri Trois.
Round or square caps, hoods, and cloaks in black, gray, or other dark colors were the main attire of the university members. However, you could occasionally spot a more colorful version from the group, sporting a wide-brimmed, tall felt hat with a flashy feather; billowy sleeves and an exaggerated ruff—with starched pleats so large they were fittingly called plats de Saint Jean-Baptiste, resembling the head of the saint when placed in the dish of Herodias's daughter—aimed to mimic the latest fashion from the elegant court of their ruler, Henri Trois.
To such an extent had these insolent youngsters carried their license of imitation that certain of their members, fresh from the fair of Saint-Germain, and not wholly unacquainted with the hippocras of the sutlers crowding its mart, wore around their throats enormous collars of paper, cut in rivalry of the legitimate plaits of muslin, and bore in their hands long hollow sticks from which they discharged peas and other missiles, in imitation of the sarbacanes or pea-shooters then in vogue with the monarch and his favorites.
To such a degree had these arrogant kids taken their freedom to imitate that some of them, just back from the fair at Saint-Germain and somewhat familiar with the sweet wine sold by the vendors there, wore huge paper collars around their necks, trying to compete with the real muslin ones, and carried long hollow sticks from which they shot peas and other projectiles, mimicking the sarbacanes or pea-shooters that were popular with the king and his favorites.
Thus fantastically tricked out, on that same day--nay, only a few hours before, and at the fair above mentioned--had these facetious wights, with more merriment than discretion, ventured to exhibit themselves before the cortege of Henri, and to exclaim loud enough to reach the ears of royalty, "à la fraise on connoit le veau!" a piece of pleasantry for which they subsequently paid dear.
Thus dressed up in a ridiculous way, on that same day—actually, just a few hours earlier, at the fair I mentioned—these funny guys, with more humor than common sense, dared to show themselves in front of Henri's procession and shouted loud enough for the royal ears, "à la fraise on connoit le veau!" a joke for which they later paid a high price.
Notwithstanding its shabby appearance in detail, the general effect of this scholastic rabble was striking and picturesque. The thick mustaches and pointed beards with which the lips and chins of most of them were decorated, gave to their physiognomies a manly and determined air, fully borne out by their unrestrained carriage and deportment. To a man, almost all were armed with a tough vine-wood bludgeon, called in their language an estoc volant, tipped and shod with steel--a weapon fully understood by them, and rendered, by their dexterity in the use of it, formidable to their adversaries. Not a few carried at their girdles the short rapier, so celebrated in their duels and brawls, or concealed within their bosom a poniard or a two-edged knife.
Despite its rough details, the overall look of this group of scholars was striking and lively. The thick mustaches and pointed beards that adorned most of their faces gave them a masculine and determined look, which was reflected in their bold stance and behavior. Almost all of them carried a tough vine-wood club, called an estoc volant in their language, tipped and reinforced with steel—a weapon they mastered and used skillfully, making them formidable to their opponents. Many of them also wore a short rapier at their side, famous for its role in their duels and fights, or hid a dagger or a double-edged knife in their clothing.
The scholars of Paris have ever been a turbulent and ungovernable race; and at the period of which this history treats, and indeed long before, were little better than a licensed horde of robbers, consisting of a pack of idle and wayward youths drafted from all parts of Europe, as well as from the remoter provinces of their own nation. There was little in common between the mass of students and their brethren, excepting the fellowship resulting from the universal license in which all indulged. Hence their thousand combats among themselves--combats almost invariably attended with fatal consequences--and which the heads of the university found it impossible to check.
The scholars of Paris have always been a restless and uncontrollable bunch; during the time this story takes place, and even long before, they were hardly more than a group of licensed thieves, made up of a bunch of idle and unpredictable young people from all over Europe, as well as from the more distant provinces of their own country. There was little in common between the mass of students and their peers, aside from the camaraderie that came from the universal freedom everyone enjoyed. This led to their countless fights among themselves—fights that almost always ended in serious injury or death—and which the university leaders found impossible to stop.
Their own scanty resources, eked out by what little they could derive from beggary or robbery, formed their chief subsistence; for many of them were positive mendicants, and were so denominated: and being possessed of a sanctuary within their own quarters, to which they could at convenience retire, they submitted to the constraint of no laws except those enforced within the jurisdiction of the university, and hesitated at no means of enriching themselves at the expense of their neighbors. Hence the frequent warfare waged between them and the brethren of Saint-Germain des Prés, whose monastic domains adjoined their territories, and whose meadows were the constant battleground of their skirmishes; according to Dulaure--"presque toujours un théâtre de tumulte, de galanterie, de combats, de duels, de débauches et de sédition." Hence their sanguinary conflicts with the good citizens of Paris, to whom they were wholly obnoxious, and who occasionally repaid their aggressions with interest. In 1407 two of their number, convicted of assassination and robbery, were condemned to the gibbet, and the sentence was carried into execution; but so great was the uproar occasioned in the university by this violation of its immunities that the Provost of Paris, Guillaume de Tignonville, was compelled to take down their bodies from Montfaucon and see them honorably and ceremoniously interred. This recognition of their rights only served to make matters worse, and for a series of years the nuisance continued unabated.
Their limited resources, supplemented by whatever they could get from begging or stealing, were their main source of survival; many of them were outright beggars, and that’s what they were called. They had a safe place within their area where they could retreat whenever they wanted, so they only followed the laws enforced by the university and didn't hesitate to use any means to enrich themselves at their neighbors' expense. This led to frequent conflicts between them and the Brothers of Saint-Germain des Prés, whose monastery bordered their territory and whose fields were the constant scene of their fights; according to Dulaure—"almost always a stage of turmoil, gallantry, battles, duels, debauchery, and sedition." They also had bloody clashes with the good citizens of Paris, who found them completely intolerable and sometimes paid them back for their attacks. In 1407, two of their group, found guilty of murder and robbery, were sentenced to be hanged, and the sentence was carried out; but the uproar it caused in the university over this breach of their rights was so significant that the Provost of Paris, Guillaume de Tignonville, had to take their bodies down from Montfaucon and ensure they were buried with honor. This acknowledgment of their rights only made things worse, and for several years, the nuisance continued without any reduction.
It is not our purpose to record all the excesses of the university, nor the means taken for their suppression. Vainly were the civil authorities arrayed against them. Vainly were bulls thundered from the Vatican. No amendment was effected. The weed might be cut down, but was never entirely extirpated. Their feuds were transmitted from generation to generation, and their old bone of contention with the abbot of Saint-Germain (the Pré-aux-Clercs) was, after an uninterrupted strife for thirty years, submitted to the arbitration of the Pope, who very equitably refused to pronounce judgment in favor of either party.
It’s not our goal to document all the excesses at the university, nor the methods used to suppress them. The civil authorities rallied against them in vain. The Vatican’s decrees fell on deaf ears. No real change occurred. The problem could be cut down but was never completely eliminated. Their conflicts were passed down through generations, and their longstanding dispute with the abbot of Saint-Germain (the Pré-aux-Clercs) continued for thirty years before being taken to the Pope for arbitration, who fairly chose not to side with either party.
Such were the scholars of Paris in the sixteenth century--such the character of the clamorous crew who besieged the portals of the College of Navarre.
Such were the scholars of Paris in the sixteenth century—such the character of the loud group who surrounded the gates of the College of Navarre.
The object that summoned together this unruly multitude was, it appears, a desire on the part of the scholars to be present at a public controversy or learned disputation, then occurring within the great hall of the college before which they were congregated; and the disappointment caused by their finding the gates closed, and all entrance denied to them, occasioned their present disposition to riot.
The thing that brought together this unruly crowd was, it seems, a wish from the scholars to witness a public debate or academic discussion happening in the college's great hall where they had gathered. Their disappointment upon discovering the gates locked and being denied entry led to their current urge to cause a riot.
It was in vain they were assured by the halberdiers stationed at the gates, and who, with crossed pikes, strove to resist the onward pressure of the mob, that the hall and court were already crammed to overflowing, that there was not room even for the sole of a foot of a doctor of the faculties, and that their orders were positive and imperative that none beneath the degree of a bachelor or licentiate should be admitted, and that a troop of martinets and new-comers could have no possible claim to admission.
It was useless for the halberdiers at the gates to assure them, as they crossed their pikes to hold back the crowd, that the hall and courtyard were already packed too tightly, that there wasn’t even room for a single foot of a doctor of the faculties, and that their orders were clear and strict: no one below the rank of a bachelor or licentiate would be allowed in, and a bunch of rookies and new arrivals had no legitimate claim to entry.
In vain they were told this was no ordinary disputation, no common controversy, where all were alike entitled to license of ingress; that the disputant was no undistinguished scholar, whose renown did not extend beyond his own trifling sphere, and whose opinions, therefore, few would care to hear and still fewer to oppugn, but a foreigner of high rank, in high favor and fashion, and not more remarkable for his extraordinary intellectual endowments than for his brilliant personal accomplishments.
In vain they were told this was no ordinary argument, no typical debate, where everyone had the same right to enter; that the person debating was not just a minor scholar, whose fame didn't reach beyond his insignificant circle, and whose opinions, therefore, few would care to listen to and even fewer would challenge, but a foreigner of high status, well-liked and fashionable, notable not only for his exceptional intelligence but also for his impressive personal achievements.
In vain the trembling officials sought to clinch their arguments by stating, that not alone did the conclave consist of the chief members of the university, the senior doctors of theology, medicine, and law, the professors of the humanities, rhetoric, and philosophy, and all the various other dignitaries; but that the debate was honored by the presence of Monsieur Christophe de Thou, first president of Parliament; by that of the learned Jacques Augustin, of the same name; by one of the secretaries of state and Governor of Paris, M. René de Villequier; by the ambassadors of Elizabeth, Queen of England, and of Philip the Second, King of Spain, and several of their suite; by Abbé de Brantôme; by M. Miron, the court physician; by Cosmo Ruggieri, the Queen Mother's astrologer; by the renowned poets and masque writers, Maîtres Ronsard, Baïf, and Philippe Desportes; by the well-known advocate of Parliament, Messire Étienne Pasquier: but also (and here came the gravamen of the objection to their admission) by the two especial favorites of his Majesty and leaders of affairs, the seigneurs of Joyeuse and D'Epernon.
The nervous officials tried to strengthen their arguments by pointing out that the assembly included the top members of the university, senior doctors of theology, medicine, and law, professors of humanities, rhetoric, and philosophy, as well as various other dignitaries. They highlighted that the debate was honored by the presence of Monsieur Christophe de Thou, the first president of Parliament; the learned Jacques Augustin, who shared the same name; one of the secretaries of state and the Governor of Paris, M. René de Villequier; the ambassadors of Elizabeth, Queen of England, and Philip the Second, King of Spain, along with several of their entourages; Abbé de Brantôme; M. Miron, the court physician; Cosmo Ruggieri, the Queen Mother's astrologer; the renowned poets and masque writers, Maîtres Ronsard, Baïf, and Philippe Desportes; and the well-known advocate of Parliament, Messire Étienne Pasquier. But the main issue with their admission was the presence of the two special favorites of His Majesty and leaders of affairs, the seigneurs of Joyeuse and D'Epernon.
It was in vain the students were informed that for the preservation of strict decorum, they had been commanded by the rector to make fast the gates. No excuses would avail them. The scholars were cogent reasoners, and a show of staves soon brought their opponents to a nonplus. In this line of argument they were perfectly aware of their ability to prove a major.
It was pointless for the students to be told that to maintain strict decorum, the rector had ordered them to lock the gates. No excuses would help them. The scholars were persuasive debaters, and a display of sticks quickly left their opponents speechless. In this discussion, they were fully aware of their ability to prove a significant point.
"To the wall with them--to the wall!" cried a hundred infuriated voices. "Down with the halberdiers--down with the gates--down with the disputants--down with the rector himself!--Deny our privileges! To the wall with old Adrien d'Amboise--exclude the disciples of the university from their own halls!--curry favor with the court minions!--hold a public controversy in private!--down with him! We will issue a mandamus for a new election on the spot!"
"To the wall with them--to the wall!" shouted a hundred angry voices. "Down with the halberdiers--down with the gates--down with the arguing parties--down with the rector himself!--Deny our rights! To the wall with old Adrien d'Amboise--kick the university students out of their own halls!--suck up to the court favorites!--hold a public debate in secret!--down with him! We will demand a new election right now!"
Whereupon a deep groan resounded throughout the crowd. It was succeeded by a volley of fresh execrations against the rector, and an angry demonstration of bludgeons, accompanied by a brisk shower of peas from the sarbacanes.
Whereupon a deep groan echoed through the crowd. This was followed by a flurry of new curses aimed at the rector, along with an angry display of clubs, accompanied by a quick rain of peas from the sarbacanes.
The officials turned pale, and calculated the chance of a broken neck in reversion, with that of a broken crown in immediate possession. The former being at least contingent, appeared the milder alternative, and they might have been inclined to adopt it had not a further obstacle stood in their way. The gate was barred withinside, and the vergers and bedels who had the custody of the door, though alarmed at the tumult without, positively refused to unfasten it.
The officials went pale and weighed the likelihood of a broken neck in the future against the risk of a broken crown right now. The former seemed like a possible yet gentler option, and they might have considered it if it weren't for another issue blocking their way. The gate was locked from the inside, and the vergers and bedels responsible for guarding the door, although startled by the noise outside, flat out refused to open it.
Again the threats of the scholars were renewed, and further intimations of violence were exhibited. Again the peas rattled upon the hands and faces of the halberdiers, till their ears tingled with pain. "Prate to us of the king's favorites," cried one of the foremost of the scholars, a youth decorated with a paper collar: "they may rule within the precincts of the Louvre, but not within the walls of the university. Maugre-bleu! We hold them cheap enough. We heed not the idle bark of these full-fed court lapdogs. What to us is the bearer of a cup and ball? By the four Evangelists, we will have none of them here! Let the Gascon cadet, D'Epernon, reflect on the fate of Quélus and Maugiron, and let our gay Joyeuse beware of the dog's death of Saint-Mégrin. Place for better men--place for the schools--away with frills and sarbacanes."
Once again, the scholars renewed their threats, showing more signs of violence. The peas rattled against the hands and faces of the halberdiers until their ears rang with pain. “Talk to us about the king’s favorites,” shouted one of the leading scholars, a young man wearing a paper collar. “They may rule in the Louvre, but not within the university walls. Maugre-bleu! We don’t care about them. We ignore the empty barking of these pampered court lapdogs. What does it matter to us the one who carries a cup and ball? By the four Evangelists, we don’t want any of them here! Let the Gascon cadet, D’Epernon, consider the fate of Quélus and Maugiron, and let our flashy Joyeuse be cautious of the dog’s death of Saint-Mégrin. Make way for better men—make way for the schools—away with decorations and sarbacanes.”
"What to us is a president of Parliament, or a governor of the city?" shouted another of the same gentry. "We care nothing for their ministration. We recognize them not, save in their own courts. All their authority fell to the ground at the gate of the Rue Saint Jacques, when they entered our dominions. We care for no parties. We are trimmers, and steer a middle course. We hold the Guisards as cheap as the Huguenots, and the brethren of the League weigh as little with us as the followers of Calvin. Our only sovereign is Gregory the Thirteenth, Pontiff of Rome. Away with the Guise and the Béarnaise!"
"What do we care about a president of Parliament or a city governor?" shouted another person from the same group. "Their roles mean nothing to us. We don’t recognize them, except in their own courts. All their power vanished at the gate of Rue Saint Jacques when they entered our territory. We don’t care about any factions. We are moderates, navigating a middle path. We think the Guisards are as insignificant as the Huguenots, and the members of the League matter just as little to us as the followers of Calvin. Our only ruler is Gregory the Thirteenth, Pope of Rome. Away with the Guise and the Béarnaise!"
"Away with Henri of Navarre, if you please," cried a scholar of Harcourt; "or Henri of Valois, if you list: but by all the saints, not with Henri of Lorraine; he is the fast friend of the true faith. No!--No!--live the Guise--live the Holy Union!"
"Away with Henri of Navarre, if you want," shouted a scholar from Harcourt; "or Henri of Valois, if you prefer: but for all that’s holy, not with Henri of Lorraine; he is a loyal friend of the true faith. No! No! Long live the Guise—long live the Holy Union!"
"Away with Elizabeth of England," cried a scholar of Cluny: "what doth her representative here? Seeks he a spouse for her among our schools? She will have no great bargain, I own, if she bestows her royal hand upon our Duc d'Anjou."
"Away with Elizabeth of England," shouted a Cluny scholar: "What’s her representative doing here? Is he looking for a husband for her among our schools? She won't get a great deal, I admit, if she gives her royal hand to our Duc d'Anjou."
"If you value your buff jerkin, I counsel you to say nothing slighting of the Queen of England in my hearing," returned a bluff, broad-shouldered fellow, raising his bludgeon after a menacing fashion. He was an Englishman belonging to the Four Nations, and had a huge bull-dog at his heels.
"If you care about your tough jacket, I suggest you don't say anything disrespectful about the Queen of England within my hearing," replied a rough, broad-shouldered guy, raising his club in a threatening way. He was an Englishman from the Four Nations, and he had a big bulldog at his heels.
"Away with Philip of Spain and his ambassador," cried a Bernardin.
"Away with Philip of Spain and his ambassador," shouted a Bernardin.
"By the eyes of my mistress!" cried a Spaniard belonging to the College of Narbonne, with huge mustaches curled half-way up his bronzed and insolent visage, and a slouched hat pulled over his brow. "This may not pass muster. The representative of the King of Spain must be respected even by the Academics of Lutetia. Which of you shall gainsay me?--ha!"
"By the eyes of my lady!" shouted a Spaniard from the College of Narbonne, with his large mustache curled halfway up his tanned and arrogant face, and a slouchy hat pulled down over his forehead. "This cannot be allowed. The representative of the King of Spain deserves respect, even from the academics of Paris. Who among you would challenge me?—ha!"
"What business has he here with his suite, on occasions like to the present?" returned the Bernardin. "Tête-Dieu! this disputation is one that little concerns the interest of your politic king; and methinks Don Philip, or his representative, has regard for little else than whatsoever advances his own interest. Your ambassador hath, I doubt not, some latent motive for his present attendance in our schools."
"What is he doing here with his group, at a time like this?" replied the Bernardin. "Tête-Dieu! This argument has nothing to do with your political king's interests; and it seems to me that Don Philip, or his representative, cares only about what benefits him personally. I have no doubt that your ambassador has some hidden reason for being here at our schools."
"Perchance," returned the Spaniard. "We will discuss that point anon."
"Maybe," the Spaniard replied. "We'll talk about that point soon."
"And what doth the pander of the Sybarite within the dusty halls of learning?" ejaculated a scholar of Lemoine. "What doth the jealous-pated slayer of his wife and unborn child within the reach of free-spoken voices, and mayhap of well-directed blades? Methinks it were more prudent to tarry within the bowers of his harem, than to hazard his perfumed person among us."
"And what is the pander of the Sybarite doing in the dusty halls of learning?" exclaimed a scholar from Lemoine. "What is the jealous murderer of his wife and unborn child doing where free speech and perhaps sharp blades are nearby? I think it would be wiser for him to stay in the comforts of his harem than to risk his scented self among us."
"Well said," rejoined the scholar of Cluny--"down with René de Villequier, though he be Governor of Paris."
"Well said," replied the scholar from Cluny—"down with René de Villequier, even if he is the Governor of Paris."
"What title hath the Abbé de Brantôme to a seat among us?" said the scion of Harcourt: "faith, he hath a reputation for wit, and scholarship, and gallantry. But what is that to us? His place might now be filled by worthier men."
"What right does the Abbé de Brantôme have to sit with us?" said the descendant of Harcourt. "Honestly, he has a reputation for wit, knowledge, and charm. But what does that matter to us? His spot could be taken by more deserving individuals."
"And what, in the devil's name, brings Cosmo Ruggieri hither?" asked the Bernardin. "What doth the wrinkled old dealer in the black art hope to learn from us? We are not given to alchemy, and the occult sciences; we practice no hidden mysteries; we brew no philtres; we compound no slow poisons; we vend no waxen images. What doth he here, I say! 'Tis a scandal in the rector to permit his presence. And what if he came under the safeguard, and by the authority of his mistress, Catherine de' Medicis! Shall we regard her passport? Down with the heathen abbé, his abominations have been endured too long; they smell rank in our nostrils. Think how he ensnared La Mole--think on his numberless victims. Who mixed the infernal potion of Charles the Ninth? Let him answer that. Down with the infidel--the Jew--the sorcerer! The stake were too good for him. Down with Ruggieri, I say."
"And what on earth brings Cosmo Ruggieri here?" asked the Bernardin. "What does that wrinkled old dealer in dark magic hope to learn from us? We're not into alchemy or the occult; we have no hidden mysteries, we don't brew any potions, we don’t mix slow poisons, and we don’t sell wax figures. What is he doing here, I ask! It’s a scandal for the rector to allow his presence. And what if he came with the support and authority of his mistress, Catherine de' Medicis? Should we respect her invitation? Down with the heathen abbé, we've put up with his nonsense long enough; it stinks to high heaven. Think about how he trapped La Mole—consider his countless victims. Who mixed the cursed potion for Charles the Ninth? Let him answer that. Down with the infidel—the Jew—the sorcerer! The stake would be too good for him. Down with Ruggieri, I say."
"Aye, down with the accursed astrologer," echoed the whole crew. "He has done abundant mischief in his time. A day of reckoning has arrived. Hath he cast his own horoscope? Did he foresee his own fate? Ha! ha!"
"Aye, down with the cursed astrologer," echoed the whole crew. "He has caused so much trouble in his time. The day of reckoning has come. Did he cast his own horoscope? Did he see his own fate? Ha! ha!"
"And then the poets," cried another member of the Four Nations--"a plague on all three. Would they were elsewhere. In what does this disputation concern them? Pierre Ronsard, being an offshoot of this same College of Navarre, hath indubitably a claim upon our consideration. But he is old, and I marvel that his gout permitted him to hobble so far. Oh, the mercenary old scribbler! His late verses halt like himself, yet he lowereth not the price of his masques. Besides which, he is grown moral, and unsays all his former good things. Mort Dieu! your superannuated bards ever recant the indiscretions of their nonage. Clément Marot took to psalm-writing in his old age. As to Baïf, his name will scarce outlast the scenery of his ballets, his plays are out of fashion since the Gelosi arrived. He deserves no place among us. And Philip Desportes owes all his present preferment to the Vicomte de Joyeuse. However, he is not altogether devoid of merit--let him wear his bays, so he trouble us not with his company. Room for the sophisters of Narbonne, I say. To the dogs with poetry!"
"And then the poets," shouted another member of the Four Nations, "a plague on all three of them. I wish they were somewhere else. What does this argument have to do with them? Pierre Ronsard, who comes from the same College of Navarre, definitely deserves our attention. But he’s old, and I’m surprised his gout let him come this far. Oh, the greedy old hack! His latest verses limp along just like he does, yet he doesn’t lower the price of his masks. What’s more, he’s become moral and disavows all the good things he used to say. Mort Dieu! your washed-up poets always renounce the mistakes of their youth. Clément Marot started writing psalms in his old age. As for Baïf, his name will barely last longer than the sets of his ballets, and his plays are out of style since the Gelosi arrived. He doesn’t deserve a place among us. And Philip Desportes owes all his current success to the Vicomte de Joyeuse. Still, he’s not completely without talent—let him wear his laurels, as long as he doesn’t bother us with his company. Make way for the sophists from Narbonne, I say. To hell with poetry!"
"Morbleu!" exclaimed another. "What are the sophisters of Narbonne to the decretists of the Sorbonne, who will discuss you a position of Cornelius à Lapide, or a sentence of Peter Lombard, as readily as you would a flask of hippocras, or a slice of botargo. Aye, and cry transeat to a thesis of Aristotle, though it be against rule. What sayst thou, Capéte?" continued he, addressing his neighbor, a scholar of Montaigu, whose modest gray capuchin procured him this appellation: "are we the men to be thus scurvily entreated?"
"Morbleu!" exclaimed another. "What do the sophists from Narbonne compare to the legal scholars from the Sorbonne, who will debate a point from Cornelius à Lapide or a statement from Peter Lombard just as easily as you would enjoy a jug of hippocras or a slice of botargo. Yes, and they'll dismiss a thesis of Aristotle, even if it goes against the rules. What do you think, Capéte?" he continued, addressing his neighbor, a student from Montaigu, whose simple gray hood earned him this nickname: "Are we really the ones to be treated this poorly?"
"I see not that your merits are greater than ours," returned he of the capuch, "though our boasting be less. The followers of the lowly John Standoncht are as well able to maintain their tenets in controversy as those of Robert of Sorbon; and I see no reason why entrance should be denied us. The honor of the university is at stake, and all its strength should be mustered to assert it."
"I don’t think your merits are any greater than ours," replied the man in the hood, "even if we boast less. The followers of the humble John Standoncht can defend their beliefs in debate as well as those of Robert of Sorbon; and I don’t see any reason why we should be denied entry. The honor of the university is at stake, and all its strength should be rallied to uphold it."
"Rightly spoken," returned the Bernardin; "and it were a lasting disgrace to our schools were this arrogant Scot to carry off their laurels when so many who might have been found to lower his crest are allowed no share in their defense. The contest is one that concerns us all alike. We at least can arbitrate in case of need."
"You're right," replied Bernardin; "and it would be a lasting shame for our schools if this arrogant Scot were to claim their honors while so many who could have challenged him are left out of the fight. This contest involves all of us. We can at least step in if needed."
"I care not for the honors of the university," rejoined one of the Écossais, or Scotch College, then existing in the Rue des Amandiers, "but I care much for the glory of my countryman, and I would gladly have witnessed the triumph of the disciples of Rutherford and of the classic Buchanan. But if the arbitrament to which you would resort is to be that of voices merely, I am glad the rector in his wisdom has thought fit to keep you without, even though I myself be personally inconvenienced by it."
"I don't care about the university's honors," replied one of the Écossais, or Scotch College, which was then located on Rue des Amandiers. "What matters to me is the glory of my fellow countryman, and I would have loved to see the success of the followers of Rutherford and the classic Buchanan. But if the decision you're relying on is just based on votes, I'm actually relieved that the rector wisely decided to keep you out, even though it’s personally inconvenient for me."
"Name o' God! what fine talking is this?" retorted the Spaniard. "There is little chance of the triumph you predicate for your countryman. Trust me, we shall have to greet his departure from the debate with many hisses and few cheers; and if we could penetrate through the plates of yon iron door, and gaze into the court it conceals from our view, we should find that the loftiness of his pretensions has been already humbled, and his arguments graveled. For la Litania de los Santos! to think of comparing an obscure student of the pitiful College of Saint Andrew with the erudite doctors of the most erudite university in the world, always excepting those of Valencia and Salamanca. It needs all thy country's assurance to keep the blush of shame from mantling in thy cheeks."
"Good grief! What kind of talk is this?" the Spaniard shot back. "There's hardly any chance for the victory you expect for your fellow countryman. Believe me, we'll have to send him off from this debate with more boos than applause; and if we could look through that iron door and see the court hidden from us, we would find that his high hopes have already been brought down a notch, and his arguments have been defeated. For the Litanies of the Saints! To think of comparing an unknown student from the pathetic College of Saint Andrew with the learned scholars of the most prestigious university in the world, not counting those of Valencia and Salamanca. It takes all your country's confidence to keep the shame from showing on your face."
"The seminary you revile," replied the Scot, haughtily, "has been the nursery of our Scottish kings. Nay, the youthful James Stuart pursued his studies under the same roof, beneath the same wise instruction, and at the self-same time as our noble and gifted James Crichton, whom you have falsely denominated an adventurer, but whose lineage is not less distinguished than his learning. His renown has preceded him hither, and he was not unknown to your doctors when he affixed his programme to these college walls. Hark!" continued the speaker, exultingly, "and listen to yon evidence of his triumph."
"The seminary you look down on," the Scot replied proudly, "has raised many of our Scottish kings. In fact, young James Stuart studied under the same roof, receiving the same wise guidance at the same time as our noble and talented James Crichton, whom you wrongly call an adventurer, but whose background is just as distinguished as his knowledge. His fame has brought him here, and your professors were already familiar with him when he posted his program on these college walls. Listen!" the speaker continued, triumphantly, "and hear the proof of his success."
And as he spoke, a loud and continued clapping of hands proceeding from within was distinctly heard above the roar of the students.
And as he spoke, a loud and ongoing applause coming from inside was clearly heard over the noise of the students.
"That may be at his defeat," muttered the Spaniard, between his teeth.
"That could be at his defeat," muttered the Spaniard, under his breath.
"No such thing," replied the Scot. "I heard the name of Crichton mingled with the plaudits."
"No such thing," replied the Scot. "I heard the name Crichton mixed in with the applause."
"And who may be this Phoenix--this Gargantua of intellect--who is to vanquish us all, as Panurge did Thaumast, the Englishman?" asked the Sorbonist of the Scot. "Who is he that is more philosophic than Pythagoras?--ha!"
"And who is this Phoenix--this giant of intellect--who is going to defeat us all, just like Panurge did to Thaumast, the Englishman?" asked the Sorbonist of the Scot. "Who is he that is more philosophical than Pythagoras?--ha!"
"Who is more studious than Carneades!" said the Bernardin.
"Who is more dedicated to studying than Carneades!" said the Bernardin.
"More versatile than Alcibiades!" said Montaigu.
"More adaptable than Alcibiades!" said Montaigu.
"More subtle than Averroës!" cried Harcourt.
"More subtle than Averroës!" exclaimed Harcourt.
"More mystical than Plotinus!" said one of the Four Nations.
"More mystical than Plotinus!" said one of the Four Nations.
"More visionary than Artemidorus!" said Cluny.
"More visionary than Artemidorus!" Cluny said.
"More infallible than the Pope!" added Lemoine.
"More reliable than the Pope!" added Lemoine.
"And who pretends to dispute de omni scibili," shouted the Spaniard.
"And who claims to argue about de omni scibili," shouted the Spaniard.
"Et quolibet ente!! added the Sorbonist.
"And whatever being!! added the Sorbonist."
"Mine ears are stunned with your vociferations," replied the Scot. "You ask me who James Crichton is, and yourselves give the response. You have mockingly said he is a rara avis; a prodigy of wit and learning: and you have unintentionally spoken the truth. He is so. But I will tell you that of him of which you are wholly ignorant, or which you have designedly overlooked. His condition is that of a Scottish gentleman of high rank. Like your Spanish grandee, he need not doff his cap to kings. On either side hath he the best of blood in his veins. His mother was a Stuart directly descended from that regal line. His father, who owneth the fair domains of Eliock and Cluny, was Lord Advocate to our bonny and luckless Mary (whom Heaven assoilzie!) and still holds his high office. Methinks the Lairds of Crichton might have been heard of here. Howbeit, they are well known to me, who being an Ogilvy of Balfour, have often heard tell of a certain contract or obligation, whereby--"
"My ears are blown away by your shouting," replied the Scot. "You ask me who James Crichton is, and you’ve already given the answer. You jokingly called him a rara avis; a wonder of wit and learning: and you accidentally spoke the truth. He is just that. But I’ll tell you something about him that you completely ignore or have purposely overlooked. He is a Scottish gentleman of high rank. Like your Spanish noble, he doesn’t need to take off his hat for kings. On both sides, he has the best blood in his veins. His mother was a Stuart directly descended from that royal line. His father, who owns the beautiful estates of Eliock and Cluny, was Lord Advocate to our lovely and unfortunate Mary (may Heaven absolve her!) and still holds his prestigious position. I would think the Lairds of Crichton might have been heard of here. However, they are well known to me, as I’m an Ogilvy of Balfour, and I have often heard about a certain contract or obligation, whereby--"
"Basta!" interrupted the Spaniard, "heed not thine own affairs, worthy Scot. Tell us of this Crichton--ha!"
"Enough!" interrupted the Spaniard, "don't mind your own business, noble Scot. Tell us about this Crichton--ha!"
"I have told you already more than I ought to have told," replied Ogilvy, sullenly. "And if you lack further information respecting James Crichton's favor at the Louvre, his feats of arms, and the esteem in which he is held by all the dames of honor in attendance upon your Queen Mother, Catherine de' Medicis--and moreover," he added, with somewhat of sarcasm, "with her fair daughter, Marguerite de Valois--you will do well to address yourself to the king's buffoon, Maître Chicot, whom I see not far off. Few there are, methinks, who could in such short space have won so much favor, or acquired such bright renown."
"I've already told you more than I should have," Ogilvy replied, sulkily. "And if you want more details about James Crichton's standing at the Louvre, his impressive skills, and how highly he's regarded by all the ladies-in-waiting for your Queen Mother, Catherine de' Medicis—and also," he added with a hint of sarcasm, "by her beautiful daughter, Marguerite de Valois—you should talk to the king's jester, Maître Chicot, who's not far away. I don't think many could gain so much favor or achieve such great fame in such a short time."
"Humph!" muttered the Englishman, "your Scotsmen stick by each other all the world over. This James Crichton may or may not be the hero he is vaunted, but I shall mistrust his praises from that quarter, till I find their truth confirmed."
"Humph!" muttered the Englishman, "you Scots stick together no matter where you are. This James Crichton may or may not be the hero people claim he is, but I’ll be skeptical of those compliments until I see some proof."
"He has, to be sure, acquired the character of a stout swords-man," said the Bernardin, "to give the poor devil his due."
"He has definitely developed the reputation of a tough swordsman," said the Bernardin, "to give the poor guy his credit."
"He has not met with his match at the salle-d'armes, though he has crossed blades with the first in France," replied Ogilvy.
"He hasn't found anyone who can match him at the salle-d'armes, even though he's faced off against the best in France," Ogilvy replied.
"I have seen him at the Manége," said the Sorbonist, "go through his course of equitation, and being a not altogether unskillful horseman myself, I can report favorably of his performance."
"I've seen him at the Riding School," said the Sorbonist, "go through his riding routine, and being a somewhat skilled horseman myself, I can say that he performed well."
"There is none among your youth can sit a steed like him," returned Ogilvy, "nor can any of the jousters carry off the ring with more certainty at the lists. I would fain hold my tongue, but you enforce me to speak in his praise."
"There isn't any of your young ones who can ride a horse like him," Ogilvy replied, "nor can any of the jousters grab the ring with more confidence at the tournaments. I really wish I could keep quiet, but you make me talk about how great he is."
"Body of Bacchus!" exclaimed the Spaniard, half unsheathing the lengthy weapon that hung by his side, "I will hold you a wager of ten rose-nobles to as many silver reals of Spain, that with this stanch Toledo I will overcome your vaunted Crichton in close fight in any manner or practice of fence or digladiation which he may appoint--sword and dagger, or sword only--stripped to the girdle or armed to the teeth. By our Saint Trinidad! I will have satisfaction for the contumelious affront he hath put upon the very learned gymnasium to which I belong; and it would gladden me to clip the wings of this loud-crowing cock, or any of his dunghill crew," added he, with a scornful gesture at the Scotsman.
"Body of Bacchus!" the Spaniard shouted, half-drawing the long weapon at his side. "I bet you ten rose-nobles against ten silver reals of Spain that with this solid Toledo, I can beat your so-called Crichton in a close fight, using any kind of fencing or combat technique he chooses—sword and dagger, or just sword—whether we're stripped down to our belts or fully armed. By our Saint Trinidad! I will get satisfaction for the disrespectful insult he has thrown at the very esteemed gymnasium I belong to; and it would make me happy to take down this loud-mouthed rooster, or any of his lowly crew," he added, making a scornful gesture at the Scotsman.
"If that be all you seek, you shall not need to go far in your quest," returned Ogilvy. "Tarry till this controversy be ended, and if I match not your Spanish blade with a Scottish broad-sword, and approve you as recreant at heart as you are boastful and injurious of speech, may Saint Andrew forever after withhold from me his protection."
"If that’s all you want, you won’t need to look far," replied Ogilvy. "Wait until this argument is settled, and if I don’t match your Spanish sword with a Scottish broad-sword, and prove that you’re just as cowardly at heart as you are loud and hurtful with your words, may Saint Andrew never protect me again."
"The Devil!" exclaimed the Spaniard. "Thy Scottish saint will little avail thee, since thou hast incurred my indignation. Betake thee, therefore, to thy paternosters, if thou has grace withal to mutter them; for within the hour thou art assuredly food for the kites of the Pré-aux-Clercs--sa-ha!"
"The Devil!" shouted the Spaniard. "Your Scottish saint won’t help you since you’ve incurred my wrath. So, go ahead and say your prayers if you have the strength to mutter them; because within the hour, you’ll definitely be food for the kites of the Pré-aux-Clercs--ha!"
"Look to thyself, vile braggart!" rejoined Ogilvy, scornfully: "I promise thee thou shalt need other intercession than thine own to purchase safety at my hands."
"Look at yourself, you disgusting bragart!" Ogilvy shot back, full of contempt. "I promise you’ll need someone else's help besides your own to secure safety from me."
"Courage, Master Ogilvy," said the Englishman, "thou wilt do well to slit the ears of this Spanish swashbuckler. I warrant me he hides a craven spirit beneath that slashed pourpoint. Thou art in the right, man, to make him eat his words. Be this Crichton what he may, he is at least thy countryman, and in part mine own."
"Courage, Master Ogilvy," said the Englishman, "you should definitely cut the ears off this Spanish swordsman. I bet he's hiding a cowardly spirit beneath that fancy outfit. You're right to make him take back what he said. Regardless of what Crichton is, he is at least your countryman, and partly mine."
"And as such I will uphold him," said Ogilvy, "against any odds."
"And so I will support him," said Ogilvy, "no matter what."
"Bravo! my valorous Don Diego Caravaja," said the Sorbonist, slapping the Spaniard on the shoulder, and speaking in his ear. "Shall these scurvy Scots carry all before them?--I warrant me, no. We will make common cause against the whole beggarly nation; and in the meanwhile we intrust thee with this particular quarrel. See thou acquit thyself in it as beseemeth a descendant of the Cid."
"Bravo! my brave Don Diego Caravaja," said the Sorbonist, giving the Spaniard a friendly slap on the shoulder and speaking in his ear. "Are we going to let these sorry Scots take everything? I don’t think so. We’ll join forces against the whole destitute nation; and in the meantime, we’re putting you in charge of this specific fight. Make sure you handle it like a true descendant of the Cid."
"Account him already abased," returned Caravaja. "By Pelayo, I would the other were at his back, that both might be transfixed at a blow--ha!"
"Count him already defeated," Caravaja replied. "By Pelayo, I wish the other was behind him, so both could be struck down at once—ha!"
"To return to the subject of difference," said the Sorbonist, who was too much delighted with the prospect of a duel to allow the quarrel a chance of subsiding, while it was in his power to fan the flame; "to return to the difference," said he, aloud, glancing at Ogilvy; "it must be conceded that as a wassailer this Crichton is without a peer. None of us may presume to cope with him in the matter of the flask and the flagon, though we number among us some jolly topers. Friar John, with the Priestess of Bacbuc, was a washy bibber compared with him."
"To get back to the topic of differences," said the Sorbonist, who was too excited about the possibility of a duel to let the argument die down when he could keep it going; "to get back to the difference," he said out loud, looking at Ogilvy; "it's true that this Crichton is unmatched when it comes to partying. None of us can claim to keep up with him when it comes to drinks, even though we have some real drinkers among us. Friar John, with the Priestess of Bacbuc, was a lightweight in comparison to him."
"He worships at the shrines of other priestesses besides hers of Bacbuc, if I be not wrongly informed," added Montaigu, who understood the drift of his companion.
"He worships at the shrines of other priestesses besides hers of Bacbuc, if I'm not mistaken," added Montaigu, who understood what his companion was getting at.
"Else, wherefore our rejoinder to his cartels?" returned the Sorbonist. "Do you not call to mind that beneath his arrogant defiance of our learned body, affixed to the walls of the Sorbonne, it was written, 'That he who would behold this miracle of learning must hie to the tavern or bordel?' Was it not so, my hidalgo?"
"Otherwise, why do we respond to his challenges?" returned the Sorbonist. "Don't you remember that beneath his arrogant defiance of our esteemed institution, posted on the walls of the Sorbonne, it said, 'Whoever wants to see this miracle of learning must go to the tavern or brothel?' Was it not so, my friend?"
"I have myself seen him at the temulentive tavern of the Falcon," returned Caravaja, "and at the lupanarian haunts in the Champ Gaillard and the Val-d'Amour. You understand me--ha!"
"I've seen him myself at the drunken tavern of the Falcon," Caravaja replied, "and at the brothels in Champ Gaillard and Val-d'Amour. You get what I mean—ha!"
"Ha! ha! ha!" chorused the scholars. "James Crichton is no stoic. He is a disciple of Epicurus. Vel in puellam impingit, vel in poculum--ha! ha!"
"Ha! ha! ha!" laughed the scholars. "James Crichton isn't a stoic. He's a follower of Epicurus. Whether he's hitting on a girl or pouring a drink--ha! ha!"
"'Tis said that he hath dealings with the Evil One," observed the man of Harcourt, with a mysterious air; "and that, like Jeanne d'Arc, he hath surrendered his soul for his temporal welfare. Hence his wondrous lore; hence his supernatural beauty and accomplishments; hence his power of fascinating the fair sex; hence his constant run of luck with the dice; hence, also, his invulnerableness to the sword."
"'They say he has deals with the Devil,' the man from Harcourt remarked mysteriously; 'and that, like Joan of Arc, he has sacrificed his soul for his worldly gain. That's why he has such amazing knowledge; that's why he has supernatural looks and skills; that's why he can charm the ladies; that's why he always wins at dice; and that's also why he's invulnerable to swords.'"
"'Tis said, also, that he has a familiar spirit, who attends him in the semblance of a black dog," said Montaigu.
"'They say he has a familiar spirit that follows him around in the form of a black dog,' said Montaigu."
"Or in that of a dwarf, like the sooty imp of Cosmo Ruggieri," said Harcourt. "Is it not so?" he asked, turning to the Scot.
"Or in the case of a dwarf, like the dark little guy from Cosmo Ruggieri," said Harcourt. "Isn't that right?" he asked, turning to the Scot.
"He lies in his throat who says so," cried Ogilvy, losing all patience. "To one and all of you I breathe defiance; and there is not a brother in the college to which I belong who will not maintain my quarrel."
"He's lying if he says that," shouted Ogilvy, losing all patience. "To each and every one of you, I declare my defiance; and there isn't a single person in my college who won't stand by my side in this fight."
A loud laugh of derision followed this sally; and, ashamed of having justly exposed himself to ridicule by his idle and unworthy display of passion, the Scotsman held his peace and endeavored to turn a deaf ear to their taunts.
A loud laugh of mockery followed this remark; and, embarrassed for having justly made himself a target of ridicule with his pointless and unworthy display of anger, the Scotsman kept quiet and tried to ignore their insults.
The gates of the College of Navarre were suddenly thrown open, and a long-continued thunder of applause bursting from within, announced the conclusion of the debate. That it had terminated in favor of Crichton could no longer be doubted, as his name formed the burden of all the plaudits with which the courts were ringing. All was excitement: there was a general movement. Ogilvy could no longer restrain himself. Pushing forward by prodigious efforts, he secured himself a position at the portal.
The gates of the College of Navarre swung open, and a loud round of applause erupted from inside, signaling the end of the debate. It was clear that it had ended in favor of Crichton, as his name was on everyone’s lips, filling the courts with cheers. There was a buzz of excitement and a sense of movement among the crowd. Ogilvy couldn’t hold back any longer. With great effort, he pushed his way to the front and secured a spot at the entrance.
The first person who presented himself to his inquiring eyes was a gallant figure in a glittering steel corselet crossed by a silken sash, who bore at his side a long sword with a magnificent handle, and upon his shoulder a lance of some six feet in length, headed with a long scarlet tassel, and brass half-moon pendant. "Is not Crichton victorious?" asked Ogilvy of Captain Larchant, for he it was.
The first person who caught his attention was a dashing figure in a shiny steel armor topped with a silk sash, carrying a long sword with an impressive hilt at his side, and on his shoulder was a lance about six feet long, finished with a long red tassel and a brass half-moon charm. "Isn't Crichton victorious?" Ogilvy asked Captain Larchant, who it was.
"He hath acquitted himself to admiration," replied the guardsman, who, contrary to the custom of such gentry (for captains of the guard have been fine gentlemen in all ages), did not appear to be displeased at this appeal to his courtesy, "and the rector hath adjudged him all the honors that can be bestowed by the university."
"He has performed admirably," replied the guardsman, who, unlike most of his kind (since captains of the guard have always been gentlemen), didn't seem to mind this request for his courtesy, "and the rector has awarded him all the honors that the university can give."
"Hurrah for old Scotland," shouted Ogilvy, throwing his bonnet in the air; "I was sure it would be so; this is a day worth living for. Hoec olim meminisse juvabit."
"Hooray for old Scotland," shouted Ogilvy, tossing his hat into the air; "I knew it would be like this; this is a day worth living for. Hoec olim meminisse juvabit."
"Thou at least shalt have reason to remember it," muttered Caravaja, who, being opposite to him, heard the exclamation--"and he too, perchance," he added, frowning gloomily, and drawing his cloak over his shoulder.
"At least you’ll have a reason to remember it," muttered Caravaja, who, facing him, heard the exclamation—"and maybe him too," he added, frowning darkly and pulling his cloak over his shoulder.
"If the noble Crichton be compatriot of yours, you are in the right to be proud of him," replied Captain Larchant, "for the memory of his deeds of this day will live as long as learning shall be held in reverence. Never before hath such a marvelous display of universal erudition been heard within these schools. By my faith, I am absolutely wonder-stricken, and not I alone, but all. In proof of which I need only tell you, that coupling his matchless scholarship with his extraordinary accomplishments, the professors in their address to him at the close of the controversy have bestowed upon him the epithet of 'Admirable'--an appellation by which he will ever after be distinguished."
"If the noble Crichton is one of your countrymen, you have every reason to be proud of him," replied Captain Larchant, "because the memory of what he did today will last as long as education is valued. Never before has such an amazing showcase of knowledge been witnessed in these schools. Honestly, I am completely astonished, and it's not just me; everyone feels the same way. To prove this, I only need to mention that by combining his unmatched knowledge with his incredible achievements, the professors, in their address to him at the end of the debate, have given him the title of 'Admirable'—a name by which he will always be remembered."
"The Admirable Crichton!" echoed Ogilvy--"hear you that!--a title adjudged to him by the whole conclave of the university--hurrah! The Admirable Crichton! 'Tis a name will find an echo in the heart of every true Scot. By Saint Andrew! this is a proud day for us."
"The Admirable Crichton!" shouted Ogilvy. "Did you hear that? That title was given to him by the entire university conference—let's celebrate! The Admirable Crichton! It’s a name that will resonate in the heart of every true Scot. By Saint Andrew! This is a proud day for us."
"In the mean time," said Larchant, smiling at Ogilvy's exultations, and describing a circle with the point of his lance, "I must trouble you to stand back, Messieurs Scholars, and leave free passage for the rector and his train--Archers advance, and make clear the way, and let the companies of the Baron D'Epernon and of the Vicomte de Joyeuse be summoned, as well as the guard of his excellency, Seigneur René de Villequier. Patience, messieurs, you will hear all particulars anon."
"In the meantime," Larchant said, smiling at Ogilvy's excitement and drawing a circle with the tip of his lance, "I need you to step back, gentlemen Scholars, and clear the way for the rector and his entourage—Archers, move forward and make way, and let the groups of Baron D'Epernon and Vicomte de Joyeuse be called, along with the guard of his excellency, Seigneur René de Villequier. Just be patient, gentlemen, you'll hear all the details shortly."
So saying, he retired, and the men-at-arms, less complaisant than their leaders, soon succeeded in forcing back the crowd.
So saying, he stepped back, and the soldiers, less agreeable than their leaders, quickly managed to push the crowd away.
MARK AKENSIDE
(1721-1770)
ark Akenside is of less importance in genuine poetic rank than in literary history. He was technically a real poet; but he had not a great, a spontaneous, nor a fertile poetical mind. Nevertheless, a writer who gave pleasure to a generation cannot be set aside. The fact that the mid-eighteenth century ranked him among its foremost poets is interesting and still significant. It determines the poetic standard and product of that age; and the fact that, judged thus, Akenside was fairly entitled to his fame.
Mark Akenside is less important in true poetic stature than in literary history. He was technically a real poet, but he didn't have a great, spontaneous, or incredibly creative poetic mind. Still, a writer who brought joy to a generation can't be ignored. The fact that the mid-eighteenth century considered him one of its top poets is interesting and still meaningful. It defines the poetic standards and output of that time; and when judged by those standards, Akenside rightly earned his fame.
He was the son of a butcher, born November 9th, 1721, in Newcastle-on-Tyne, whence Eldon and Stowell also sprang. He attracted great attention by an early poem, 'The Virtuoso.' The citizens of that commercial town have always appreciated their great men and valued intellectual distinction, and its Dissenters sent him at their own expense to Edinburgh to study for the Presbyterian ministry. A year later he gave up theology for medicine--honorably repaying the money advanced for his divinity studies, if obviously out of some one's else pocket.
He was the son of a butcher, born on November 9, 1721, in Newcastle-on-Tyne, where Eldon and Stowell also originated. He gained significant attention with an early poem, 'The Virtuoso.' The people of that commercial town have always recognized their notable individuals and valued intellectual achievement, and its Dissenters paid for him to go to Edinburgh to prepare for the Presbyterian ministry. A year later, he decided to switch from theology to medicine—honorably paying back the money that had been provided for his divinity studies, even though it was clearly from someone else's pocket.
After some struggle in provincial towns, his immense literary reputation--for at twenty-four he was a star of the first magnitude in Great Britain--and the generosity of a friend enabled him to acquire a fashionable London practice. He wrote medical treatises which at the time made him a leader in his profession, secured a rich clientage, and prospered greatly. In 1759 he was made physician to Christ's Hospital, where, however valued professionally, he is charged with being brutal and offensive to the poor; with indulging his fastidiousness, temper, and pomposity, and with forgetting that he owed anything to mere duty or humanity.
After facing some challenges in small towns, his huge literary reputation—by the age of twenty-four he was a major star in Great Britain—and the support of a friend allowed him to establish a trendy medical practice in London. He wrote medical papers that positioned him as a leading figure in his field, attracted wealthy clients, and became very successful. In 1759, he was appointed physician to Christ's Hospital, where, despite his professional value, he was criticized for being harsh and rude to the poor; for giving in to his fastidiousness, temper, and arrogance, and for forgetting that he had obligations beyond just duty or humanity.
Unfortunately, too, Akenside availed himself of that mixture of complaisance and arrogance by which almost alone a man of no birth can rise in a society graded by birth. He concealed his origin and was ashamed of his pedigree. But the blame for his flunkeyism belongs, perhaps, less to him than to the insolent caste feeling of society, which forced it on him as a measure of self-defense and of advancement. He wanted money, loved place and selfish comfort, and his nature did not balk at the means of getting them,--including living on a friend when he did not need such help. To become physician to the Queen, he turned his coat from Whig to Tory; but no one familiar with the politics of the time will regard this as an unusual offense. It must also be remembered that Akenside possessed a delicate constitution, keen senses, and irritable nerves; and that he was a parvenu, lacking the power of self-control even among strangers. These traits explain, though they do not excuse, his bad temper to the unclean and disagreeable patients of the hospital, and they mitigate the fact that his industry was paralyzed by material prosperity, and his self-culture interfered with by conceit. His early and sweeping success injured him as many a greater man has been thus injured.
Unfortunately, Akenside used a mix of charm and arrogance to rise in a society defined by lineage, despite coming from humble beginnings. He hid his roots and felt ashamed of his background. However, the blame for his ingratiating behavior may fall more on the arrogant social hierarchy that pressured him to adopt these attitudes for self-protection and advancement. He wanted money, craved status, and sought personal comfort, not hesitating to take advantage of a friend's generosity even when he didn't need it. To become the Queen's physician, he switched his political allegiance from Whig to Tory; but anyone familiar with the political climate of the time would see this as common behavior. It's also important to note that Akenside had a fragile constitution, sharp senses, and sensitive nerves, and as a social climber, he struggled with self-control even in the company of strangers. These characteristics help explain, though they don't justify, his bad temper with the hospital's unpleasant patients, and they lessen the impact of the fact that his ambition was stifled by newfound wealth and his personal growth hampered by arrogance. His early and rapid success ultimately harmed him, just as it has to many greater individuals.
Moreover, his temper was probably soured by secret bitternesses. His health, his nerves, an entire absence of the sense of humor, and his lack of repartee, made him shun like Pope and Horace Walpole the bibulous and gluttonous element of eighteenth-century British society. For its brutal horseplay and uncivil practical joking which passed for wit, Akenside had no tolerance, yet he felt unwilling to go where he would be outshone by inferior men. His strutty arrogance of manner, like excessive prudery in a woman, may have been a fortification to a garrison too weak to fight in the open field. And it must be admitted that, as so often happens, Akenside's outward ensemble was eminently what the vulgar world terms "guyable." He was not a little of a fop. He was plain-featured and yet assuming in manner. He hobbled in walking from lameness of tell-tale origin,--a cleaver falling on his foot in childhood, compelling him to wear an artificial heel--and he was morbidly sensitive over it. His prim formality of manner, his sword and stiff-curled wig, his small and sickly face trying to maintain an expression impressively dignified, made him a ludicrous figure, which his contemporaries never tired of ridiculing and caricaturing. Henderson, the actor, said that "Akenside, when he walked the streets, looked for all the world like one of his own Alexandrines set upright." Smollett even used him as a model for the pedantic doctor in 'Peregrine Pickle,' who gives a dinner in the fashion of the ancients, and dresses each dish according to humorous literary recipes.
Moreover, his temper was likely made worse by hidden resentments. His health, his nerves, a complete lack of sense of humor, and his inability to come back with clever remarks made him avoid the drunken and gluttonous elements of eighteenth-century British society, much like Pope and Horace Walpole. He had no tolerance for the brutal horseplay and rude practical jokes that passed for wit, yet he was unwilling to go where he might be overshadowed by lesser men. His pompous arrogance, similar to excessive modesty in a woman, might have been a defense for someone too weak to stand up for themselves. And it must be said that, as often happens, Akenside's outward appearance was exactly what the common world would call "ridiculous." He was quite the dandy. He was plain-looking yet pretentious in demeanor. He hobbled when he walked due to a childhood injury—a cleaver falling on his foot, which forced him to wear an artificial heel—and he was overly sensitive about it. His stiff formality, his sword and rigidly curled wig, and his small, frail face trying to maintain an impressively dignified expression made him a comical figure, which his contemporaries never got tired of mocking and caricaturing. Henderson, the actor, once said that "Akenside, when he walked the streets, looked for all the world like one of his own Alexandrines set upright." Smollett even used him as inspiration for the pretentious doctor in 'Peregrine Pickle,' who hosts a dinner in the style of the ancients, preparing each dish according to humorous literary recipes.
But there were those who seem to have known an inner and superior personality beneath the brusqueness, conceit, and policy, beyond the nerves and fears; and they valued it greatly, at least on the intellectual side. A wealthy and amiable young Londoner, Jeremiah Dyson, remained a friend so enduring and admiring as to give the poet a house in Bloomsbury Square, with £300 a year and a chariot, and personally to extend his medical practice. We cannot suppose this to be a case of patron and parasite. Other men of judgment showed like esteem. And in congenial society, Akenside was his best and therefore truest self. He was an easy and even brilliant talker, displaying learning and immense memory, taste, and philosophic reflection; and as a volunteer critic he has the unique distinction of a man who had what books he liked given him by the publishers for the sake of his oral comments!
But there were people who seemed to recognize a deeper, more refined personality under the roughness, arrogance, and tactics, beyond the anxieties and fears; and they appreciated it a lot, at least on the intellectual level. A wealthy and friendly young man from London, Jeremiah Dyson, remained such a loyal and admiring friend that he provided the poet with a house in Bloomsbury Square, along with £300 a year and a carriage, and personally helped to expand his medical practice. We can't assume this was a case of a patron and a leech. Other discerning individuals shared similar respect. In a supportive environment, Akenside was at his best and truest self. He was an engaging and even brilliant conversationalist, showcasing his knowledge, impressive memory, taste, and philosophical insights; and as a voluntary critic, he has the rare distinction of receiving the books he enjoyed from publishers due to his spoken feedback!
The standard edition of Akenside's poems is that edited by Alexander Dyce (London, 1835). Few of them require notice here. His early effort, 'The Virtuoso,' was merely an acknowledged and servile imitation of Spenser. The claim made by the poet's biographers that he preceded Thomson in reintroducing the Spenserian stanza is groundless. Pope preceded him, and Thomson renewed its popularity by being the first to use it in a poem of real merit, 'The Castle of Indolence.' Mr. Gosse calls the 'Hymn to the Naiads' "beautiful,"--"of transcendent merit,"--"perhaps the most elegant of his productions." The 'Epistle to Curio,' however, must be held his best poem,--doubtless because it is the only one which came from his heart; and even its merit is much more in rhetorical energy than in art or beauty. As to its allusion and object, the real and classic Curio of Roman social history was a protégé of Cicero's, a rich young Senator, who began as a champion of liberty and then sold himself to Caesar to pay his debts. In Akenside's poem, Curio represents William Pulteney, Walpole's antagonist, the hope of that younger generation who hated Walpole's system of parliamentary corruption and official jobbing. This party had looked to Pulteney for a clean and public-spirited administration. Their hero was carried to a brief triumph on the wave of their enthusiasm. But Pulteney disappointed them bitterly: he took a peerage, and sunk into utter and permanent political damnation, with no choice but Walpole's methods and tools, no policy save Walpole's to redeem the withdrawal of so much lofty promise, and no aims but personal advancement. From Akenside's address to him, the famous 'Epistle to Curio,' a citation is made below. Akenside's fame, however, rests on the 'Pleasures of the Imagination.' He began it at seventeen; though in the case of works begun in childhood, it is safer to accept the date of finishing as the year of the real composition. He published it six years later, in 1744, on the advice and with the warm admiration of Pope, a man never wasteful of encomiums on the poetry of his contemporaries. It raised its author to immediate fame. It secures him a place among the accepted English classics still. Yet neither its thought nor its style makes the omission to read it any irreparable loss. It is cultivated rhetoric rather than true poetry. Its chief merit and highest usefulness are that it suggested two far superior poems, Campbell's 'Pleasures of Hope' and Rogers's 'Pleasures of Memory.' It is the relationship to these that really keeps Akenside's alive.
The standard edition of Akenside's poems is the one edited by Alexander Dyce (London, 1835). Few of them need attention here. His early work, 'The Virtuoso,' was simply a known and unoriginal imitation of Spenser. The claim made by the poet's biographers that he was the first to bring back the Spenserian stanza is unfounded. Pope came before him, and Thomson revived its popularity by being the first to use it in a truly good poem, 'The Castle of Indolence.' Mr. Gosse describes the 'Hymn to the Naiads' as "beautiful,"--"of transcendent merit,"--"possibly the most elegant of his works." However, the 'Epistle to Curio' should be considered his best poem, likely because it's the only one that truly came from his heart; and even its worth lies more in rhetorical power than in artistry or beauty. Regarding its reference and purpose, the real and historical Curio from Roman social history was a protégé of Cicero's, a wealthy young Senator, who started as a supporter of liberty and then sold himself to Caesar to settle his debts. In Akenside's poem, Curio represents William Pulteney, Walpole's opponent, a symbol of the younger generation who despised Walpole's corrupt parliamentary practices and favoritism. This group looked to Pulteney for a clean and principled administration. Their hero briefly soared on the wave of their excitement. But Pulteney severely disappointed them: he accepted a peerage and sank into complete and permanent political disgrace, adopting Walpole's methods and tools, and with no policy other than Walpole's to counterbalance the loss of so much high promise, focusing solely on personal gain. Below is a citation from Akenside's famous 'Epistle to Curio.' However, Akenside's legacy rests on the 'Pleasures of the Imagination.' He started it at seventeen; though when it comes to works begun in childhood, it's usually better to consider the completion date as the actual year of composition. He published it six years later, in 1744, following the advice and genuine admiration of Pope, a man who was never stingy with praise for the poetry of his contemporaries. It quickly brought him fame. It guarantees him a spot among the recognized English classics even today. Yet neither its ideas nor its style means that skipping it is a major loss. It's polished rhetoric rather than true poetry. Its main value and greatest usefulness lie in the fact that it inspired two much better poems, Campbell's 'Pleasures of Hope' and Rogers's 'Pleasures of Memory.' It's this connection to those works that keeps Akenside's presence alive.
In scope, the poem consists of two thousand lines of blank verse. It is distributed in three books. The first defines the sources, methods, and results of imagination; the second its distinction from philosophy and its enchantment by the passions; the third sets forth the power of imagination to give pleasure, and illustrates its mental operation. The author remodeled the poem in 1757, but it is generally agreed that he injured it. Macaulay says he spoiled it, and another critic delightfully observes that he "stuffed it with intellectual horsehair."
In total, the poem has two thousand lines of blank verse. It's divided into three parts. The first part explains the origins, techniques, and outcomes of imagination; the second highlights how it differs from philosophy and how it's influenced by emotions; the third discusses the ability of imagination to provide pleasure and shows how it works in the mind. The author revised the poem in 1757, but most people believe he made it worse. Macaulay claims he ruined it, and another critic wittily notes that he "stuffed it with intellectual horsehair."
The year of Akenside's death (1770) gave birth to Wordsworth. The freer and nobler natural school of poetry came to supplant the artificial one, belonging to an epoch of wigs and false calves, and to open toward the far greater one of the romanticism of Scott and Byron.
The year Akenside died (1770) gave rise to Wordsworth. The more liberated and elevated natural style of poetry began to replace the artificial one, characteristic of an era of wigs and fake calves, and paved the way for the much greater romanticism of Scott and Byron.
FROM THE EPISTLE TO CURIO
[With this earlier and finer form of Akenside's address to the unstable Pulteney (see biographical sketch above) must not be confused its later embodiment among his odes; of which it is 'IX: to Curio.' Much of its thought and diction were transferred to the Ode named; but the latter by no means happily compares with the original 'Epistle.' Both versions, however, are of the same year, 1744.]
Thrice has the spring beheld thy faded fame,
And the fourth winter rises on thy shame,
Since I exulting grasped the votive shell.
In sounds of triumph all thy praise to tell;
Blest could my skill through ages make thee shine,
And proud to mix my memory with thine.
But now the cause that waked my song before,
With praise, with triumph, crowns the toil no more.
If to the glorious man whose faithful cares,
Nor quelled by malice, nor relaxed by years,
Had awed Ambition's wild audacious hate,
And dragged at length Corruption to her fate;
If every tongue its large applauses owed,
And well-earned laurels every muse bestowed;
If public Justice urged the high reward,
And Freedom smiled on the devoted bard:
Say then,--to him whose levity or lust
Laid all a people's generous hopes in dust,
Who taught Ambition firmer heights of power
And saved Corruption at her hopeless hour,
Does not each tongue its execrations owe?
Shall not each Muse a wreath of shame bestow?
And public Justice sanctify the award?
And Freedom's hand protect the impartial bard?
There are who say they viewed without amaze
The sad reverse of all thy former praise;
That through the pageants of a patriot's name,
They pierced the foulness of thy secret aim;
Or deemed thy arm exalted but to throw
The public thunder on a private foe.
But I, whose soul consented to thy cause,
Who felt thy genius stamp its own applause,
Who saw the spirits of each glorious age
Move in thy bosom, and direct thy rage,--
I scorned the ungenerous gloss of slavish minds,
The owl-eyed race, whom Virtue's lustre blinds.
Spite of the learned in the ways of vice,
And all who prove that each man has his price,
I still believed thy end was just and free;
And yet, even yet believe it--spite of thee.
Even though thy mouth impure has dared disclaim,
Urged by the wretched impotence of shame,
Whatever filial cares thy zeal had paid
To laws infirm, and liberty decayed;
Has begged Ambition to forgive the show;
Has told Corruption thou wert ne'er her foe;
Has boasted in thy country's awful ear,
Her gross delusion when she held thee dear;
How tame she followed thy tempestuous call,
And heard thy pompous tales, and trusted all--
Rise from your sad abodes, ye curst of old
For laws subverted, and for cities sold!
Paint all the noblest trophies of your guilt,
The oaths you perjured, and the blood you spilt;
Yet must you one untempted vileness own,
One dreadful palm reserved for him alone:
With studied arts his country's praise to spurn,
To beg the infamy he did not earn,
To challenge hate when honor was his due,
And plead his crimes where all his virtue knew.
When they who, loud for liberty and laws,
In doubtful times had fought their country's cause,
When now of conquest and dominion sure,
They sought alone to hold their fruit secure;
When taught by these, Oppression hid the face,
To leave Corruption stronger in her place,
By silent spells to work the public fate,
And taint the vitals of the passive state,
Till healing Wisdom should avail no more,
And Freedom loath to tread the poisoned shore:
Then, like some guardian god that flies to save
The weary pilgrim from an instant grave,
Whom, sleeping and secure, the guileful snake
Steals near and nearer thro' the peaceful brake,--
Then Curio rose to ward the public woe,
To wake the heedless and incite the slow,
Against Corruption Liberty to arm.
And quell the enchantress by a mightier charm.
Lo! the deciding hour at last appears;
The hour of every freeman's hopes and fears!
See Freedom mounting her eternal throne,
The sword submitted, and the laws her own!
See! public Power, chastised, beneath her stands,
With eyes intent, and uncorrupted hands!
See private life by wisest arts reclaimed!
See ardent youth to noblest manners framed!
See us acquire whate'er was sought by you,
If Curio, only Curio will be true.
'Twas then--O shame! O trust how ill repaid!
O Latium, oft by faithless sons betrayed!--
'Twas then--What frenzy on thy reason stole?
What spells unsinewed thy determined soul?--
Is this the man in Freedom's cause approved?
The man so great, so honored, so beloved?
This patient slave by tinsel chains allured?
This wretched suitor for a boon abjured?
This Curio, hated and despised by all?
Who fell himself to work his country's fall?
O lost, alike to action and repose!
Unknown, unpitied in the worst of woes!
With all that conscious, undissembled pride,
Sold to the insults of a foe defied!
With all that habit of familiar fame,
Doomed to exhaust the dregs of life in shame!
The sole sad refuge of thy baffled art
To act a stateman's dull, exploded part,
Renounce the praise no longer in thy power,
Display thy virtue, though without a dower,
Contemn the giddy crowd, the vulgar wind,
And shut thy eyes that others may be blind.
O long revered, and late resigned to shame!
If this uncourtly page thy notice claim
When the loud cares of business are withdrawn,
Nor well-drest beggars round thy footsteps fawn;
In that still, thoughtful, solitary hour,
When Truth exerts her unresisted power,
Breaks the false optics tinged with fortune's glare,
Unlocks the breast, and lays the passions bare:
Then turn thy eyes on that important scene,
And ask thyself--if all be well within.
Where is the heart-felt worth and weight of soul,
Which labor could not stop, nor fear control?
Where the known dignity, the stamp of awe,
Which, half abashed, the proud and venal saw?
Where the calm triumphs of an honest cause?
Where the delightful taste of just applause?
Where the strong reason, the commanding tongue,
On which the Senate fired or trembling hung!
All vanished, all are sold--and in their room,
Couched in thy bosom's deep, distracted gloom,
See the pale form of barbarous Grandeur dwell,
Like some grim idol in a sorcerer's cell!
To her in chains thy dignity was led;
At her polluted shrine thy honour bled;
With blasted weeds thy awful brow she crowned,
Thy powerful tongue with poisoned philters bound,
That baffled Reason straight indignant flew,
And fair Persuasion from her seat withdrew:
For now no longer Truth supports thy cause;
No longer Glory prompts thee to applause;
No longer Virtue breathing in thy breast,
With all her conscious majesty confest,
Still bright and brighter wakes the almighty flame,
To rouse the feeble, and the willful tame,
And where she sees the catching glimpses roll,
Spreads the strong blaze, and all involves the soul;
But cold restraints thy conscious fancy chill,
And formal passions mock thy struggling will;
Or, if thy Genius e'er forget his chain,
And reach impatient at a nobler strain,
Soon the sad bodings of contemptuous mirth
Shoot through thy breast, and stab the generous birth,
Till, blind with smart, from truth to frenzy tost,
And all the tenor of thy reason lost,
Perhaps thy anguish drains a real tear;
While some with pity, some with laughter hear.
Ye mighty foes of liberty and rest,
Give way, do homage to a mightier guest!
Ye daring spirits of the Roman race,
See Curio's toil your proudest claims efface!--
Awed at the name, fierce Appius rising bends,
And hardy Cinna from his throne attends:
"He comes," they cry, "to whom the fates assigned
With surer arts to work what we designed,
From year to year the stubborn herd to sway,
Mouth all their wrongs, and all their rage obey;
Till owned their guide and trusted with their power,
He mocked their hopes in one decisive hour;
Then, tired and yielding, led them to the chain,
And quenched the spirit we provoked in vain."
But thou, Supreme, by whose eternal hands
Fair Liberty's heroic empire stands;
Whose thunders the rebellious deep control,
And quell the triumphs of the traitor's soul,
O turn this dreadful omen far away!
On Freedom's foes their own attempts repay;
Relume her sacred fire so near suppressed,
And fix her shrine in every Roman breast:
Though bold corruption boast around the land,
"Let virtue, if she can, my baits withstand!"
Though bolder now she urge the accursed claim,
Gay with her trophies raised on Curio's shame;
Yet some there are who scorn her impious mirth,
Who know what conscience and a heart are worth.
FROM THE EPISTLE TO CURIO
[Don't confuse this earlier and more refined version of Akenside's address to the fickle Pulteney (see the biographical sketch above) with its later form found among his odes, specifically 'IX: to Curio.' Much of the thought and language was carried over to the Ode named, but the latter doesn’t compare favorably with the original 'Epistle.' Both pieces, however, were written in the same year, 1744.]
Three times spring has witnessed your fallen fame,
And the fourth winter rises on your shame,
Since I joyfully took up the votive shell,
To proclaim your praises with triumphant sound;
I could have made you shine through the ages,
And proudly joined my memory with yours.
But now the reason that inspired my song before,
No longer crowns our efforts with praise or triumph.
If to the glorious man whose steadfast efforts,
Unaffected by malice or the passage of time,
Overcame Ambition's wild, reckless hate,
And eventually brought Corruption to her end;
If every voice owed their loud applause,
And every muse granted well-deserved honors;
If public Justice demanded the highest rewards,
And Freedom smiled upon the devoted bard:
Then tell me,--to him whose light-mindedness or desire
Crushed a whole people's noble hopes,
Who taught Ambition to reach greater power
And saved Corruption at her moment of despair,
Does not every tongue owe its curses?
Should not every Muse bestow a wreath of shame?
And should public Justice not sanctify the verdict?
And should Freedom's hand not protect the impartial bard?
Some claim they observed without surprise
The tragic reversal of all your past praise;
That through the false glory of a patriot's name,
They saw the foulness of your hidden agenda;
Or believed your raised arm was only meant to strike
Public thunder at a private foe.
But I, whose spirit aligned with your cause,
Who felt your genius deserved its applause,
Who saw the spirits of every glorious age
Move within you and guide your fury,--
I scorned the ungracious views of those enslaved in mind,
The owl-eyed crowd, whom Virtue's brilliance blinds.
Despite the learned who know the ways of vice,
And all who say every man has his price,
I still believed your aim was just and free;
And even now, I still believe it--despite you.
Even though your tainted mouth has dared to deny,
Pushed by the pathetic impotence of shame,
Whatever dutiful cares your zeal had shown
To weak laws and fading liberty;
Has begged Ambition to forgive the facade;
Has told Corruption you were never her foe;
Has boasted before your country's solemn ear,
Her gross deception when she held you dear;
How meekly she followed your stormy call,
And trusted all your grand tales,--
Rise from your sorrowful places, you cursed from old
For laws destroyed and for cities sold!
Reveal all the noblest trophies of your guilt,
The oaths you broke, and the blood you spilled;
Yet you must own one temptation untainted,
One dreadful honor reserved just for him:
With careful art, to scorn his country’s praise,
To crave the infamy he did not earn,
To invite disdain when honor was his right,
And plead his crimes while only his virtues knew.
When those who loudly championed liberty and laws,
In uncertain times fought for their country’s cause,
When now confident of conquest and sovereignty,
They sought only to keep their prize secure;
When those taught by these made Oppression hide,
To allow Corruption to grow stronger in her place,
By silent spells to manipulate the public fate,
And poison the very heart of a passive state,
Until healing Wisdom could do no more,
And Freedom would dread to tread the poisoned shore:
Then, like some guardian god rushing to save
The weary traveler from an imminent grave,
Whom, asleep and secure, the cunning snake
Slips ever closer through the peaceful brush,--
Then Curio stood to shield the public from grief,
To awaken the heedless and spur the slow,
To arm Liberty against Corruption.
And to conquer the enchantress with a mightier charm.
Behold! The decisive hour at last arrives;
The hour of every freeman's hopes and fears!
See Freedom ascending her eternal throne,
The sword laid down, and the laws her own!
See! Public Power, humbled, stands beneath her,
With eager eyes and uncorrupted hands!
See private life restored by wisdom’s arts!
See passionate youth trained to noble ways!
See us gain whatever you sought,
If Curio, only Curio will be true.
It was then--Oh shame! Oh trust so poorly requited!
Oh Latium, often betrayed by faithless sons!--
It was then--What madness took hold of your reason?
What spells unstrung your determined soul?--
Is this the man approved in Freedom’s cause?
The man so great, so honored, so loved?
This patient slave lured by shiny chains?
This miserable suitor for a rejected boon?
This Curio, hated and scorned by all?
Who fell himself to bring about his country's downfall?
Oh lost, unable to act or find peace!
Unknown, unpitied in the worst of miseries!
With all that self-aware, undeterred pride,
Sold to the insults of a denied foe!
With all that familiarity with fame,
Doomed to exhaust life's dregs in disgrace!
The only sad refuge of your frustrated art
Is to play the part of a politician, dull and outdated,
Renouncing the praise no longer in your grasp,
Display your virtue, even without reward,
Despise the foolish crowd, the mundane noise,
And close your eyes so that others may remain blind.
O long revered, and now reluctantly resigned to shame!
If this rude page demands your attention
When the loud worries of business have faded,
And well-dressed beggars do not swarm your feet;
In that quiet, contemplative, solitary hour,
When Truth exercises her undeniable power,
Breaks the false perceptions tinted with fortune’s shine,
Unlocks the heart, and lays bare the passions:
Then turn your gaze to that significant scene,
And ask yourself--if all is well within.
Where is the heartfelt worth and depth of soul,
Which labor could not cease, nor fear control?
Where is the known dignity, the mark of awe,
Which even the proud and corrupt acknowledged?
Where are the calm victories of an honest cause?
Where is the sweet taste of rightful praise?
Where is the sharp reasoning, the commanding voice,
On which the Senate hung or trembled? All vanished, all are sold--and in their place,
Nestled in your heart's deep, distracted gloom,
See the pale figure of barbarous Grandeur reside,
Like a grim idol in a sorcerer’s cell!
To her in chains, your dignity was led;
At her tainted altar, your honor bled;
With cursed weeds, she crowned your noble brow,
Your powerful tongue bound with toxic potions,
That enraged Reason immediately fled,
And fair Persuasion from her throne withdrew:
For now, no longer does Truth support your cause;
No longer does Glory inspire your applause;
No longer does Virtue breathe within your breast,
With all her aware majesty confessed,
Still shining bright, igniting the divine spark,
To awaken the weak, and tame the willful,
And where she sees glimpses of hope arise,
She spreads the strong flame, engulfing the soul;
But cold restraints chill your righteous creativity,
And formal emotions mock your struggling will;
Or, if your Genius ever forgets his chains,
And reaches impatiently for a nobler verse,
Soon the despairing echoes of derisive laughter
Pierce your heart and stab the generous spark,
Until, blinded by pain, tossed from truth to madness,
And with all sense of reason lost,
Perhaps your anguish spills a real tear;
While some observe with pity and others with laughter.
You powerful enemies of liberty and peace,
Step aside, pay tribute to a mightier guest!
You daring spirits of the Roman race,
See Curio’s efforts erase your proudest claims!--
Awed at the name, fierce Appius bows down,
And bold Cinna steps down from his throne:
"He comes," they exclaim, "to whom the fates assigned
With surer ways to achieve what we sought,
To sway the stubborn crowd year after year,
To voice all their wrongs, and make their rage obey;
Until acknowledged as their guide and entrusted with their power,
He mocked their hopes in one decisive moment;
Then, weary and compliant, led them to the chains,
And extinguished the spirit we provoked in vain."
But you, O Supreme, by whose eternal hands
Fair Liberty's heroic reign persists;
Whose thunders control the rebellious deep,
And quench the triumphs of the traitor's spirit,
O turn this dreadful omen far away!
Let Freedom’s foes feel the weight of their own actions;
Relight her sacred fire so close to being snuffed out,
And establish her shrine in every Roman heart:
Though bold corruption boasts throughout the land,
"Let virtue, if she can, withstand my traps!"
Though now more brazen, she advances her vile claim,
Gloating over her trophies raised on Curio’s disgrace;
Yet some there are who disdain her wicked glee,
Who understand the worth of conscience and a loving heart.
ASPIRATIONS AFTER THE INFINITE
From (Pleasures of the Imagination)
Who that, from Alpine heights, his laboring eye
Shoots round the wide horizon, to survey
Nilus or Ganges rolling his bright wave
Thro' mountains, plains, thro' empires black with shade,
And continents of sand, will turn his gaze
To mark the windings of a scanty rill
That murmurs at his feet? The high-born soul
Disdains to rest her heaven-aspiring wing
Beneath its native quarry. Tired of earth
And this diurnal scene, she springs aloft
Through fields of air; pursues the flying storm;
Rides on the volleyed lightning through the heavens;
Or, yoked with whirlwinds and the northern blast,
Sweeps the long tract of day. Then high she soars
The blue profound, and, hovering round the sun,
Beholds him pouring the redundant stream
Of light; beholds his unrelenting sway
Bend the reluctant planets to absolve
The fated rounds of Time. Thence, far effused,
She darts her swiftness up the long career
Of devious comets; through its burning signs
Exulting measures the perennial wheel
Of Nature, and looks back on all the stars,
Whose blended light, as with a milky zone,
Invests the orient. Now, amazed she views
The empyreal waste, where happy spirits hold
Beyond this concave heaven, their calm abode;
And fields of radiance, whose unfading light
Has traveled the profound six thousand years,
Nor yet arrived in sight of mortal things.
Even on the barriers of the world, untired
She meditates the eternal depth below;
Till half-recoiling, down the headlong steep
She plunges; soon o'erwhelmed and swallowed up
In that immense of being. There her hopes
Rest at the fated goal. For from the birth
Of mortal man, the sovereign Maker said,
That not in humble nor in brief delight,
Nor in the fading echoes of Renown,
Power's purple robes, nor Pleasure's flowery lap,
The soul should find enjoyment: but from these
Turning disdainful to an equal good,
Through all the ascent of things enlarge her view,
Till every bound at length should disappear,
And infinite perfection close the scene.
ASPIRATIONS AFTER THE INFINITE
From (Pleasures of the Imagination)
Who, standing on high Alpine peaks, would look out
Across the vast horizon, to see
The Nile or the Ganges flowing their bright waters
Through mountains, fields, and empires shrouded in shadow,
And continents of sand, would instead focus
On the winding path of a small stream
That trickles at their feet? The noble soul
Refuses to rest its heaven-reaching wings
In its native surroundings. Wearied by the earth
And this daily scene, it soars high
Through the fields of air; chases the fleeting storm;
Rides on the flashing lightning through the skies;
Or, joined with whirlwinds and northern gales,
Covers the long stretch of day. Then high it ascends
Into the deep blue, and, hovering around the sun,
Sees him pouring the overflowing stream
Of light; witnesses his unyielding power
Bend the unwilling planets to follow
The inevitable cycles of Time. From there, expansive,
It shoots its speed up the long path
Of wandering comets; through its fiery signs
Joyfully measures the endless cycle
Of Nature, and looks back at all the stars,
Whose combined light, like a milky band,
Surrounds the east. Now, astonished, it observes
The celestial expanse, where happy spirits reside
Beyond this arched sky, their peaceful home;
And fields of radiance, whose unfading light
Has traveled the deep for six thousand years,
And has not yet reached the sight of mortal beings.
Even at the edge of the world, tireless,
It contemplates the eternal depths below;
Until, half-recoiling, it plunges down the steep
Into that vastness of existence. There its hopes
Rest at the destined goal. For since the dawn
Of humanity, the supreme Creator declared,
That not in humble or fleeting joy,
Nor in the fading echoes of Fame,
The rich robes of Power, or Pleasure's flowery lap,
Should the soul find satisfaction: but turning away
From these with disdain to a greater good,
Through all the heights of things broadening its view,
Until every limit finally disappears,
And infinite perfection concludes the scene.
ON A SERMON AGAINST GLORY
Come then, tell me, sage divine,
Is it an offense to own
That our bosoms e'er incline
Toward immortal Glory's throne?
For with me nor pomp nor pleasure,
Bourbon's might, Braganza's treasure,
So can Fancy's dream rejoice,
So conciliate Reason's choice,
As one approving word of her impartial voice.
If to spurn at noble praise
Be the passport to thy heaven,
Follow thou those gloomy ways:
No such law to me was given,
Nor, I trust, shall I deplore me
Faring like my friends before me;
Nor an holier place desire
Than Timoleon's arms acquire,
And Tully's curule chair, and Milton's golden lyre.
ON A SERMON AGAINST GLORY
So, tell me, wise teacher,
Is it wrong to admit
That our hearts often lean
Toward the throne of eternal Glory?
For neither grandeur nor pleasure,
Bourbon's power, Braganza's wealth,
Can make Fancy's dream rejoice,
Or align with Reason's choice,
Like one approving word from her unbiased voice.
If rejecting noble praise
Is the ticket to your heaven,
Then follow those dark paths:
No such rule has been given to me,
Nor, I hope, will I regret
Ending up like my friends before me;
Nor do I wish for a holier place
Than what Timoleon achieved,
And Tully's high office, and Milton's golden lyre.
PEDRO ANTONIO DE ALARCÓN
(1833-1891)
his novelist, poet, and politician was born at Guadix, in Spain, near Granada, March 10th, 1833, and received his early training in the seminary of his native city. His family destined him for the Church; but he was averse to that profession, subsequently studied law and modern languages at the University of Granada, and took pains to cultivate his natural love for literature and poetry. In 1853 he established at Cadiz the literary review Eco del Occidente (Echo of the West). Greatly interested in politics, he joined a democratic club with headquarters at Madrid. During the revolution of 1854 he published El Látigo (The Whip), a pamphlet in which he satirized the government. The spirit of adventure being always strong in him, he joined the African campaign under O'Donnell in 1859.
This novelist, poet, and politician was born in Guadix, Spain, near Granada, on March 10, 1833, and received his early education at the seminary in his hometown. His family intended for him to become a priest, but he was not interested in that path. Instead, he studied law and modern languages at the University of Granada and worked on nurturing his natural passion for literature and poetry. In 1853, he launched the literary review Eco del Occidente (Echo of the West) in Cadiz. Very engaged in politics, he joined a democratic club based in Madrid. During the revolution of 1854, he published El Látigo (The Whip), a pamphlet that mocked the government. Always drawn to adventure, he participated in the African campaign under O'Donnell in 1859.
His next occupation was the editorship of the journals La Epoca and La Politica. Condemned to a brief period of exile as one of the signers of a protest of Unionist deputies, he passed this time in Paris. Shortly after his return he became involved in the revolution of 1868, but without incurring personal disaster. After Alfonso XII. came to the throne in 1875, he was appointed Councilor of State.
His next job was as the editor of the magazines La Epoca and La Politica. After being briefly exiled for signing a protest by Unionist deputies, he spent that time in Paris. Soon after he returned, he got involved in the revolution of 1868, but without facing any personal consequences. After Alfonso XII took the throne in 1875, he was appointed as a Councilor of State.
It was in the domain of letters, however, and more especially as a novelist, that he won his most enduring laurels. In 1855 he produced 'EL Final de Norma' (The End of Norma), which was his first romance of importance. Four years later he began to publish that series of notable novels which brought him fame, both at home and abroad. The list includes 'EL Sombrero de Tres Picos' (The Three-Cornered Hat), a charming genre sketch famous for its pungent wit and humor, and its clever portraiture of provincial life in Spain at the beginning of this century; 'La Alpujarra'; 'EL Escándalo' (The Scandal), a story which at once created a profound sensation because of its ultramontane cast and opposition to prevalent scientific opinion; 'El Niño de la Bola' (The Child of the Ball), thought by many to be his masterpiece; 'El Capitán Veneno' (Captain Veneno); 'Novelas Cortas' (Short Stories), 3 vols.; and 'La Pródiga' (The Prodigal). Alarcón is also favorably known as poet, dramatic critic, and an incisive and effective writer of general prose.
It was in the world of literature, especially as a novelist, that he earned his most lasting recognition. In 1855, he published 'EL Final de Norma' (The End of Norma), which was his first significant romance. Four years later, he started releasing a series of remarkable novels that brought him fame both locally and internationally. The list includes 'EL Sombrero de Tres Picos' (The Three-Cornered Hat), a delightful sketch known for its sharp wit and humor, and its insightful portrayal of provincial life in Spain at the start of this century; 'La Alpujarra'; 'EL Escándalo' (The Scandal), a story that created a major sensation due to its extreme views and opposition to prevailing scientific beliefs; 'El Niño de la Bola' (The Child of the Ball), considered by many to be his masterpiece; 'El Capitán Veneno' (Captain Veneno); 'Novelas Cortas' (Short Stories), 3 vols.; and 'La Pródiga' (The Prodigal). Alarcón is also well-known as a poet, dramatic critic, and a sharp and effective writer of general prose.
His other publications comprise:--'Diario de un Testigo de la Guerra de Africa' (Journal of a Witness of the African War), a work which is said to have netted the publishers a profit of three million pesetas ($600,000); 'De Madrid à Nápoles' (from Madrid to Naples); 'Poesias Serias y Humorísticas' (Serious and Humorous Poems); 'Judicios Literários y Artísticos' (Literary and Artistic Critiques); 'Viages por España' (Travels through Spain); 'El Hijo Pródigo' (The Prodigal Son), a drama for children; and 'Ultimos Escritos' (Last Writings). Alarcón was elected a member of the Spanish Academy December 15th, 1875. Many of his novels have been translated into English and French. He died July 20th, 1891.
His other publications include: --'Diario de un Testigo de la Guerra de Africa' (Journal of a Witness of the African War), a work that reportedly earned the publishers a profit of three million pesetas ($600,000); 'De Madrid à Nápoles' (from Madrid to Naples); 'Poesias Serias y Humorísticas' (Serious and Humorous Poems); 'Judicios Literários y Artísticos' (Literary and Artistic Critiques); 'Viages por España' (Travels through Spain); 'El Hijo Pródigo' (The Prodigal Son), a play for children; and 'Ultimos Escritos' (Last Writings). Alarcón was elected a member of the Spanish Academy on December 15th, 1875. Many of his novels have been translated into English and French. He died on July 20th, 1891.
A WOMAN VIEWED FROM WITHOUT
The last and perhaps the most powerful reason which the quality of the city--clergy as well as laymen, beginning with the bishop and the corregidor--had for visiting the mill so often in the afternoon, was to admire there at leisure one of the most beautiful, graceful, and admirable works that ever left the hands of the Creator: called Seña [Mrs.] Frasquita. Let us begin by assuring you that Seña Frasquita was the lawful spouse of Uncle Luke, and an honest woman; of which fact all the illustrious visitors of the mill were well aware. Indeed, none of them ever seemed to gaze on her with sinful eyes or doubtful purpose. They all admired her, indeed, and sometimes paid her compliments,--the friars as well as the cavaliers, the prebendaries as well as the magistrate,--as a prodigy of beauty, an honor to her Creator, and as a coquettish and mischievous sprite, who innocently enlivened the most melancholy of spirits. "She is a handsome creature," the most virtuous prelate used to say. "She looks like an ancient Greek statue," remarked a learned advocate, who was an Academician and corresponding member on history. "She is the very image of Eve," broke forth the prior of the Franciscans. "She is a fine woman," exclaimed the colonel of militia. "She is a serpent, a witch, a siren, an imp," added the corregidor. "But she is a good woman, an angel, a lovely creature, and as innocent as a child four years old," all agreed in saying on leaving the mill, crammed with grapes or nuts, on their way to their dull and methodical homes.
The last and probably the most compelling reason that the city’s people—both clergy and laypeople, starting with the bishop and the corregidor—visited the mill so often in the afternoon was to admire one of the most beautiful, graceful, and remarkable creations ever made by the Creator: named Seña [Mrs.] Frasquita. Let’s clarify that Seña Frasquita was the legitimate wife of Uncle Luke and a respectable woman; everyone who visited the mill knew this. In fact, none of them ever seemed to look at her with any inappropriate thoughts or intentions. They all appreciated her and occasionally complimented her—both the friars and the gentlemen, the prebendaries and the magistrate—considering her a marvel of beauty, a credit to her Creator, and a playful and mischievous spirit who brought joy to even the saddest people. "She is a lovely lady," the most virtuous bishop would say. "She looks like an ancient Greek statue," noted a learned lawyer who was an Academician and a member of the history committee. "She is the very image of Eve," exclaimed the prior of the Franciscans. "She is a beautiful woman," declared the militia colonel. "She is a temptress, a witch, a siren, a mischief-maker," added the corregidor. "But she is a good woman, an angel, a lovely person, and as innocent as a four-year-old child," everyone agreed as they left the mill, loaded with grapes or nuts, on their way to their boring and structured homes.
This four-year-old child, that is to say, Frasquita, was nearly thirty years old, and almost six feet high, strongly built in proportion, and even a little stouter than exactly corresponded to her majestic figure. She looked like a gigantic Niobe, though she never had any children; she seemed like a female Hercules, or like a Roman matron, the sort of whom there are still copies to be seen in the Rioni Trastevere. But the most striking feature was her mobility, her agility, her animation, and the grace of her rather large person.
This four-year-old girl, Frasquita, was actually almost thirty years old, nearly six feet tall, and built robustly, slightly heavier than what would typically fit her impressive figure. She resembled a giant Niobe, even though she had no children; she looked like a female Hercules or a Roman matron, similar to the kinds you can still find in the Rioni Trastevere. But what stood out the most was her movement, her agility, her liveliness, and the elegance of her relatively large body.
For resemblance to a statue, to which the Academician compared her, she lacked statuesque repose. She bent her body like a reed, or spun around like a weather-vane, or danced like a top. Her features possessed even greater mobility, and in consequence were even less statuesque. They were lighted up beautifully by five dimples: two on one cheek, one on the other, another very small one near the left side of her roguish lips, and the last--and a very big one--in the cleft of her rounded chin. Add to these charms her sly or roguish glances, her pretty pouts, and the various attitudes of her head, with which she emphasized her talk, and you will have some idea of that face full of vivacity and beauty, and always radiant with health and happiness.
For all the resemblance to a statue that the Academic compared her to, she didn’t have the calm presence of one. She moved her body like a reed, spun around like a weather vane, or danced like a top. Her features were even more expressive, which made them even less statue-like. They were beautifully highlighted by five dimples: two on one cheek, one on the other, a very small one near the left side of her mischievous lips, and the last—quite large—in the cleft of her rounded chin. Add to these charms her sly or playful glances, her cute pouts, and the various positions of her head that she used to emphasize her speech, and you’ll get a sense of that lively and beautiful face, always glowing with health and happiness.
Neither Uncle Luke nor Seña Frasquita was Andalusian by birth: she came from Navarre, and he from Murcia. He went to the city of ---- when he was but fifteen years old, as half page, half servant of the bishop, the predecessor of the present incumbent of that diocese. He was brought up for the Church by his patron, who, perhaps on that account, so that he might not lack competent maintenance, bequeathed him the mill in his will. But Uncle Luke, who had received only the lesser orders when the bishop died, cast off his ecclesiastical garb at once and enlisted as a soldier; for he felt more anxious to see the world and to lead a life of adventure than to say mass or grind corn. He went through the campaign of the Western Provinces in 1793, as the orderly of the brave General Ventura Caro; he was present at the siege of the Castle of Piñon, and remained a long time in the Northern Provinces, when he finally quitted the service. In Estella he became acquainted with Seña Frasquita, who was then simply called Frasquita; made love to her, married her, and carried her to Andalusia to take possession of the mill, where they were to live so peaceful and happy during the rest of their pilgrimage through this vale of tears.
Neither Uncle Luke nor Seña Frasquita was originally from Andalusia: she was from Navarre, and he was from Murcia. He moved to the city of ---- when he was just fifteen, serving as a half page, half servant to the bishop, the predecessor of the current bishop of that diocese. His patron raised him for a life in the Church and, perhaps to ensure he had proper support, left him the mill in his will. However, Uncle Luke, who had only received the lesser orders when the bishop passed away, immediately discarded his clerical clothing and enlisted as a soldier because he was more eager to explore the world and seek adventure than to say mass or grind corn. He participated in the campaign of the Western Provinces in 1793 as the orderly for the brave General Ventura Caro; he was present at the siege of the Castle of Piñon and spent a long time in the Northern Provinces before leaving the service. In Estella, he met Seña Frasquita, who was simply known as Frasquita; he fell in love with her, married her, and brought her to Andalusia to take over the mill, where they were meant to live peacefully and happily for the rest of their journey through this vale of tears.
When Frasquita was taken from Navarre to that lonely place she had not yet acquired any Andalusian ways, and was very different from the countrywomen in that vicinity. She dressed with greater simplicity, greater freedom, grace, and elegance than they did. She bathed herself oftener; and allowed the sun and air to caress her bare arms and uncovered neck. To a certain extent she wore the style of dress worn by the gentlewomen of that period; like that of the women in Goya's pictures, and somewhat of the fashion worn by Queen Maria Louisa: if not exactly so scant, yet so short that it showed her small feet, and the commencement of her superb limbs; her bodice was low, and round in the neck, according to the style in Madrid, where she spent two months with her Luke on their way from Navarre to Andalusia. She dressed her hair high on the top of her head, displaying thus both the graceful curve of her snowy neck and the shape of her pretty head. She wore earrings in her small ears, and the taper fingers of her rough but clean hands were covered with rings. Lastly, Frasquita's voice was as sweet as a flute, and her laugh was so merry and so silvery it seemed like the ringing of bells on Saturday of Glory or Easter Eve.
When Frasquita was taken from Navarre to that isolated place, she hadn't yet adopted any Andalusian habits and was quite different from the local women. She dressed more simply and elegantly, with a sense of freedom and grace that set her apart. She bathed more frequently and let the sun and air touch her bare arms and exposed neck. To some extent, her clothing resembled that of the ladies of her time, similar to the women in Goya's paintings and somewhat like the style worn by Queen Maria Louisa; it wasn't exactly as revealing, but still short enough to showcase her small feet and the beginning of her lovely legs. Her bodice was low and round at the neck, in line with the fashion in Madrid, where she spent two months with her Luke on their journey from Navarre to Andalusia. She styled her hair high on her head, highlighting the graceful curve of her fair neck and the shape of her pretty head. She wore earrings in her small ears, and her slender fingers, though calloused, were adorned with rings. Lastly, Frasquita's voice was as sweet as a flute, and her laughter was so cheerful and musical that it resembled the sound of bells on Holy Saturday or Easter Eve.
HOW THE ORPHAN MANUEL GAINED HIS SOBRIQUET
The unfortunate boy seemed to have turned to ice from the cruel and unexpected blows of fate; he contracted a death-like pallor, which he never again lost. No one paid any attention to the unhappy child in the first moments of his anguish, or noticed that he neither groaned, sighed, nor wept. When at last they went to him they found him convulsed and rigid, like a petrifaction of grief; although he walked about, heard and saw, and covered his wounded and dying father with kisses. But he shed not a single tear, either during the death agony of that beloved being, when he kissed the cold face after it was dead, or when he saw them carry the body away forever; nor when he left the house in which he had been born, and found himself sheltered by charity in the house of a stranger. Some praised his courage, others criticized his callousness. Mothers pitied him profoundly, instinctively divining the cruel tragedy that was being enacted in the orphan's heart for want of some tender and compassionate being to make him weep by weeping with him.
The unfortunate boy seemed frozen by the harsh and unexpected blows of fate; he developed a pale, death-like complexion that he never recovered from. No one noticed the miserable child in the first moments of his suffering, or realized that he neither groaned, sighed, nor cried. When they finally approached him, they found him stiff and convulsed, as if he were a statue of grief; still, he walked around, listened, saw, and showered kisses on his wounded and dying father. Yet he didn’t shed a single tear, neither during the agonizing death of that beloved person when he kissed the cold face after it had passed away, nor when he saw them take the body away for good; nor when he left the home where he was born and found himself relying on the charity of a stranger. Some praised his bravery, while others criticized his indifference. Mothers felt deep sympathy for him, instinctively recognizing the cruel tragedy unfolding in the orphan's heart due to the absence of someone tender and compassionate to make him cry by crying alongside him.
Nor did Manuel utter a single word from the moment he saw his beloved father brought in dying. He made no answer to the affectionate questions asked him by Don Trinidad after the latter had taken him home; and the sound of his voice was never heard during the first three years which he spent in the holy company of the priest. Everybody thought by this time that he would remain dumb forever, when one day, in the church of which his protector was the priest, the sacristan observed him standing before a beautiful image of the "Child of the Ball," and heard him saying in melancholy accents:--
Nor did Manuel say a single word from the moment he saw his beloved father brought in dying. He didn’t respond to the caring questions asked by Don Trinidad after he took him home; and his voice was never heard during the first three years he spent in the holy company of the priest. By this time, everyone thought he would stay mute forever, when one day, in the church where his protector was the priest, the sacristan saw him standing before a beautiful image of the "Child of the Ball," and heard him speaking in a sad tone:--
"Child Jesus, why do you not speak either?"
"Child Jesus, why aren't you speaking either?"
Manuel was saved. The drowning boy had raised his head above the engulfing waters of his grief. His life was no longer in danger. So at least it was believed in the parish.
Manuel was saved. The boy who almost drowned had lifted his head above the overwhelming waters of his despair. His life was no longer in danger. At least, that’s what everyone in the parish believed.
Toward strangers--from whom, whenever they came in contact with him, he always received demonstrations of pity and kindness--the orphan continued to maintain the same glacial reserve as before, rebuffing them with the phrase, stereotyped on his disdainful lips, "Let me alone, now;" having said which, in tones of moving entreaty, he would go on his way, not without awakening superstitious feelings in the minds of the persons whom he thus shunned.
Toward strangers—who always showed him pity and kindness whenever they interacted with him—the orphan kept his usual cold distance, rejecting them with his trademark phrase, "Leave me alone, okay?" After saying this in a tone that hinted at desperation, he would continue on his way, not without stirring up superstitious thoughts in the minds of those he avoided.
Still less did he lay aside, at this saving crisis, the profound sadness and precocious austerity of his character, or the obstinate persistence with which he clung to certain habits. These were limited, thus far, to accompanying the priest to the church; gathering flowers or aromatic herbs to adorn the image of the "Child of the Ball," before which he would spend hour after hour, plunged in a species of ecstasy; and climbing the neighboring mountain in search of those herbs and flowers, when, owing to the severity of the heat or cold, they were not to be found in the fields.
Still less did he set aside, during this crucial moment, the deep sadness and early maturity of his character, or the stubborn way he clung to certain routines. So far, these were limited to going with the priest to church; gathering flowers or fragrant herbs to decorate the image of the "Child of the Ball," before which he would spend hours lost in a kind of ecstasy; and climbing the nearby mountain in search of those herbs and flowers when, due to the extreme heat or cold, they weren’t available in the fields.
This adoration, while in consonance with the religious principles instilled into him from the cradle by his father, greatly exceeded what is usual even in the most devout. It was a fraternal and submissive love, like that which he had entertained for his father; it was a confused mixture of familiarity, protection, and idolatry, very similar to the feeling which the mothers of men of genius entertain for their illustrious sons; it was the respectful and protecting tenderness which the strong warrior bestows on the youthful prince; it was an identification of himself with the image; it was pride; it was elation as for a personal good. It seemed as if this image symbolized for him his tragic fate, his noble origin, his early orphanhood, his poverty, his cares, the injustice of men, his solitary state in the world, and perhaps too some presentiment of his future sufferings.
This adoration, while aligned with the religious beliefs his father instilled in him from a young age, far surpassed what is typical even among the most devout. It was a brotherly and humble love, similar to what he had felt for his father; a confusing mix of familiarity, protection, and idolization, much like the feelings mothers of talented men have for their remarkable sons; it was the respectful and protective tenderness a strong warrior shows to a young prince; it was a merging of himself with the image; it was pride; it was a sense of joy as if it were a personal achievement. It felt as though this image represented for him his tragic fate, his noble heritage, his early orphanhood, his poverty, his struggles, the injustices of people, his solitary life in the world, and perhaps even a premonition of his future suffering.
Probably nothing of all this was clear at the time to the mind of the hapless boy, but something resembling it must have been the tumult of confused thoughts that palpitated in the depths of that childlike, unwavering, absolute, and exclusive devotion. For him there was neither God nor the Virgin, neither saints nor angels; there was only the "Child of the Ball," not with relation to any profound mystery, but in himself, in his present form, with his artistic figure, his dress of gold tissue, his crown of false stones, his blonde head, his charming countenance, and the blue-painted globe which he held in his hand, and which was surmounted by a little silver-gilt cross, in sign of the redemption of the world.
Probably none of this was clear to the mind of the unfortunate boy at the time, but something like it must have been the chaotic mix of confused thoughts swirling in the depths of his childlike, unwavering, absolute, and exclusive devotion. For him, there was no God or Virgin, no saints or angels; there was only the "Child of the Ball," not in relation to any profound mystery, but in himself, in his current form, with his artistic figure, his gold-threaded outfit, his crown of fake jewels, his blonde hair, his charming face, and the blue-painted globe he held in his hand, topped with a little silver-gilt cross as a sign of the world's redemption.
And this was the cause and reason why the acolytes of Santa María de la Cabéza first, all the boys of the town afterward, and finally the more respectable and sedate persons, bestowed on Manuel the extraordinary name of "The Child of the Ball": we know not whether by way of applause of such vehement idolatry, and to commit him, as it were, to the protection of the Christ-Child himself; or as a sarcastic antiphrasis,--seeing that this appellation is sometimes used in the place as a term of comparison for the happiness of the very fortunate; or as a prophecy of the valor for which the son of Venegas was to be one day celebrated, and the terror he was to inspire,--since the most hyperbolical expression that can be employed in that district, to extol the bravery and power of any one, is to say that "she does not fear even the 'Child of the Ball.'"
And this was the reason why the acolytes of Santa María de la Cabéza first, then all the boys in town, and finally the more respectable and serious folks, gave Manuel the extraordinary nickname "The Child of the Ball": we don’t know if it was meant to show their intense admiration for him, as a way to dedicate him to the protection of the Christ-Child himself; or if it was sarcastic irony, since this nickname is sometimes used as a comparison for the happiness of those who are very fortunate; or as a prediction of the bravery for which the son of Venegas would one day be celebrated and the fear he would inspire—because the most exaggerated way to praise someone’s courage and strength in that area is to say that "she does not fear even the 'Child of the Ball.'"
Selections used by permission of Cassell Publishing Company
Selections used with permission from Cassell Publishing Company
ALCAEUS
(Sixth Century B.C.)
lcaeus, a contemporary of the more famous poet whom he addressed as "violet-crowned, pure, sweetly-smiling Sappho," was a native of Mitylene in Lesbos. His period of work fell probably between 610 and 580 B.C. At this time his native town was disturbed by an unceasing contention for power between the aristocracy and the people; and Alcaeus, through the vehemence of his zeal and his ambition, was among the leaders of the warring faction. By the accidents of birth and education he was an aristocrat, and in politics he was what is now called a High Tory. With his brothers, Cicis and Antimenidas, two influential young nobles as arrogant and haughty as himself, he resented and opposed the slightest concession to democracy. He was a stout soldier, but he threw away his arms at Ligetum when he saw that his side was beaten, and afterward wrote a poem on this performance, apparently not in the least mortified by the recollection. Horace speaks of the matter, and laughingly confesses his own like misadventure.
Alcaeus, a contemporary of the more famous poet he called "violet-crowned, pure, sweetly-smiling Sappho," was from Mitylene in Lesbos. He likely worked between 610 and 580 B.C. During this time, his hometown was caught up in a constant struggle for power between the aristocrats and the common people. Alcaeus, driven by his passion and ambition, became one of the leaders of the opposing faction. Due to his background and education, he was part of the aristocracy, and in politics, he was what we’d now refer to as a High Tory. Along with his brothers, Cicis and Antimenidas—two influential young nobles as arrogant and proud as he was—he resented and resisted any concessions to democracy. He was a brave soldier but discarded his weapons at Ligetum when he realized his side was losing, later writing a poem about this incident, seemingly without any shame. Horace mentions this situation and humorously admits to a similar experience.
When the kindly Pittacus was chosen dictator, he was compelled to banish the swashbuckling brothers for their abuse of him. But when Alcaeus chanced to be taken prisoner, Pittacus set him free, remarking that "forgiveness is better than revenge." The irreconcilable poet spent his exile in Egypt, and there he may have seen the Greek oligarch who lent his sword to Nebuchadnezzar, and whom he greeted in a poem, a surviving fragment of which is thus paraphrased by John Addington Symonds:--
When the kind Pittacus was chosen as dictator, he had to banish the rowdy brothers for how they treated him. However, when Alcaeus happened to be captured, Pittacus let him go, saying that "forgiveness is better than revenge." The stubborn poet spent his time in exile in Egypt, where he might have encountered the Greek oligarch who fought alongside Nebuchadnezzar, and he acknowledged him in a poem, a surviving fragment of which is paraphrased by John Addington Symonds:--
From the ends of the earth thou art come,
Back to thy home;
The ivory hilt of thy blade
With gold is embossed and inlaid;
Since for Babylon's host a great deed
Thou didst work in their need,
Slaying a warrior, an athlete of might,
Royal, whose height
Lacked of five cubits one span--
A terrible man.
You've come from the ends of the earth,
Back to your home;
The ivory hilt of your sword
Is embossed and inlaid with gold;
Because you accomplished a great task
For Babylon's army in their time of need,
Killing a powerful warrior, an athlete of strength,
Royal, whose height
Was just one span short of five cubits--
A formidable man.
Alcaeus is reputed to have been in love with Sappho, the glorious, but only a line or two survives to confirm the tale. Most of his lyrics, like those of his fellow-poets, seem to have been drinking songs, combined, says Symonds, with reflections upon life, and appropriate descriptions of the different seasons. "No time was amiss for drinking, to his mind: the heat of summer, the cold of winter, the blazing dog-star and the driving tempest, twilight with its cheerful gleam of lamps, mid-day with its sunshine--all suggest reasons for indulging in the cup. Not that we are justified in fancying Alcaeus a mere vulgar toper: he retained Aeolian sumptuousness in his pleasures, and raised the art of drinking to an aesthetic attitude."
Alcaeus is said to have been in love with Sappho, the magnificent, but only a line or two survives to back up the story. Most of his lyrics, like those of his fellow poets, seem to have been drinking songs, mixed, as Symonds puts it, with thoughts on life and fitting descriptions of the different seasons. "No time was wrong for drinking, in his eyes: the heat of summer, the chill of winter, the blazing dog-star, and the raging storm, twilight with its cheerful glow of lamps, mid-day with its sunlight—all suggest reasons to enjoy a drink. However, we shouldn't picture Alcaeus as just a common drunk: he maintained an Aeolian richness in his pleasures and elevated the art of drinking to an aesthetic experience."
Alcaeus composed in the Aeolic dialect; for the reason, it is said, that it was more familiar to his hearers. After his death his poems were collected and divided into ten books. Bergk has included the fragments--and one of his compositions has come down to us entire--his 'Poetae Lyrici Graeci.'
Alcaeus wrote in the Aeolic dialect because it was more familiar to his audience. After he died, his poems were gathered and split into ten books. Bergk has included the fragments, and one of his works has survived completely—his 'Poetae Lyrici Graeci.'
His love of political strife and military glory led him to the composition of a class of poems which the ancients called 'Stasiotica' (Songs of Sedition). To this class belong his descriptions of the furnishing of his palace, and many of the fragments preserved to us. Besides those martial poems, he composed hymns to the gods, and love and convivial songs.
His passion for political conflict and military fame inspired him to write a type of poetry known as 'Stasiotica' (Songs of Sedition), as the ancients referred to it. This includes his accounts of how he decorated his palace, along with many fragments that have been preserved for us. In addition to those war-themed poems, he also wrote hymns to the gods, as well as love and party songs.
His verses are subjective and impassioned. They are outbursts of the poet's own feeling, his own peculiar expression toward the world in which he lived; and it is this quality that gave them their strength and their celebrity. His metres were lively, and the care which he expended upon his strophes has led to the naming of one metre the 'Alcaic.' Horace testifies (Odes ii. 13, ii. 26, etc.), to the power of his master.
His poems are personal and passionate. They reflect the poet's own emotions and unique perspective on the world he lived in; and it’s this quality that gave them their impact and fame. His rhythms were vibrant, and the attention he put into his stanzas resulted in one type of meter being called the 'Alcaic.' Horace confirms (Odes ii. 13, ii. 26, etc.) the greatness of his mentor.
The first selection following is a fragment from his 'Stasiotica.' It is a description of the splendor of his palace before "the work of war began."
The first selection below is a fragment from his 'Stasiotica.' It describes the grandeur of his palace before "the work of war began."
From roof to roof the spacious palace halls
From one roof to another, the expansive palace halls
Glitter with war's array;
Shine with war's display;
With burnished metal clad, the lofty walls
With polished metal covering, the tall walls
Beam like the bright noonday.
Shine like the bright midday.
There white-plumed helmets hang from many a nail,
There are white-plumed helmets hanging from many nails,
Above, in threatening row;
Above, in menacing line;
Steel-garnished tunics and broad coats of mail
Steel-adorned tunics and wide coats of chainmail
Spread o'er the space below.
Spread over the space below.
Chalcidian blades enow, and belts are here,
Chalcidian blades enough, and belts are here,
Greaves and emblazoned shields;
Armor and decorated shields;
Well-tried protectors from the hostile spear,
Well-tested shields against the enemy's spear,
On other battlefields.
On different battlefields.
With these good helps our work of war's begun,
With these good tools, our war efforts have started,
With these our victory must be won.
With these, we have to win our victory.
Translation of Colonel Mure.
Translation of Colonel Mure.
The rain of Zeus descends, and from high heaven
The rain from Zeus falls down from the sky.
A storm is driven:
A storm is brewing:
And on the running water-brooks the cold
And on the flowing streams, the cold
Lays icy hold;
Lays a chilling grip;
Then up: beat down the winter; make the fire
Then get up: chase away the winter; light the fire
Blaze high and higher;
Burn bright and brighter;
Mix wine as sweet as honey of the bee
Mix wine as sweet as honey from the bee
Abundantly;
In plenty;
Then drink with comfortable wool around
Then drink with soft wool all around.
Your temples bound.
Your temples are tied.
We must not yield our hearts to woe, or wear
We must not give in to sadness or wear
With wasting care;
With careless waste;
For grief will profit us no whit, my friend,
For grief won't help us at all, my friend,
Nor nothing mend;
Nor anything fix;
But this is our best medicine, with wine fraught
But this is our best medicine, filled with wine
To cast out thought.
To eliminate thoughts.
Translation of J. A. Symonds.
Translation of J.A. Symonds.
Why wait we for the torches' lights?
Why are we waiting for the torches to be lit?
Now let us drink while day invites.
Now let's drink while the day is still inviting.
In mighty flagons hither bring
Bring the big flagons here.
The deep-red blood of many a vine,
The dark red juice of many vines,
That we may largely quaff, and sing
That we can drink a lot and sing
The praises of the god of wine,
The praises of the wine god,
The son of Jove and Semele,
The son of Jupiter and Semele,
Who gave the jocund grape to be
Who gave the cheerful grape to be
A sweet oblivion to our woes.
A sweet escape from our troubles.
Fill, fill the goblet--one and two:
Fill, fill the cup--one and two:
Let every brimmer, as it flows,
Let every glass, as it fills,
In sportive chase, the last pursue.
In a playful hunt, the final chase.
Translation of Sir William Jones.
Translation of Sir William Jones.
Now here, now there, the wild waves sweep,
Now here, now there, the wild waves crash,
Whilst we, betwixt them o'er the deep,
Whilst we, between them over the deep,
In shatter'd tempest-beaten bark,
In shattered, storm-beaten boat,
With laboring ropes are onward driven,
With working ropes, we are pushed forward,
The billows dashing o'er our dark
The waves crashing over our dark
Upheavèd deck--in tatters riven
Ripped-up deck in tatters
Our sails--whose yawning rents between
Our sails—whose big tears between
The raging sea and sky are seen.
The wild sea and sky are visible.
Loose from their hold our anchors burst,
Loose from their hold our anchors break,
And then the third, the fatal wave
And then the third wave, the deadly one
Comes rolling onward like the first,
Comes rolling forward like the first,
And doubles all our toil to save.
And doubles all our effort to save.
Translation of Sir William Jones.
Translation by Sir William Jones.
The fisher Diotimus had, at sea
The fisherman Diotimus was at sea
And shore, the same abode of poverty--
And sure, the same place of poverty--
His trusty boat;--and when his days were spent,
His reliable boat; and when his days were over,
Therein self-rowed to ruthless Dis he went;
There he rowed himself to the merciless Dis;
For that, which did through life his woes beguile,
For that, which made his troubles easier to bear throughout life,
Supplied the old man with a funeral pile.
Supplied the old man with a cremation platform.
Translation of Sir William Jones.
Translation by Sir William Jones.
What constitutes a State?
What defines a State?
Not high-raised battlement, or labored mound,
Not a towering battlement or a carefully built mound,
Thick wall or moated gate;
Thick wall or moated entrance;
Not cities fair, with spires and turrets crown'd;
Not beautiful cities, with spires and towers crowned;
No:--Men, high-minded men,
No:--Men, noble men,
With powers as far above dull brutes endued
With powers far beyond those of dull animals
In forest, brake or den,
In the forest, brake or den,
As beasts excel cold rocks and brambles rude:--
As animals thrive in harsh rocks and rough thorns:--
Men who their duties know,
Men who know their duties,
But know their rights, and knowing, dare maintain;
But understand their rights, and knowing that, have the courage to stand up for them;
Prevent the long-aimed blow,
Block the intended strike,
And crush the tyrant, while they rend the chain.
And defeat the oppressor, while they break the chains.
Translation of Sir William Jones.
Translation by Sir William Jones.
The worst of ills, and hardest to endure,
The worst of problems, and toughest to bear,
Past hope, past cure,
No hope left.
Is Penury, who, with her sister-mate
Is Penury, who, with her sister-mate
Disorder, soon brings down the loftiest state,
Disorder quickly brings down the highest state,
And makes it desolate.
And leaves it barren.
This truth the sage of Sparta told,
This truth was shared by the wise man of Sparta,
Aristodemus old,--
Aristodemus is old,--
"Wealth makes the man." On him that's poor,
"Wealth makes the man." For someone who's poor,
Proud worth looks down, and honor shuts the door.
Pride looks down, and honor closes the door.
Translation of Sir William Jones.
Translation by Sir William Jones.
BALTÁZAR DE ALCÁZAR
(1530?-1606)
lthough little may be realized now of Alcázar's shadowy personality, there is no doubt that in his own century he was widely read. Born of a very respectable family in Seville, either in 1530 or 1531, he first appears as entering the Spanish navy, and participating in several battles on the war galleys of the Marquis of Santa Cruz. It is known that for about twenty years he was alcalde or mayor at the Molares on the outskirts of Utrera,--an important local functionary, a practical man interested in public affairs.
Although little may be recognized now about Alcázar's mysterious personality, there's no doubt that he was widely read in his own time. Born into a respectable family in Seville, either in 1530 or 1531, he first shows up in the Spanish navy, participating in several battles on the war galleys of the Marquis of Santa Cruz. It's known that for about twenty years he served as the alcalde, or mayor, of Molares, on the outskirts of Utrera—an important local official, a practical man interested in public affairs.
But, on the whole, his seems to have been a strongly artistic nature; for he was a musician of repute, skillful too at painting, and above all a poet. As master and model in metrical composition he chose Martial, and in his epigrammatic turn he is akin to the great Latin poet. He was fond of experimenting in Latin lyrical forms, and wrote many madrigals and sonnets. They are full of vigorous thought and bright satire, of playful malice and epicurean joy in life, and have always won the admiration of his fellow-poets. As has been said, they show a fine taste, quite in advance of the age. Cervantes, his greater contemporary, acknowledged his power with cordial praise in the Canto de Caliope.
But overall, he clearly had a strong artistic nature; he was a well-known musician, skilled at painting, and above all, a poet. He looked up to Martial as a master and model in poetry and shared an epigrammatic style with the great Latin poet. He loved experimenting with Latin lyrical forms, writing many madrigals and sonnets. These works are filled with lively ideas and sharp satire, playful mischief, and an enjoyment of life, consistently earning the admiration of his fellow poets. As mentioned, they display a refined taste that was quite ahead of their time. Cervantes, his more famous contemporary, recognized his talent with warm praise in the Canto de Caliope.
The "witty Andalusian" did not write voluminously. Some of his poems still remain in manuscript only. Of the rest, comprised in one small volume, perhaps the best known are 'The Jovial Supper,' 'The Echo,' and the 'Counsel to a Widow.'
The "witty Andalusian" didn't write a lot. Some of his poems are still only in manuscript form. Among the rest, found in one small book, perhaps the most well-known are 'The Jovial Supper,' 'The Echo,' and 'Advice to a Widow.'
Sleep is no servant of the will,
Sleep is not something we can control,
It has caprices of its own:
It has its own quirks:
When most pursued,--'tis swiftly gone;
When most chase it, it’s gone fast;
When courted least, it lingers still.
When it's least wanted, it sticks around.
With its vagaries long perplext,
With its complexities long perplexed,
I turned and turned my restless sconce,
I kept turning my restless lamp,
Till one bright night, I thought at once
Till one bright night, I suddenly thought
I'd master it; so hear my text!
I'd conquer it; so listen to my words!
When sleep will tarry, I begin
When sleep won't come, I start
My long and my accustomed prayer;
My well-known and familiar prayer;
And in a twinkling sleep is there,
And in a flash, sleep is there,
Through my bed-curtains peeping in.
Through my bed curtains peeking in.
When sleep hangs heavy on my eyes,
When sleep weighs down my eyelids,
I think of debts I fain would pay;
I think of debts I wish I could pay;
And then, as flies night's shade from day,
And then, just like flies flee the night when day comes,
Sleep from my heavy eyelids flies.
Sleep flies from my heavy eyelids.
And thus controlled the winged one bends
And so the one with wings bends in control
Ev'n his fantastic will to me;
Even his fantastic will to me;
And, strange, yet true, both I and he
And, strangely enough, both he and I
Are friends,--the very best of friends.
Are friends—the very best of friends.
We are a happy wedded pair,
We are a happily married couple,
And I the lord and she the dame;
And I the lord and she the lady;
Our bed--our board--our hours the same,
Our bed, our meals, our hours are the same,
And we're united everywhere.
And we're united all over.
I'll tell you where I learnt to school
I'll tell you where I learned to go to school.
This wayward sleep:--a whispered word
This stray sleep:--a whispered word
From a church-going hag I heard,
From a church-going woman I heard,
And tried it--for I was no fool.
And I gave it a shot—because I wasn't an idiot.
So from that very hour I knew
So from that very moment, I understood
That having ready prayers to pray,
That having quick prayers to say,
And having many debts to pay,
And having a lot of debts to pay,
Will serve for sleep and waking too.
Will be used for sleeping and waking as well.
From Longfellow's 'Poets of Europe': by permission of Houghton, Mifflin and Company.
From Longfellow's 'Poets of Europe': by permission of Houghton, Mifflin and Company.
Lives Don Lopez de Sosa;
And I will tell thee, Isabel, a thing
The most daring that thou hast heard of him.
This gentleman had
A Portuguese serving man . . .
However, if it appears well to you, Isabel,
Let us first take supper.
We have the table ready laid,
As we have to sup together;
The wine-cups at their stations
Are only wanting to begin the feast.
Let us commence with new, light wine,
And cast upon it benediction;
I consider it a matter of devotion
To sign with cross that which I drink.
Be it or not a modern invention,
By the living God I do not know;
But most exquisite was
The invention of the tavern.
Because, I arrive thirsty there,
I ask for new-made wine,
They mix it, give it to me, I drink,
I pay for it, and depart contented.
That, Isabel, is praise of itself,
It is not necessary to laud it.
I have only one fault to find with it,
That is--it is finished with too much haste.
But say, dost thou not adore and prize
The illustrious and rich black pudding?
How the rogue tickles!
It must contain spices.
How it is stuffed with pine nuts!
But listen to a subtle hint.
You did not put a lamp there?
How is it that I appear to see two?
But these are foolish questions,
Already know I what it must be:
It is by this black draught
That the number of lamps accumulates.
[The several courses are ended, and the jovial diner resolves to finish his story.]
[The various courses are done, and the cheerful diner decides to wrap up his story.]
And now, Isabel, as we have supped
So well, and with so much enjoyment,
It appears to be but right
To return to the promised tale.
But thou must know, Sister Isabel,
That the Portuguese fell sick . . .
Eleven o'clock strikes, I go to sleep.
Wait for the morrow.
ALCIPHRON
(Second Century A.D.)
BY HARRY THURSTON PECK
n the history of Greek prose fiction the possibilities of the epistolary form were first developed by the Athenian teacher of rhetoric, Alciphron, of whose life and personality nothing is known except that he lived in the second century A.D.,--a contemporary of the great satirical genius Lucian. Of his writings we now possess only a collection of imaginary letters, one hundred and eighteen in number, arranged in three books. Their value depends partly upon the curious and interesting pictures given in them of the life of the post-Alexandrine period, especially of the low life, and partly upon the fact that they are the first successful attempts at character-drawing to be found in the history of Greek prose fiction. They form a connecting link between the novel of pure incident and adventure, and the more fully developed novel which combines incident and adventure with the delineation of character and the study of motive. The use of the epistolary form in fictitious composition did not, to be sure, originate with Alciphron; for we find earlier instances in the imaginary love-letters composed in verse by the Roman poet, Ovid, under the names of famous women of early legend, such as those of Oenone to Paris (which suggested a beautiful poem of Tennyson's), Medea to Jason, and many others. In these one finds keen insight into character, especially feminine character, together with much that is exquisite in fancy and tender in expression. But it is to Alciphron that we owe the adaptation of this form of composition to prose fiction, and its employment in a far wider range of psychological and social observation.
In the history of Greek prose fiction, the potential of the epistolary form was first explored by the Athenian rhetoric teacher, Alciphron, about whom we know nothing except that he lived in the second century A.D., sharing his era with the great satirist Lucian. Today, we only have a collection of fictional letters, totaling one hundred and eighteen, organized into three books. Their significance comes partly from the intriguing and revealing depictions of life in the post-Alexandrine period, especially among the lower classes, and partly because they represent the first successful attempts at character development in Greek prose fiction. They act as a bridge between novels focused on pure incidents and adventures and more developed novels that combine plot with character exploration and motivation analysis. Admittedly, Alciphron did not originate the epistolary form in fictional writing; earlier examples exist in the imaginary love letters written in verse by the Roman poet Ovid, under the names of famous legendary women, like Oenone to Paris (which inspired a beautiful poem by Tennyson), Medea to Jason, and many others. These works showcase deep insights into character, especially female characters, along with much that is exquisite in imagination and tender in expression. However, we credit Alciphron with adapting this writing style to prose fiction and using it for a much broader scope of psychological and social observation.
The life whose details are given us by Alciphron is the life of contemporary Athens in the persons of its easy-going population. The writers whose letters we are supposed to read in reading Alciphron are peasants, fishermen, parasites, men-about-town, and courtesans. The language of the letters is neat, pointed, and appropriate to the person who in each case is supposed to be the writer; and the details are managed with considerable art. Alciphron effaces all impression of his own personality, and is lost in the characters who for the time being occupy his pages. One reads the letters as he would read a genuine correspondence. The illusion is perfect, and we feel that we are for the moment in the Athens of the third century before Christ; that we are strolling in its streets, visiting its shops, its courts, and its temples, and that we are getting a whiff of the Aegean, mingled with the less savory odors of the markets and of the wine-shops. We stroll about the city elbowing our way through the throng of boatmen, merchants, and hucksters. Here a barber stands outside his shop and solicits custom; there an old usurer with pimply face sits bending over his accounts in a dingy little office; at the corner of the street a crowd encircles some Cheap Jack who is showing off his juggling tricks at a small three-legged table, making sea-shells vanish out of sight and then taking them from his mouth. Drunken soldiers pass and repass, talking boisterously of their bouts and brawls, of their drills and punishments, and the latest news of their barracks, and forming a striking contrast to the philosopher, who, in coarse robes, moves with supercilious look and an affectation of deep thought, in silence amid the crowd that jostles him. The scene is vivid, striking, realistic.
The life depicted by Alciphron is that of contemporary Athens, showcasing its laid-back residents. The writers of the letters we read in Alciphron’s work include farmers, fishermen, hangers-on, socialites, and courtesans. The language used in the letters is clear, sharp, and fitting for each character as the supposed author; the details are crafted with impressive skill. Alciphron blends into the background, allowing the characters to take center stage. Reading the letters feels like going through a real correspondence. The illusion is spot-on, and we genuinely feel transported to Athens in the third century BC, where we’re wandering through its streets, checking out its shops, courts, and temples, with a breeze from the Aegean mixing with the less pleasant smells of the markets and wine shops. We navigate through crowds of boatmen, merchants, and vendors. Here, a barber stands outside his shop, trying to attract customers; there, an old loan shark with a pimpled face is hunched over his accounts in a shabby little office; at the street corner, a crowd gathers around a street performer showing off his juggling skills at a small three-legged table, making seashells disappear and then pulling them from his mouth. Drunken soldiers swagger by, loudly sharing stories of their fights, drills, and the latest gossip from the barracks, providing a stark contrast to a philosopher in rough robes, who walks with a haughty demeanor and an air of deep contemplation, moving quietly through the bustling crowd. The scene is vivid, striking, and realistic.
Many of the letters are from women; and in these, especially, Alciphron reveals the daily life of the Athenians. We see the demimonde at their toilet, with their mirrors, their powders, their enamels and rouge-pots, their brushes and pincers, and all the thousand and one accessories. Acquaintances come in to make a morning call, and we hear their chatter,--Thaïs and Megara and Bacchis, Hermione and Myrrha. They nibble cakes, drink sweet wine, gossip about their respective lovers, hum the latest songs, and enjoy themselves with perfect abandon. Again we see them at their evening rendezvous, at the banquets where philosophers, poets, sophists, painters, artists of every sort,--in fact, the whole Bohemia of Athens,--gather round them. We get hints of all the stages of the revel, from the sparkling wit and the jolly good-fellowship of the early evening, to the sodden disgust that comes with daybreak when the lamps are poisoning the fetid air and the remnants of the feast are stale.
Many of the letters are from women, and in these, especially, Alciphron shows us the daily life of the Athenians. We see the social scene as they get ready, with their mirrors, powders, makeup, brushes, and all sorts of beauty tools. Friends drop by for morning visits, and we hear their chatter—Thaïs, Megara, Bacchis, Hermione, and Myrrha. They snack on pastries, sip sweet wine, gossip about their lovers, hum the latest tunes, and let loose without a care in the world. Then we see them at their evening meet-ups, at banquets where philosophers, poets, sophists, painters, and all kinds of artists—basically, the whole artistic crowd of Athens—gather around them. We catch glimpses of all the stages of the party, from the sparkling wit and camaraderie of the early evening to the heavy malaise that sets in at dawn when the lamps are suffocating the stale air and the leftovers from the feast are just tired.
We are not to look upon the letters of Alciphron as embodying a literary unity. He did not attempt to write one single symmetrical epistolary romance; but the individual letters are usually slight sketches of character carelessly gathered together, and deriving their greatest charm from their apparent spontaneity and artlessness. Many of them are, to be sure, unpleasantly cynical, and depict the baser side of human nature; others, in their realism, are essentially commonplace; but some are very prettily expressed, and show a brighter side to the picture of contemporary life. Those especially which are supposed to pass between Menander, the famous comic poet, and his mistress Glycera, form a pleasing contrast to the greed and cynicism of much that one finds in the first book of the epistles; they are true love-letters, and are untainted by the slightest suggestion of the mercenary spirit or the veiled coarseness that makes so many of the others unpleasant reading. One letter (i. 6) is interesting as containing the first allusion found in literature to the familiar story of Phryne before the judges, which is more fully told in Athenaeus.
We shouldn’t consider the letters of Alciphron as a cohesive literary work. He didn’t aim to create a single, well-structured epistolary romance; instead, the individual letters are often brief character sketches that are casually collected, with their charm stemming from their seeming spontaneity and simplicity. Many of them, admittedly, come off as unpleasantly cynical and showcase the darker aspects of human nature; others are quite ordinary in their realism; however, some are beautifully written and highlight a more positive side of contemporary life. The letters that are supposed to be exchanged between Menander, the well-known comic poet, and his mistress Glycera, particularly stand out as a refreshing contrast to the greed and cynicism found in much of the first book of the letters; they are genuine love letters, free from any hints of a mercenary attitude or the subtle coarseness that makes many of the others unpleasant to read. One letter (i. 6) is noteworthy for containing the first mention in literature of the well-known story of Phryne before the judges, which is more thoroughly discussed in Athenaeus.
The imaginary letter was destined to play an important part in the subsequent history of literature. Alciphron was copied by Aristaenetus, who lived in the fifth century of our era, and whose letters have been often imitated in modern times, and by Theophylactus, who lived in the seventh century. In modern English fiction the epistolary form has been most successfully employed by Richardson, Fanny Burney, and, in another genre, by Wilkie Collins.
The fictional letter was set to play a significant role in the later history of literature. Alciphron was copied by Aristaenetus, who lived in the fifth century AD, and whose letters have often been imitated in modern times, as well as by Theophylactus, who lived in the seventh century. In contemporary English fiction, the epistolary style has been most effectively used by Richardson, Fanny Burney, and, in a different genre, by Wilkie Collins.
The standard editions of Alciphron are those of Seiler (Leipzig, 1856) and of Hercher (Paris, 1873), the latter containing the Greek text with a parallel version in Latin. The letters have not yet been translated into English. The reader may refer to the chapter on Alciphron in the recently published work of Salverte, 'Le Roman dans la Grèce Ancienne' (The Novel in Ancient Greece: Paris, 1893). The following selections are translated by the present writer.
The standard editions of Alciphron are those by Seiler (Leipzig, 1856) and Hercher (Paris, 1873), the latter featuring the Greek text alongside a Latin translation. The letters haven't been translated into English yet. Readers can refer to the chapter on Alciphron in the recently published work by Salverte, 'Le Roman dans la Grèce Ancienne' (The Novel in Ancient Greece: Paris, 1893). The following selections are translated by the current author.
FROM A MERCENARY GIRL
Well, if a girl could live on tears, what a wealthy girl I should be; for you are generous enough with them, any-how! Unfortunately, however, that isn't quite enough for me. I need money; I must have jewels, clothes, servants, and all that sort of thing. Nobody has left me a fortune, I should like you to know, or any mining stock; and so I am obliged to depend on the little presents that gentlemen happen to make me. Now that I've known you a year, how much better off am I for it, I should like to ask? My head looks like a fright because I haven't had anything to rig it out with, all that time; and as to clothes,--why, the only dress I've got in the world is in rags that make me ashamed to be seen with my friends: and yet you imagine that I can go on in this way without having any other means of living! Oh, yes, of course, you cry; but you'll stop presently. I'm really surprised at the number of your tears; but really, unless somebody gives me something pretty soon I shall die of starvation. Of course, you pretend you're just crazy for me, and that you can't live without me. Well, then, isn't there any family silver in your house? Hasn't your mother any jewelry that you can get hold of? Hasn't your father any valuables? Other girls are luckier than I am; for I have a mourner rather than a lover. He sends me crowns, and he sends me garlands and roses, as if I were dead and buried before my time, and he says that he cries all night. Now, if you can manage to scrape up something for me, you can come here without having to cry your eyes out; but if you can't, why, keep your tears to yourself, and don't bother me!
Well, if a girl could live on tears, I'd be a wealthy girl because you’re generous enough with them anyway! Unfortunately, that’s not quite enough for me. I need money; I must have jewelry, clothes, servants, and all that stuff. Nobody has left me a fortune, just so you know, or any mining stocks; so I’m stuck depending on the little gifts that guys decide to give me. Now that I’ve known you for a year, I’d like to ask how much better off I am because of it? My hair looks a mess because I haven’t had anything to fix it up with this whole time; and as for clothes—well, the only dress I own is in tatters, which makes me embarrassed to be seen with my friends. And yet you think I can keep going like this without any other way to support myself! Oh, sure, you’re crying now; but you’ll stop soon enough. I’m really surprised at how many tears you’ve shed, but honestly, unless someone gives me something really soon, I’m going to starve to death. Of course, you act like you’re just crazy about me and can’t live without me. Well, isn’t there any family silver in your house? Doesn’t your mom have any jewelry you can get? Doesn’t your dad have any valuables? Other girls have it better than me because I have a mourner instead of a lover. He sends me crowns, garlands, and roses, as if I’m dead and buried before my time, and says he cries all night. Now, if you can manage to scrape up something for me, you can come here without crying your eyes out; but if you can’t, then keep your tears to yourself and don’t bother me!
From the 'Epistolae,' i. 36.
From the 'Letters,' i. 36.
THE PLEASURES OF ATHENS
By all the gods and demons, I beg you, dear mother, to leave your rocks and fields in the country, and before you die, discover what beautiful things there are in town. Just think what you are losing,--the Haloan Festival and the Apaturian Festival, and the Great Festival of Bacchus, and especially the Thesmophorian Festival, which is now going on. If you would only hurry up, and get here to-morrow morning before it is daylight, you would be able to take part in the affair with the other Athenian women. Do come, and don't put it off, if you have any regard for my happiness and my brothers'; for it's an awful thing to die without having any knowledge of the city. That's the life of an ox; and one that is altogether unreasonable. Please excuse me, mother, for speaking so freely for your own good. After all, one ought to speak plainly with everybody, and especially with those who are themselves plain speakers.
By all the gods and demons, I’m begging you, dear mother, to leave your rocks and fields in the countryside, and before you die, discover the beautiful things that are in town. Just think about what you’re missing—the Haloan Festival, the Apaturian Festival, the Great Festival of Bacchus, and especially the Thesmophorian Festival, which is happening right now. If you could just hurry and get here tomorrow morning before it gets light, you would be able to join in with the other Athenian women. Please come, and don’t delay it, if you care about my happiness and my brothers’; it’s awful to die without ever knowing the city. That’s the life of an ox, and it’s completely unreasonable. Please forgive me, mother, for being so direct for your own good. After all, we should speak plainly with everyone, especially with those who are straightforward themselves.
From the 'Epistolae,' iii. 39.
From the 'Letters,' iii. 39.
FROM AN ANXIOUS MOTHER
If you only would put up with the country and be sensible, and do as the rest of us do, my dear Thrasonides, you would offer ivy and laurel and myrtle and flowers to the gods at the proper time; and to us, your parents, you would give wheat and wine and a milk-pail full of the new goat's-milk. But as things are, you despise the country and farming, and are fond only of the helmet-plumes and the shield, just as if you were an Acarnanian or a Malian soldier. Don't keep on in this way, my son; but come back to us and take up this peaceful life of ours again (for farming is perfectly safe and free from any danger, and doesn't require bands of soldiers and strategy and squadrons), and be the stay of our old age, preferring a safe life to a risky one.
If you would just tolerate the countryside and be practical, my dear Thrasonides, you would celebrate the gods with ivy, laurel, myrtle, and flowers at the right times; and to us, your parents, you would bring wheat, wine, and a bucket full of fresh goat's milk. But instead, you look down on farming and the country, only interested in helmet plumes and shields, like you’re some soldier from Acarnania or Mali. Please don’t continue down this path, my son; come back to us and embrace our peaceful way of life again (farming is completely safe with no danger involved, needing no soldiers or strategies), and be our support in old age, choosing a secure life over a risky one.
From the 'Epistolae,' iii. 16.
From the 'Letters,' iii. 16.
FROM A CURIOUS YOUTH
Since I have never yet been to town, and really don't know at all what the thing is that they call a city, I am awfully anxious to see this strange sight,--men living all in one place,--and to learn about the other points in which a city differs from the country. Consequently, if you have any reason for going to town, do come and take me with you. As a matter of fact, I am sure there are lots of things I ought to know, now that my beard is beginning to sprout; and who is so able to show me the city as yourself, who are all the time going back and forth to the town?
Since I’ve never been to town before and really have no idea what a city is like, I'm really eager to see this strange sight—people living all in one place—and to understand how a city differs from the countryside. So, if you have any reason to head to town, please take me with you. Honestly, I’m sure there’s a lot I need to learn now that my beard is starting to grow; and who better to show me the city than you, who are always going back and forth to town?
From the 'Epistolae' iii. 31.
From the 'Letters' iii. 31.
FROM A PROFESSIONAL DINER-OUT
I should like to ask my evil genius, who drew me by lot as his own particular charge, why he is so malignant and so cruel as to keep me in everlasting poverty; for if no one happens to invite me to dinner I have to live on greens, and to eat acorns and to fill my stomach with water from the hydrant. Now, as long as my body was able to put up with this sort of thing, and my time of life was such as made it proper for me to bear it, I could get along with them fairly well; but now that my hair is growing gray, and the only outlook I have is in the direction of old age, what on earth am I going to do? I shall really have to get a rope and hang myself unless my luck changes. However, even if fortune remains as it is, I shan't string myself up before I have at least one square meal; for before very long, the wedding of Charitus and Leocritis, which is going to be a famous affair, will come off, to which there isn't a doubt that I shall be invited,--either to the wedding itself or to the banquet afterward. It's lucky that weddings need the jokes of brisk fellows like myself, and that without us they would be as dull as gatherings of pigs rather than of human beings!
I want to ask my bad luck, which seems to have chosen me as its special project, why it’s so mean and cruel to keep me in constant poverty. If no one invites me to dinner, I have to survive on greens, acorns, and drink water from the hydrant. As long as my body could handle it and I was young enough to deal with it, I managed okay; but now that my hair is turning gray and all I see ahead is old age, what am I supposed to do? I might seriously have to get a rope and end it unless my luck changes. Still, even if things stay the same, I won’t do anything drastic before I have at least one decent meal. Soon, there will be the wedding of Charitus and Leocritis, which is going to be a big deal, and there's no doubt I'll get an invitation—to either the wedding itself or the reception afterward. It’s a good thing that weddings need the humor of lively people like me, otherwise they’d be as boring as gatherings of pigs instead of humans!
From the 'Epistolae,' iii. 49.
From the 'Letters,' iii. 49.
UNLUCKY LUCK
Perhaps you would like to know why I am complaining so, and how I got my head broken, and why I'm going around with my clothes in tatters. The fact is I swept the board at gambling: but I wish I hadn't; for what's the sense in a feeble fellow like me running up against a lot of stout young men? You see, after I scooped in all the money they put up, and they hadn't a cent left, they all jumped on my neck, and some of them punched me, and some of them stoned me, and some of them tore my clothes off my back. All the same, I hung on to the money as hard as I could, because I would rather die than give up anything of theirs I had got hold of; and so I held out bravely for quite a while, not giving in when they struck me, or even when they bent my fingers back. In fact, I was like some Spartan who lets himself be whipped as a test of his endurance: but unfortunately it wasn't at Sparta that I was doing this thing, but at Athens, and with the toughest sort of an Athenian gambling crowd; and so at last, when actually fainting, I had to let the ruffians rob me. They went through my pockets, and after they had taken everything they could find, they skipped. After all, I've come to the conclusion that it's better to live without money than to die with a pocket full of it.
Maybe you’re curious about why I’m complaining so much, how I ended up with a broken head, and why my clothes are in tatters. The truth is I cleaned up at gambling, but I wish I hadn’t; what’s the point of a weak guy like me taking on a bunch of strong young men? After I won all their money and they were left with nothing, they all jumped me. Some punched me, some threw stones at me, and some ripped my clothes off. Still, I clung to the money as tightly as I could because I’d rather die than give up what I’d won from them. I held out for a long time, refusing to back down even when they hit me or bent my fingers back. Honestly, I was like a Spartan enduring a beating to test his limits. The problem was I wasn’t in Sparta, but in Athens, dealing with a rough crowd of gamblers. Eventually, though, when I was about to pass out, I had to let them rob me. They went through my pockets, took everything they could find, and then ran off. In the end, I've realized it’s better to live broke than to die with a pocket full of cash.
From the 'Epistolae,' iii. 54.
From the 'Epistolae,' III. 54.
ALCMAN
(Seventh Century B.C.)
ccording to legend, this illustrious Grecian lyric poet was born in Lydia, and taken to Sparta as a slave when very young, but emancipated by his master on the discovery of his poetic genius. He flourished probably between 670 and 630, during the peace following the Second Messenian War. It was that remarkable period in which the Spartans were gathering poets and musicians from the outer world of liberal accomplishment to educate their children; for the Dorians thought it beneath the dignity of a Dorian citizen to practice these things themselves.
According to legend, this famous Greek lyric poet was born in Lydia and taken to Sparta as a slave when he was very young, but his master freed him upon discovering his talent for poetry. He likely thrived between 670 and 630, during the peace that followed the Second Messenian War. It was a notable time when the Spartans were bringing in poets and musicians from outside to educate their children, as the Dorians believed it was beneath a Dorian citizen's dignity to engage in these pursuits themselves.
His poetic remains indicate a social freedom at this period hardly in keeping with the Spartan rigor alleged to have been practiced without break from the ancient time of Lycurgus; perhaps this communal asceticism was really a later growth, when the camp of militant slave-holders saw their fibre weakening under the art and luxury they had introduced. He boasts of his epicurean appetite; with evident truthfulness, as a considerable number of his extant fragments are descriptions of dishes. He would have echoed Sydney Smith's--
His poetic remains show a level of social freedom during this time that doesn't quite match the strict discipline supposedly upheld since the days of Lycurgus. Maybe this communal self-denial developed later, as the camp of slave owners felt their resolve weakening under the influence of the art and luxury they had brought in. He takes pride in his love for good food, and he seems honest about it since many of his surviving fragments describe various dishes. He would have echoed Sydney Smith's--
"Fate cannot harm me--I have dined to-day."
"Fate can't hurt me—I had a good meal today."
In a poem descriptive of spring, he laments that the season affords but a scanty stock of his favorite viands.
In a poem about spring, he expresses regret that the season offers only a limited supply of his favorite foods.
The Alexandrian grammarians put Alcman at the head of the lyric canon; perhaps partly because they thought him the most ancient, but he was certainly much esteemed in classic times. Aelian says his songs were sung at the first performance of the gymnopaedia at Sparta in 665 B.C., and often afterward. Much of his poetry was erotic; but he wrote also hymns to the gods, and ethical and philosophic pieces. His 'Parthenia,' which form a distinct division of his writings, were songs sung at public festivals by, and in honor of, the performing chorus of virgins. The subjects were either religious or erotic. His proverbial wisdom, and the forms of verse which he often chose, are reputed to have been like Pindar's. He said of himself that he sang like the birds,--that is, was self-taught.
The Alexandrian grammarians placed Alcman at the top of the lyric canon, probably because they considered him the oldest, but he was definitely highly regarded in classical times. Aelian noted that his songs were performed at the first gymnopaedia in Sparta in 665 B.C. and frequently afterward. Much of his poetry was about love; however, he also wrote hymns to the gods, as well as ethical and philosophical works. His 'Parthenia,' which makes up a separate section of his writings, were songs performed at public festivals by and in honor of the chorus of virgins. The themes were either religious or romantic. His proverbial wisdom and the types of verse he often chose were said to be similar to Pindar's. He claimed that he sang like the birds—that is, he was self-taught.
He wrote in the broad Spartan dialect with a mixture of the Aeolic, and in various metres. One form of hexameter which he invented was called Alcmanic after him. His poems were comprehended in six books. The scanty fragments which have survived are included in Bergk's 'Poetae Lyrici Graeci' (1878). The longest was found in 1855 by M. Mariette, in a tomb near the second pyramid. It is a papyrus fragment of three pages, containing a part of his hymn to the Dioscuri, much mutilated and difficult to decipher.
He wrote in the broad Spartan dialect mixed with Aeolic and used various meters. One type of hexameter he created is called Alcmanic, named after him. His poems were collected in six books. The few fragments that have survived are included in Bergk's 'Poetae Lyrici Graeci' (1878). The longest fragment was discovered in 1855 by M. Mariette, in a tomb near the second pyramid. It's a three-page papyrus fragment containing part of his hymn to the Dioscuri, which is heavily damaged and hard to read.
His descriptive passages are believed to have been his best. The best known and most admired of his fragments is his beautiful description of night, which has been often imitated and paraphrased.
His descriptive passages are considered to be his strongest work. The most famous and admired of his fragments is his stunning description of night, which has been frequently imitated and paraphrased.
Over the drowsy earth still night prevails;
Over the sleepy earth, the calm night remains;
Calm sleep the mountain tops and shady vales,
Calm sleep covers the mountain tops and shady valleys,
The rugged cliffs and hollow glens;
The steep cliffs and empty valleys;
The cattle on the hill. Deep in the sea,
The cattle on the hill. Deep in the sea,
The countless finny race and monster brood
The countless fish and monstrous offspring
Tranquil repose. Even the busy bee
Tranquil rest. Even the busy bee
Forgets her daily toil. The silent wood
Forgets her daily grind. The quiet woods
No more with noisy hum of insect rings;
No more with the buzzing noise of insect swarms;
And all the feathered tribes, by gentle sleep subdued,
And all the bird species, overcome by gentle sleep,
Roost in the glade, and hang their drooping wings.
Roost in the clearing and let their wings hang down.
Translation by Colonel Mure.
Translation by Col. Mure.
LOUISA MAY ALCOTT
(1832-1888)
ouisa May Alcott, daughter of Amos Bronson and Abigail (May) Alcott, and the second of the four sisters whom she was afterward to make famous in 'Little Women,' was born in Germantown, Pennsylvania, November 29th, 1832, her father's thirty-third birthday. On his side, she was descended from good Connecticut stock; and on her mother's, from the Mays and Quincys of Massachusetts, and from Judge Samuel Sewall, who has left in his diary as graphic a picture of the New England home-life of two hundred years ago, as his granddaughter of the fifth generation did of that of her own time.
Louisa May Alcott, daughter of Amos Bronson and Abigail (May) Alcott, and the second of the four sisters who she later made famous in 'Little Women,' was born in Germantown, Pennsylvania, on November 29, 1832, which was also her father's thirty-third birthday. On her father's side, she came from a strong Connecticut lineage; on her mother's side, she descended from the Mays and Quincys of Massachusetts, as well as from Judge Samuel Sewall, who documented a vivid account of New England home life from two hundred years ago in his diary, much like his great-granddaughter did for her own era.
At the time of Louisa Alcott's birth her father had charge of a school in Germantown; but within two years he moved to Boston with his family, and put into practice methods of teaching so far in advance of his time that they were unsuccessful. From 1840, the home of the Alcott family was in Concord, Massachusetts, with the exception of a short time spent in a community on a farm in a neighboring town, and the years from 1848 to 1857 in Boston. At seventeen, Louisa's struggle with life began. She wrote a play, contributed sensational stories to weekly papers, tried teaching, sewing,--even going out to service,--and would have become an actress but for an accident. What she wrote of her mother is as true of herself, "She always did what came to her in the way of duty or charity, and let pride, taste, and comfort suffer for love's sake." Her first book, 'Flower Fables,' a collection of fairy tales which she had written at sixteen for the children of Ralph Waldo Emerson, some other little friends, and her younger sisters, was printed in 1855 and was well received. From this time until 1863 she wrote many stories, but few that she afterward thought worthy of being reprinted. Her best work from 1860 to 1863 is in the Atlantic Monthly, indexed under her name; and the most carefully finished of her few poems, 'Thoreau's Flute,' appeared in that magazine in September, 1863. After six weeks' experience in the winter of 1862-63 as a hospital nurse in Washington, she wrote for the Commonwealth, a Boston weekly paper, a series of letters which soon appeared in book form as 'Hospital Sketches,' Miss Alcott says of them, "The 'Sketches' never made much money, but showed me 'my style.'" In 1864 she published a novel, 'Moods'; and in 1866, after a year abroad as companion to an invalid, she became editor of Merry's Museum, a magazine for children.
At the time Louisa Alcott was born, her dad was managing a school in Germantown. But within two years, he moved the family to Boston and tried out teaching methods that were so ahead of his time that they didn’t work. Starting in 1840, the Alcott family lived in Concord, Massachusetts, except for a brief period spent living on a farm in a nearby town and the years from 1848 to 1857 in Boston. Louisa's struggle with life began at seventeen. She wrote a play, contributed sensational stories to weekly papers, tried teaching and sewing, even did some domestic work, and almost became an actress but had an accident. What she wrote about her mother is just as true for her: "She always did what came her way in duty or charity, letting pride, taste, and comfort take a backseat for love's sake." Her first book, 'Flower Fables,' a collection of fairy tales she wrote at sixteen for Ralph Waldo Emerson’s kids, some other little friends, and her younger sisters, was published in 1855 and was well-received. From then until 1863, she wrote many stories, but few of which she later felt were worthy of being reprinted. Her best work from 1860 to 1863 was published in the Atlantic Monthly, listed under her name; and the most carefully crafted of her few poems, 'Thoreau's Flute,' appeared in that magazine in September 1863. After spending six weeks as a hospital nurse in Washington during the winter of 1862-63, she wrote a series of letters for the Commonwealth, a Boston weekly paper, which later came out in book form as 'Hospital Sketches.' Miss Alcott said of them, "The 'Sketches' never made much money, but showed me 'my style.'" In 1864, she published a novel, 'Moods'; and in 1866, after spending a year abroad as a companion to an invalid, she became the editor of Merry's Museum, a magazine for children.
Her 'Little Women,' founded on her own family life, was written in 1867-68, in answer to a request from the publishing house of Roberts Brothers for a story for girls, and its success was so great that she soon finished a second part. The two volumes were translated into French, German, and Dutch, and became favorite books in England. While editing Merry's Museum, she had written the first part of 'The Old-Fashioned Girl' as a serial for the magazine. After the success of 'Little Women,' she carried the 'Old-Fashioned Girl' and her friends forward several years, and ended the story with two happy marriages. In 1870 she went abroad a second time, and from her return the next year until her death in Boston from overwork on March 6th, 1888, the day of her father's funeral, she published twenty volumes, including two novels: one anonymous, 'A Modern Mephistopheles,' in the 'No Name' series; the other, 'Work,' largely a record of her own experience. She rewrote 'Moods,' and changed the sad ending of the first version to a more cheerful one; followed the fortunes of her 'Little Women' and their children in 'Little Men' and 'Jo's Boys,' and published ten volumes of short stories, many of them reprinted pieces. She wrote also 'Eight Cousins,' its sequel 'Rose in Bloom,' 'Under the Lilacs,' and 'Jack and Jill,'
Her 'Little Women,' based on her own family experiences, was written in 1867-68 in response to a request from the Roberts Brothers publishing house for a story for girls. Its success was so impressive that she quickly completed a second part. The two volumes were translated into French, German, and Dutch, becoming beloved books in England. While editing Merry's Museum, she wrote the first part of 'The Old-Fashioned Girl' as a serial for the magazine. After the success of 'Little Women,' she continued the story of 'The Old-Fashioned Girl' and her friends several years later, concluding with two happy marriages. In 1870, she traveled abroad for the second time, and from her return the following year until her death in Boston from overwork on March 6, 1888, the day of her father's funeral, she published twenty volumes, including two novels: one anonymous, 'A Modern Mephistopheles,' in the 'No Name' series; the other, 'Work,' which largely documented her own experiences. She rewrote 'Moods,' changing the sad ending of the first version to a more uplifting one; she followed the lives of her 'Little Women' and their children in 'Little Men' and 'Jo's Boys,' and published ten volumes of short stories, many of which were reprints. She also wrote 'Eight Cousins,' its sequel 'Rose in Bloom,' 'Under the Lilacs,' and 'Jack and Jill,'
The charm of her books lies in their freshness, naturalness, and sympathy with the feelings and pursuits of boys and girls. She says of herself, "I was born with a boy's spirit under my bib and tucker," and she never lost it. Her style is often careless, never elegant, for she wrote hurriedly, and never revised or even read over her manuscript; yet her books are full of humor and pathos, and preach the gospel of work and simple, wholesome living. She has been a help and inspiration to many young girls, who have learned from her Jo in 'Little Women,' or Polly in the 'Old-Fashioned Girl,' or Christie in 'Work,' that a woman can support herself and her family without losing caste or self-respect. Her stories of the comradeship of New England boys and girls in school or play have made her a popular author in countries where even brothers and sisters see little of each other. The haste and lack of care in her books are the result of writing under pressure for money to support the family, to whom she gave the best years of her life. As a little girl once said of her in a school essay, "I like all Miss Alcott's books; but what I like best in them is the author herself."
The appeal of her books comes from their freshness, authenticity, and connection to the experiences and ambitions of boys and girls. She describes herself by saying, "I was born with a boy's spirit under my bib and tucker," and she never outgrew that spirit. Her writing style can be a bit rough around the edges, never polished, because she wrote quickly and rarely revised or even reread her drafts; still, her books are rich with humor and emotion, promoting hard work and simple, wholesome living. She has been a source of support and inspiration for many young girls, who have seen through her characters like Jo in 'Little Women,' Polly in 'The Old-Fashioned Girl,' and Christie in 'Work,' that a woman can earn her own living and take care of her family while maintaining dignity and self-respect. Her stories about the friendships of New England boys and girls in school and play have made her a beloved author in places where even siblings hardly see one another. The urgency and carelessness found in her writing stem from her need to write under pressure for money to support her family, to whom she dedicated the best years of her life. As a young girl once wrote in a school essay, "I like all Miss Alcott's books; but what I like best in them is the author herself."
The reader is referred to 'Louisa May Alcott: Her Life, Letters, and Journals,' edited by Ednah D. Cheney, published in 1889.
The reader is referred to 'Louisa May Alcott: Her Life, Letters, and Journals,' edited by Ednah D. Cheney, published in 1889.
THE NIGHT WARD
Being fond of the night side of nature, I was soon promoted to the post of night nurse, with every facility for indulging in my favorite pastime of "owling." My colleague, a black-eyed widow, relieved me at dawn, we two taking care of the ward between us, like regular nurses, turn and turn about. I usually found my boys in the jolliest state of mind their condition allowed; for it was a known fact that Nurse Periwinkle objected to blue devils, and entertained a belief that he who laughed most was surest of recovery. At the beginning of my reign, dumps and dismals prevailed; the nurses looked anxious and tired, the men gloomy or sad; and a general "Hark-from-the-tombs-a-doleful-sound" style of conversation seemed to be the fashion: a state of things which caused one coming from a merry, social New England town, to feel as if she had got into an exhausted receiver; and the instinct of self-preservation, to say nothing of a philanthropic desire to serve the race, caused a speedy change in Ward No. 1.
Loving the nighttime atmosphere, I quickly got promoted to the position of night nurse, with all the opportunities to indulge in my favorite hobby of "owling." My coworker, a widow with striking black eyes, took over for me at dawn, and we managed the ward together like regular nurses, alternating shifts. I usually found my patients in the happiest mood their condition would allow because it was well-known that Nurse Periwinkle didn’t tolerate sadness and believed that those who laughed the most had the best chance of recovery. At the start of my time there, the place was filled with gloom; the nurses looked worried and exhausted, the men were either gloomy or downcast, and the prevailing style of conversation seemed to be one of "Hark-from-the-tombs-a-doleful-sound," making me feel, as someone from a lively, social town in New England, as if I had stepped into an empty room. The natural instinct for self-preservation, along with a genuine desire to help others, quickly brought about a change in Ward No. 1.
More flattering than the most gracefully turned compliment, more grateful than the most admiring glance, was the sight of those rows of faces, all strange to me a little while ago, now lighting up with smiles of welcome as I came among them, enjoying that moment heartily, with a womanly pride in their regard, a motherly affection for them all. The evenings were spent in reading aloud, writing letters, waiting on and amusing the men, going the rounds with Dr. P---- as he made his second daily survey, dressing my dozen wounds afresh, giving last doses, and making them cozy for the long hours to come, till the nine o'clock bell rang, the gas was turned down, the day nurses went off duty, the night watch came on, and my nocturnal adventures began.
More flattering than the most perfectly worded compliment, more appreciated than the most admiring look, was the sight of those rows of faces, all unfamiliar to me not long ago, now lighting up with smiles of welcome as I joined them, truly enjoying that moment, feeling a sense of pride in their regard and a maternal affection for all of them. The evenings were spent reading aloud, writing letters, taking care of and entertaining the men, accompanying Dr. P---- as he did his second daily check-up, tending to my dozen wounds again, giving last medications, and making them comfortable for the long hours ahead, until the nine o'clock bell rang, the gas lamps were dimmed, the day nurses finished their shifts, the night watch came on duty, and my nighttime adventures began.
My ward was now divided into three rooms; and under favor of the matron, I had managed to sort out the patients in such a way that I had what I called my "duty room," my "pleasure room," and my "pathetic room," and worked for each in a different way. One I visited armed with a dressing-tray full of rollers, plasters, and pins; another, with books, flowers, games, and gossip; a third, with teapots, lullabies, consolation, and sometimes a shroud.
My ward was now divided into three rooms; and with the matron's approval, I had organized the patients in such a way that I had what I called my "duty room," my "pleasure room," and my "pathetic room," and I worked for each in a different way. One I visited with a dressing tray filled with rolls, bandages, and pins; another, with books, flowers, games, and chatter; a third, with teapots, lullabies, comfort, and sometimes a shroud.
Wherever the sickest or most helpless man chanced to be, there I held my watch, often visiting the other rooms to see that the general watchman of the ward did his duty by the fires and the wounds, the latter needing constant wetting. Not only on this account did I meander, but also to get fresher air than the close rooms afforded; for owing to the stupidity of that mysterious "somebody" who does all the damage in the world, the windows had been carefully nailed down above, and the lower sashes could only be raised in the mildest weather, for the men lay just below. I had suggested a summary smashing of a few panes here and there, when frequent appeals to headquarters had proved unavailing and daily orders to lazy attendants had come to nothing. No one seconded the motion, however, and the nails were far beyond my reach; for though belonging to the sisterhood of "ministering angels," I had no wings, and might as well have asked for a suspension bridge as a pair of steps in that charitable chaos.
Wherever the sickest or most helpless man happened to be, I kept my watch, often checking in on the other rooms to make sure the main watchman of the ward was doing his job with the fires and the wounds, which needed constant attention. I wandered not only for that reason but also to get fresher air than the stuffy rooms allowed; because of the thoughtless actions of that mysterious "somebody" who causes all the problems in the world, the windows had been securely nailed shut at the top, and the lower sashes could only be opened in the mildest weather, since the men were lying just below. I had suggested breaking a few panes here and there when repeated requests to headquarters had gone unanswered and daily orders to lazy attendants had fallen flat. However, no one supported my idea, and the nails were far beyond my reach; for although I belonged to the sisterhood of "ministering angels," I had no wings, and asking for a set of steps in that charitable chaos would have been like requesting a suspension bridge.
One of the harmless ghosts who bore me company during the haunted hours was Dan, the watchman, whom I regarded with a certain awe; for though so much together, I never fairly saw his face, and but for his legs should never have recognized him, as we seldom met by day. These legs were remarkable, as was his whole figure: for his body was short, rotund, and done up in a big jacket and muffler; his beard hid the lower part of his face, his hat-brim the upper, and all I ever discovered was a pair of sleepy eyes and a very mild voice. But the legs!--very long, very thin, very crooked and feeble, looking like gray sausages in their tight coverings, and finished off with a pair of expansive green cloth shoes, very like Chinese junks with the sails down. This figure, gliding noiselessly about the dimly lighted rooms, was strongly suggestive of the spirit of a beer-barrel mounted on corkscrews, haunting the old hotel in search of its lost mates, emptied and staved in long ago.
One of the harmless ghosts that kept me company during the spooky hours was Dan, the watchman, whom I looked at with a certain respect; because even though we were together so much, I never really saw his face, and if it weren’t for his legs, I wouldn’t have recognized him at all, as we hardly ever met during the day. His legs were striking, as was his entire figure: his body was short and round, wrapped in a big jacket and scarf; his beard covered the lower part of his face, his hat brim concealed the upper part, and all I ever really saw were a pair of sleepy eyes and a very gentle voice. But the legs! – they were very long, very thin, very crooked and frail, looking like gray sausages in their tight coverings, topped off with a pair of oversized green cloth shoes that looked a lot like Chinese junks with their sails down. This figure, gliding quietly around the dimly lit rooms, vividly reminded me of the spirit of a beer barrel on corkscrews, haunting the old hotel in search of its long-lost mates, emptied and broken long ago.
Another goblin who frequently appeared to me was the attendant of "the pathetic room," who, being a faithful soul, was often up to tend two or three men, weak and wandering as babies, after the fever had gone. The amiable creature beguiled the watches of the night by brewing jorums of a fearful beverage which he called coffee, and insisted on sharing with me; coming in with a great bowl of something like mud soup, scalding hot, guiltless of cream, rich in an all-pervading flavor of molasses, scorch, and tin pot.
Another goblin who often showed up for me was the caretaker of "the sad room," who, being a loyal soul, was usually there to look after two or three men, weak and dazed like babies, after the fever had passed. This friendly creature made the long nights more bearable by brewing up large amounts of a terrible drink he called coffee, and insisted on sharing it with me; he'd come in with a huge bowl of something resembling muddy soup, scalding hot, without any cream, and packed with an overwhelming taste of molasses, burn, and metal.
Even my constitutionals in the chilly halls possessed a certain charm, for the house was never still. Sentinels tramped round it all night long, their muskets glittering in the wintry moonlight as they walked, or stood before the doors straight and silent as figures of stone, causing one to conjure up romantic visions of guarded forts, sudden surprises, and daring deeds; for in these war times the humdrum life of Yankeedom has vanished, and the most prosaic feel some thrill of that excitement which stirs the Nation's heart, and makes its capital a camp of hospitals. Wandering up and down these lower halls I often heard cries from above, steps hurrying to and fro, saw surgeons passing up, or men coming down carrying a stretcher, where lay a long white figure whose face was shrouded, and whose fight was done. Sometimes I stopped to watch the passers in the street, the moonlight shining on the spire opposite, or the gleam of some vessel floating, like a white-winged sea-gull, down the broad Potomac, whose fullest flow can never wash away the red stain of the land.
Even my walks through the chilly halls had a certain charm because the house was never quiet. Guards marched around all night, their rifles glinting in the cold moonlight as they walked or stood at the doors, straight and silent like stone statues, making one imagine romantic scenes of protected forts, unexpected surprises, and brave acts; for during these war times, the dull life of New England has disappeared, and even the most ordinary people feel a thrill of excitement that stirs the Nation's heart and turns its capital into a camp of hospitals. As I wandered back and forth in these lower halls, I often heard cries from above, footsteps rushing to and fro, saw surgeons heading upstairs, or men coming down with a stretcher bearing a long white figure whose face was covered, and whose battle was over. Sometimes I paused to watch the people in the street, the moonlight shining on the spire across the way, or the shimmer of a vessel floating down the wide Potomac, like a white-winged seagull, whose strongest current can never wash away the red stain of the land.
AMY'S VALLEY OF HUMILIATION
"That boy is a perfect Cyclops, isn't he?" said Amy one day, as Laurie clattered by on horseback, with a flourish of his whip as he passed.
"That boy is a total Cyclops, right?" said Amy one day, as Laurie rode by on horseback, cracking his whip with style as he went past.
"How dare you say so, when he's got both his eyes? and very handsome ones they are, too," cried Jo, who resented any slighting remarks about her friend.
"How could you say that when he has both of his eyes? And they're really handsome, too," shouted Jo, who took offense at any disrespectful comments about her friend.
"I didn't say anything about his eyes; and I don't see why you need fire up when I admire his riding."
"I didn't say anything about his eyes, and I don't understand why you need to get upset when I compliment his riding."
"Oh, my goodness! that little goose means a centaur, and she called him a Cyclops," exclaimed Jo, with a burst of laughter.
"Oh my gosh! That little goose means a centaur, and she called him a Cyclops," Jo exclaimed, bursting into laughter.
"You needn't be so rude; it's only a 'lapse of lingy,' as Mr. Davis says," retorted Amy, finishing Jo with her Latin. "I just wish I had a little of the money Laurie spends on that horse," she added, as if to herself, yet hoping her sisters would hear.
"You don’t have to be so rude; it’s just a 'lapse of lingy,' as Mr. Davis says," Amy shot back, shutting Jo down with her Latin. "I just wish I had some of the money Laurie spends on that horse," she added, as if speaking to herself, but hoping her sisters would overhear.
"Why?" asked Meg, kindly, for Jo had gone off in another laugh at Amy's second blunder.
"Why?" Meg asked kindly, as Jo burst into laughter again at Amy's second mistake.
"I need it so much: I'm dreadfully in debt, and it won't be my turn to have the rag-money for a month."
"I need it so badly: I'm really in debt, and I won't be able to have the rag-money for a month."
"In debt, Amy: what do you mean?" and Meg looked sober.
"In debt, Amy? What do you mean?" Meg looked serious.
"Why, I owe at least a dozen pickled limes; and I can't pay them, you know, till I have money, for Marmee forbids my having anything charged at the shop."
"Well, I owe at least a dozen pickled limes, and I can't pay for them until I have money, because Mom forbids me from charging anything at the store."
"Tell me all about it. Are limes the fashion now? It used to be pricking bits of rubber to make balls;" and Meg tried to keep her countenance, Amy looked so grave and important.
"Tell me everything about it. Are limes in style now? It used to be about poking holes in rubber to make balls;" and Meg tried to keep a straight face as Amy looked so serious and important.
"Why, you see, the girls are always buying them, and unless you want to be thought mean, you must do it too. It's nothing but limes now, for every one is sucking them in their desks in school-time, and trading them off for pencils, bead-rings, paper dolls, or something else, at recess. If one girl likes another, she gives her a lime; if she's mad with her, she eats one before her face, and don't offer even a suck. They treat by turns; and I've had ever so many, but haven't returned them, and I ought, for they are debts of honor, you know."
"Well, you see, the girls are always buying limes, and unless you want to come off as cheap, you have to do it too. It’s just limes now, because everyone is sucking on them at their desks during class, and trading them for pencils, bead rings, paper dolls, or something else during recess. If one girl likes another, she gives her a lime; if she's upset with her, she eats one right in front of her and doesn’t even offer a taste. They take turns treating each other; I've had a lot, but haven't returned them, and I should because they are debts of honor, you know."
"How much will pay them off, and restore your credit?" asked Meg, taking out her purse.
"How much will it take to pay them off and fix your credit?" asked Meg, pulling out her wallet.
"A quarter would more than do it, and leave a few cents over for a treat for you. Don't you like limes?"
"A quarter would be more than enough, and it would leave a few cents to buy you a little treat. Don't you like limes?"
"Not much; you may have my share. Here's the money: make it last as long as you can, for it isn't very plenty, you know."
"Not much; you can have my share. Here's the money: make it last as long as you can, because it's not very much, you know."
"Oh, thank you! it must be so nice to have pocket-money. I'll have a grand feast, for I haven't tasted a lime this week. I felt delicate about taking any, as I couldn't return them, and I'm actually suffering for one."
"Oh, thank you! It must be really nice to have some pocket money. I'm going to have a huge feast because I haven't had a lime this week. I hesitated to take any since I couldn't give them back, and I'm actually craving one."
Next day Amy was rather late at school; but could not resist the temptation of displaying, with pardonable pride, a moist brown-paper parcel before she consigned it to the inmost recesses of her desk. During the next few minutes the rumor that Amy March had got twenty-four delicious limes (she ate one on the way), and was going to treat, circulated through her "set" and the attentions of her friends became quite overwhelming. Katy Brown invited her to her next party on the spot; Mary Kingsley insisted on lending her her watch till recess; and Jenny Snow, a satirical young lady who had basely twitted Amy upon her limeless state, promptly buried the hatchet, and offered to furnish answers to certain appalling sums. But Amy had not forgotten Miss Snow's cutting remarks about "some persons whose noses were not too flat to smell other people's limes, and stuck-up people who were not too proud to ask for them"; and she instantly crushed "that Snow girl's" hopes by the withering telegram, "You needn't be so polite all of a sudden, for you won't get any."
The next day, Amy arrived at school a bit late but couldn’t resist the urge to show off, with a bit of pride, a moist brown paper parcel before she tucked it away in the depths of her desk. In the following minutes, the rumor that Amy March had gotten twenty-four delicious limes (she ate one on the way) spread through her friend group, and the attention from her classmates became quite overwhelming. Katy Brown immediately invited her to her next party; Mary Kingsley insisted on lending her watch until recess; and Jenny Snow, a sarcastic young lady who had previously teased Amy about not having any limes, quickly made peace and offered to help with some challenging math problems. But Amy hadn’t forgotten Miss Snow’s sharp comments about “some people whose noses weren’t too flat to smell others' limes, and stuck-up folks who weren’t too proud to ask for them,” and she immediately shut down “that Snow girl's” attempts with the icy response, “You don’t have to be so nice all of a sudden, because you won’t be getting any.”
A distinguished personage happened to visit the school that morning, and Amy's beautifully drawn maps received praise; which honor to her foe rankled in the soul of Miss Snow, and caused Miss March to assume the airs of a studious young peacock. But, alas, alas! pride goes before a fall, and the revengeful Snow turned the tables with disastrous success. No sooner had the guest paid the usual stale compliments, and bowed himself out, than Jenny, under pretence of asking an important question, informed Mr. Davis, the teacher, that Amy March had pickled limes in her desk.
A respected visitor came to the school that morning, and Amy's beautifully drawn maps got praised; this recognition made Miss Snow, her rival, seethe with jealousy, and caused Miss March to act like a showy peacock. But, oh dear! pride comes before a fall, and the spiteful Snow turned the situation around with terrible consequences. As soon as the guest finished his usual hollow compliments and left, Jenny, pretending to ask an important question, told Mr. Davis, the teacher, that Amy March had pickled limes in her desk.
Now, Mr. Davis had declared limes a contraband article, and solemnly vowed to publicly ferule the first person who was found breaking the law. This much-enduring man had succeeded in banishing gum after a long and stormy war, had made a bonfire of the confiscated novels and newspapers, had suppressed a private post-office, had forbidden distortions of the face, nicknames, and caricatures, and done all that one man could do to keep half a hundred rebellious girls in order. Boys are trying enough to human patience, goodness knows! but girls are infinitely more so, especially to nervous gentlemen with tyrannical tempers, and no more talent for teaching than "Dr. Blimber." Mr. Davis knew any quantity of Greek, Latin, algebra, and ologies of all sorts, so he was called a fine teacher; and manners, morals, feelings, and examples were not considered of any particular importance. It was a most unfortunate moment for denouncing Amy, and Jenny knew it. Mr. Davis had evidently taken his coffee too strong that morning; there was an east wind, which always affected his neuralgia, and his pupils had not done him the credit which he felt he deserved; therefore, to use the expressive if not elegant language of a school-girl, "he was as nervous as a witch, and as cross as a bear." The word "limes" was like fire to powder: his yellow face flushed, and he rapped on his desk with an energy which made Jenny skip to her seat with unusual rapidity.
Now, Mr. Davis had declared limes a banned item and firmly vowed to publicly punish the first person caught breaking this rule. This long-suffering man had managed to get rid of gum after a lengthy and tumultuous battle, had burned the confiscated novels and newspapers, had shut down a private post-office, had prohibited facial distortions, nicknames, and caricatures, and had done everything in his power to keep a group of rebellious girls in line. Boys are tough enough on one's patience, that's for sure! But girls are even more challenging, especially for anxious gentlemen with short tempers and no more teaching skill than "Dr. Blimber." Mr. Davis knew a lot of Greek, Latin, algebra, and all kinds of ologies, so he was considered a great teacher; while manners, morals, feelings, and examples were seen as unimportant. It was a particularly bad time to call out Amy, and Jenny was aware of it. Mr. Davis had clearly had his coffee too strong that morning; there was an east wind that always aggravated his neuralgia, and his students hadn't given him the credit he thought he deserved; so, to use the colorful language of a schoolgirl, "he was as nervous as a witch, and as grumpy as a bear." The word "limes" was like setting off fireworks: his yellow face turned red, and he banged on his desk with such force that Jenny hurried to her seat faster than usual.
"Young ladies, attention, if you please!"
"Young ladies, listen up, if you could!"
At the stern order the buzz ceased, and fifty pairs of blue, black, gray, and brown eyes were obediently fixed upon his awful countenance.
At the stern command, the buzzing stopped, and fifty pairs of blue, black, gray, and brown eyes were obediently focused on his grim face.
"Miss March, come to the desk."
"Miss March, please come to the front desk."
Amy rose to comply with outward composure; but a secret fear oppressed her, for the limes weighed upon her conscience.
Amy got up with a calm exterior; but a hidden fear troubled her, as the lies weighed heavily on her conscience.
"Bring with you the limes you have in your desk," was the unexpected command which arrested her before she got out of her seat.
"Bring the limes you have in your desk," was the unexpected command that stopped her before she could get out of her seat.
"Don't take all," whispered her neighbor, a young lady of great presence of mind.
"Don't take it all," whispered her neighbor, a young woman with a strong sense of presence.
Amy hastily shook out half a dozen, and laid the rest down before Mr. Davis, feeling that any man possessing a human heart would relent when that delicious perfume met his nose. Unfortunately, Mr. Davis particularly detested the odor of the fashionable pickle, and disgust added to his wrath.
Amy quickly shook out half a dozen and placed the rest in front of Mr. Davis, believing that any man with a human heart would soften when that delightful fragrance reached his nose. Unfortunately, Mr. Davis absolutely hated the smell of the trendy pickle, and his disgust only fueled his anger.
"Is that all?"
"Is that it?"
"Not quite," stammered Amy.
"Not quite," Amy stammered.
"Bring the rest, immediately."
"Bring the rest right now."
With a despairing glance at her set she obeyed.
With a hopeless look at her group, she complied.
"You are sure there are no more?"
"You’re sure there aren’t any left?"
"I never lie, sir."
"I never lie, sir."
"So I see. Now take these disgusting things, two by two, and throw them out of the window."
"So I get it. Now take these disgusting things, two at a time, and throw them out the window."
There was a simultaneous sigh, which created quite a little gust as the last hope fled, and the treat was ravished from their longing lips. Scarlet with shame and anger, Amy went to and fro twelve mortal times; and as each doomed couple, looking, oh, so plump and juicy! fell from her reluctant hands, a shout from the street completed the anguish of the girls, for it told them that their feast was being exulted over by the little Irish children, who were their sworn foes. This--this was too much; all flashed indignant or appealing glances at the inexorable Davis, and one passionate lime-lover burst into tears.
There was a collective sigh that created a little breeze as the last hope faded, and the treat was snatched away from their eager lips. Red with shame and anger, Amy paced back and forth twelve painful times; and as each doomed couple, looking so plump and delicious, slipped from her unwilling hands, a shout from the street intensified the girls' misery, telling them that their feast was being celebrated by the little Irish kids, who were their sworn enemies. This—this was too much; they all shot indignant or pleading looks at the unyielding Davis, and one passionate lover of limes broke down in tears.
As Amy returned from her last trip, Mr. Davis gave a portentous "hem," and said, in his most impressive manner:--
As Amy got back from her last trip, Mr. Davis cleared his throat dramatically and said, in his most authoritative tone:--
"Young ladies, you remember what I said to you a week ago. I am sorry this has happened; but I never allow my rules to be infringed, and I never break my word. Miss March, hold out your hand."
"Young ladies, you remember what I told you a week ago. I'm sorry this has happened; but I never let my rules be broken, and I never go back on my word. Miss March, extend your hand."
Amy started, and put both hands behind her, turning on him an imploring look, which pleaded for her better than the words she could not utter. She was rather a favorite with "old Davis," as of course he was called, and it's my private belief that he would have broken his word if the indignation of one irrepressible young lady had not found vent in a hiss. That hiss, faint as it was, irritated the irascible gentleman, and sealed the culprit's fate.
Amy began, putting both hands behind her and giving him a desperate look that spoke louder than the words she couldn’t say. She was quite a favorite with “old Davis,” as everyone called him, and I personally believe that he would have broken his promise if the anger of one outspoken young lady hadn’t escaped in a hiss. That hiss, though soft, irritated the easily angered gentleman and sealed the culprit's fate.
"Your hand, Miss March!" was the only answer her mute appeal received; and, too proud to cry or beseech, Amy set her teeth, threw back her head defiantly, and bore without flinching several tingling blows on her little palm. They were neither many nor heavy, but that made no difference to her. For the first time in her life she had been struck; and the disgrace, in her eyes, was as deep as if he had knocked her down.
"Your hand, Miss March!" was the only response to her silent plea; and, too proud to cry or beg, Amy clenched her teeth, threw her head back defiantly, and took several sharp blows on her small palm without flinching. They weren't many or heavy, but that didn’t matter to her. For the first time in her life, she had been hit; and the shame, in her eyes, felt as severe as if he had knocked her down.
"You will now stand on the platform till recess," said Mr. Davis, resolved to do the thing thoroughly, since he had begun.
"You will now stand on the platform until recess," Mr. Davis said, determined to follow through completely since he had started.
That was dreadful. It would have been bad enough to go to her seat and see the pitying faces of her friends, or the satisfied ones of her few enemies; but to face the whole school with that shame fresh upon her seemed impossible, and for a second she felt as if she could only drop down where she stood, and break her heart with crying. A bitter sense of wrong, and the thought of Jenny Snow, helped her to bear it; and taking the ignominious place, she fixed her eyes on the stove-funnel above what now seemed a sea of faces, and stood there so motionless and white, that the girls found it very hard to study, with that pathetic little figure before them.
That was terrible. It would have been bad enough to go to her seat and see the pitying faces of her friends or the smug expressions of her few enemies; but facing the entire school with that shame still fresh felt impossible, and for a moment, she thought she might just collapse right there and cry her heart out. A bitter sense of injustice, along with thoughts of Jenny Snow, helped her get through it; and as she took her humiliating spot, she focused her eyes on the stove pipe above what now seemed like a sea of faces, standing there so still and pale that the girls found it really hard to concentrate with that heartbreaking little figure in front of them.
During the fifteen minutes that followed, the proud and sensitive little girl suffered a shame and pain which she never forgot. To others it might seem a ludicrous or trivial affair, but to her it was a hard experience; for during the twelve years of her life she had been governed by love alone, and a blow of that sort had never touched her before. The smart of her hand, and the ache of her heart, were forgotten in the sting of the thought,--"I shall have to tell at home, and they will be so disappointed in me!"
During the fifteen minutes that followed, the proud and sensitive little girl experienced a shame and pain that she would never forget. To others, it might seem ridiculous or trivial, but to her, it was a tough experience; for the twelve years of her life had been guided by love alone, and a blow like that had never affected her before. The sting in her hand and the ache in her heart faded in the face of the thought, "I’ll have to tell my family, and they will be so disappointed in me!"
The fifteen minutes seemed an hour; but they came to an end at last, and the word "Recess!" had never seemed so welcome to her before.
The fifteen minutes felt like an hour, but they finally came to an end, and the word "Recess!" had never sounded so good to her before.
"You can go, Miss March," said Mr. Davis, looking, as he felt, uncomfortable.
"You can go, Miss March," said Mr. Davis, feeling quite uncomfortable as he looked at her.
He did not soon forget the reproachful look Amy gave him, as she went, without a word to any one, straight into the ante-room, snatched her things, and left the place "forever," as she passionately declared to herself. She was in a sad state when she got home; and when the older girls arrived, some time later, an indignation meeting was held at once. Mrs. March did not say much, but looked disturbed, and comforted her afflicted little daughter in her tenderest manner. Meg bathed the insulted hand with glycerine, and tears; Beth felt that even her beloved kittens would fail as a balm for griefs like this, and Jo wrathfully proposed that Mr. Davis be arrested without delay; while Hannah shook her fist at the "villain," and pounded potatoes for dinner as if she had him under her pestle.
He didn’t forget the hurt look Amy gave him as she walked straight into the ante-room without a word to anyone, grabbed her things, and declared to herself that she was leaving this place “forever.” She felt really upset when she got home; and when the older girls showed up a little later, they immediately held an indignation meeting. Mrs. March didn’t say much but looked troubled and comforted her upset little daughter in the gentlest way. Meg treated the injured hand with glycerin and tears; Beth knew that even her beloved kittens couldn’t soothe pains like this, and Jo angrily suggested that Mr. Davis should be arrested right away; meanwhile, Hannah shook her fist at the “villain” and pounded potatoes for dinner as if she had him under her pestle.
No notice was taken of Amy's flight, except by her mates; but the sharp-eyed demoiselles discovered that Mr. Davis was quite benignant in the afternoon, and also unusually nervous. Just before school closed Jo appeared, wearing a grim expression as she stalked up to the desk and delivered a letter from her mother; then collected Amy's property and departed, carefully scraping the mud from her boots on the door-mat, as if she shook the dust of the place off her feet.
No one really noticed Amy's absence except her friends; however, the observant girls noticed that Mr. Davis was quite kind in the afternoon and also unusually anxious. Just before school ended, Jo showed up, looking serious as she walked up to the desk and handed over a letter from her mom; then she gathered Amy's things and left, making sure to scrape the mud off her boots on the doormat, as if she was shaking the dust of the place off her feet.
"Yes, you can have a vacation from school, but I want you to study a little every day with Beth," said Mrs. March that evening. "I don't approve of corporal punishment, especially for girls. I dislike Mr. Davis's manner of teaching, and don't think the girls you associate with are doing you any good, so I shall ask your father's advice before I send you anywhere else."
"Yes, you can take a break from school, but I want you to study a bit every day with Beth," said Mrs. March that evening. "I don't believe in physical punishment, especially for girls. I'm not a fan of Mr. Davis's teaching style, and I don't think the friends you're hanging out with are benefiting you, so I'll talk to your dad before I decide to send you somewhere else."
"That's good! I wish all the girls would leave, and spoil his old school. It's perfectly maddening to think of those lovely limes," sighed Amy with the air of a martyr.
"That's great! I wish all the girls would leave and mess up his old school. It's totally frustrating to think about those beautiful limes," sighed Amy like a martyr.
"I am not sorry you lost them, for you broke the rules, and deserved some punishment for disobedience," was the severe reply, which rather disappointed the young lady, who expected nothing but sympathy.
"I’m not sorry you lost them because you broke the rules and deserved some punishment for disobedience," was the stern response, which disappointed the young woman, who had expected nothing but sympathy.
"Do you mean you are glad I was disgraced before the whole school?" cried Amy.
"Are you really glad I was humiliated in front of the entire school?" shouted Amy.
"I should not have chosen that way of mending a fault," replied her mother; "but I'm not sure that it won't do you more good than a milder method. You are getting to be altogether too conceited and important, my dear, and it is about time you set about correcting it. You have a good many little gifts and virtues, but there is no need of parading them, for conceit spoils the finest genius. There is not much danger that real talent or goodness will be overlooked long; even if it is, the consciousness of possessing and using it well should satisfy one, and the great charm of all power is modesty."
"I shouldn't have chosen that way to fix a mistake," her mother said. "But I'm not sure that it won't do you more good than a gentler approach. You're becoming way too full of yourself and self-important, my dear, and it's time to start correcting that. You have quite a few talents and good qualities, but there’s no need to show them off, because arrogance ruins the greatest talent. There's not much risk that true talent or goodness will go unnoticed for long; even if it does, knowing that you have it and use it well should be enough, and the real appeal of all power is modesty."
"So it is," cried Laurie, who was playing chess in a corner with Jo. "I knew a girl once who had a really remarkable talent for music, and she didn't know it; never guessed what sweet little things she composed when she was alone, and wouldn't have believed it if any one had told her."
"So it is," shouted Laurie, who was playing chess in a corner with Jo. "I once knew a girl who had an incredible talent for music, and she had no idea; she never realized the beautiful little pieces she created when she was by herself and wouldn't have believed it if anyone had told her."
"I wish I'd known that nice girl; maybe she would have helped me, I'm so stupid," said Beth, who stood beside him listening eagerly.
"I wish I had known that nice girl; maybe she would have helped me. I'm so stupid," said Beth, who stood next to him, listening eagerly.
"You do know her, and she helps you better than any one else could," answered Laurie, looking at her with such mischievous meaning in his merry eyes, that Beth suddenly turned very red, and hid her face in the sofa-cushion, quite overcome by such an unexpected discovery.
"You know her, and she helps you better than anyone else can," Laurie replied, looking at her with a playful glint in his cheerful eyes, causing Beth to suddenly blush deeply and bury her face in the sofa cushion, completely overwhelmed by such an unexpected revelation.
Jo let Laurie win the game, to pay for that praise of her Beth, who could not be prevailed upon to play for them after her compliment. So Laurie did his best and sung delightfully, being in a particularly lively humor, for to the Marches he seldom showed the moody side of his character. When he was gone, Amy, who had been pensive all the evening, said suddenly, as if busy over some new idea:--
Jo let Laurie win the game to make up for the praise of her sister Beth, who refused to play for them after receiving the compliment. So Laurie gave it his all and sang wonderfully, feeling particularly cheerful since he rarely showed his moody side around the Marches. After he left, Amy, who had been deep in thought all evening, suddenly spoke up as if she had been working on a new idea:--
"Is Laurie an accomplished boy?"
"Is Laurie an accomplished guy?"
"Yes; he has had an excellent education, and has much talent; he will make a fine man, if not spoilt by petting," replied her mother.
"Yes; he’s had a great education and has a lot of talent; he will turn out to be a wonderful man, if he’s not ruined by too much pampering," replied her mother.
"And he isn't conceited, is he?" asked Amy.
"And he isn't full of himself, right?" asked Amy.
"Not in the least; that is why he is so charming, and we all like him so much."
"Not at all; that's why he's so charming, and we all like him so much."
"I see: it's nice to have accomplishments, and be elegant, but not to show off, or get perked up," said Amy thoughtfully.
"I get it: it’s great to have achievements and to be classy, but it’s important not to show off or get too carried away," said Amy thoughtfully.
"These things are always seen and felt in a person's manner and conversation, if modestly used; but it is not necessary to display them," said Mrs. March.
"These things are always noticeable in a person's behavior and conversation, if used with modesty; but it’s not necessary to show them off," said Mrs. March.
"Any more than it's proper to wear all your bonnets, and gowns and ribbons, at once, that folks may know you've got 'em," added Jo; and the lecture ended in a laugh.
"Just like it isn’t right to wear all your hats, dresses, and ribbons at the same time so people can see you've got them," Jo added, and the talk wrapped up with a laugh.
From the Atlantic Monthly, September, 1863
From the Atlantic Monthly, September, 1863
We, sighing, said, "Our Pan is dead;
We sighed and said, "Our Pan is dead;
His pipe hangs mute beside the river;
His pipe sits silently next to the river;
Around it wistful sunbeams quiver,
Wistful sunbeams quiver around it,
But Music's airy voice is fled.
But Music's light voice is gone.
Spring mourns as for untimely frost;
Spring grieves like it's lost to an unexpected frost;
The bluebird chants a requiem;
The bluebird sings a requiem;
The willow-blossom waits for him;--
The willow blossom waits for him;--
The Genius of the wood is lost."
The genius of the woods is lost.
Then from the flute, untouched by hands,
Then from the flute, untouched by hands,
There came a low, harmonious breath:
There came a soft, melodic breath:
"For such as he there is no death;
"For someone like him, there is no death;
His life the eternal life commands;
His life grants eternal life;
Above man's aims his nature rose:
Above man's goals, his nature ascended:
The wisdom of a just content
The wisdom of a fair content
Made one small spot a continent,
Made one small spot a continent,
And turned to poetry Life's prose.
And turned life's routine into poetry.
"Haunting the hills, the stream, the wild,
"Haunting the hills, the stream, the wild,
Swallow and aster, lake and pine,
Swallow and aster, lake and pine,
To him grew human or divine,--
To him, it became either human or divine,--
Fit mates for this large-hearted child.
Fit friends for this big-hearted kid.
Such homage Nature ne'er forgets,
Nature never forgets such homage,
And yearly on the coverlid
And yearly on the bedspread
'Neath which her darling lieth hid
'Beneath which her darling lies hidden
Will write his name in violets.
Will write his name in violets.
"To him no vain regrets belong,
"To him, no pointless regrets belong,
Whose soul, that finer instrument,
Whose soul, that higher instrument,
Gave to the world no poor lament,
Gave to the world no weak complaint,
But wood-notes ever sweet and strong.
But the sounds of nature are always sweet and strong.
O lonely friend! he still will be
O lonely friend! he will still be
A potent presence, though unseen,--
A powerful presence, though unseen,--
Steadfast, sagacious, and serene:
Steady, wise, and calm:
Seek not for him,--he is with thee."
Seek not for him—he is with you.
From 'Little Women'
Little Women
Queen of my tub, I merrily sing,
Queen of my tub, I happily sing,
While the white foam rises high;
While the white foam rises high;
And sturdily wash, and rinse, and wring,
And wash it thoroughly, rinse it out, and wring it dry,
And fasten the clothes to dry;
And hang the clothes up to dry;
Then out in the free fresh air they swing,
Then out in the fresh air they swing,
Under the sunny sky.
Under the bright sky.
I wish we could wash from our hearts and souls
I wish we could cleanse our hearts and souls.
The stains of the week away,
The stains of the week away,
And let water and air by their magic make
And let water and air, with their magic, create
Ourselves as pure as they;
Us just as pure as they;
Then on the earth there would be indeed
Then on the earth there would be indeed
A glorious washing-day!
A beautiful laundry day!
Along the path of a useful life,
Along the journey of a meaningful life,
Will heart's-ease ever bloom;
Will heart's-ease ever bloom?
The busy mind has no time to think
The busy mind doesn’t have time to think.
Of sorrow, or care, or gloom;
Of sadness, or worry, or darkness;
And anxious thoughts may be swept away,
And worried thoughts can be brushed aside,
As we busily wield a broom.
As we actively use a broom.
I am glad a task to me is given,
I’m glad I’ve been assigned a task,
To labor at day by day;
To work daily;
For it brings me health, and strength, and hope,
For it gives me health, strength, and hope,
And I cheerfully learn to say,--
And I happily learn to say,--
"Head you may think, Heart you may feel,
"Head you may think, Heart you may feel,
But Hand you shall work alway!"
But you shall always work with your hands!
Selections used by permission of Roberts Brothers, Publishers, and John S.P. Alcott.
Selections used by permission of Roberts Brothers, Publishers, and John S.P. Alcott.
ALCUIN
(735?-804)
BY WILLIAM H. CARPENTER
lcuin, usually called Alcuin of York, came of a patrician family of Northumberland. Neither the date nor the place of his birth is known with definiteness, but he was born about 735 at or near York. As a child he entered the cathedral school recently founded by Egbert, Archbishop of York, and ultimately became its most eminent pupil. He was subsequently assistant master to Aelbert, its head; and when Aelbert succeeded to the archbishopric, on the death of Egbert in 766, Alcuin became scholasticus or master of the school. On the death of Aelbert in 780, Alcuin was placed in charge of the cathedral library, the most famous in Western Europe. In his longest poem, 'Versus de Eboracensi Ecclesia' (Poem on the Saints of the Church at York), he has left an important record of his connection with York. This poem, written before he left England, is, like most of his verse, in dactylic hexameters. To a certain extent it follows Virgil as a model, and is partly based on the writings of Bede, partly on his own personal experience. It is not only valuable for its historical bearings, but for its disclosure of the manner and matter of instruction in the schools of the time, and the contents of the great library. As master of the cathedral school, Alcuin acquired name and fame at home and abroad, and was soon the most celebrated teacher in Britain. Before 766, in company with Aelbert, he made his first journey to Germany, and may have visited Rome. Earlier than 780 he was again abroad, and at Pavia came under the notice of Charlemagne, who was on his way back from Italy. In 781 Eanbald, the new Archbishop of York, sent Alcuin to Rome to bring back the Archbishop's pallium. At Parma he again met Charlemagne, who invited him to take up his abode at the Frankish court. With the consent of his king and his archbishop he resigned his position at York, and with a few pupils departed for the court at Aachen, in 782.
Alcuin, often referred to as Alcuin of York, came from a wealthy family in Northumberland. The exact date and place of his birth are uncertain, but he was born around 735 in or near York. As a child, he joined the cathedral school that was recently established by Egbert, Archbishop of York, and eventually became its most distinguished student. He later served as assistant master to Aelbert, the head of the school; when Aelbert became archbishop after Egbert's death in 766, Alcuin took over as the master of the school. Following Aelbert's passing in 780, Alcuin was put in charge of the cathedral library, the most renowned in Western Europe. In his longest poem, 'Versus de Eboracensi Ecclesia' (Poem on the Saints of the Church at York), he documented his connection with York. This poem, written before he left England, like most of his poetry, is composed in dactylic hexameters. To some extent, it follows Virgil as a model and is partly based on Bede's writings and his own personal experiences. It is valuable not only for its historical significance but also for revealing the style and content of education in schools at that time, as well as the library's contents. As the master of the cathedral school, Alcuin gained recognition both locally and internationally, becoming the most celebrated teacher in Britain. Before 766, he traveled to Germany with Aelbert and may have visited Rome. Prior to 780, he was abroad again and caught Charlemagne's attention in Pavia while the emperor was returning from Italy. In 781, Eanbald, the new Archbishop of York, sent Alcuin to Rome to retrieve the Archbishop's pallium. In Parma, he met Charlemagne again, who invited him to reside at the Frankish court. With the permission of his king and archbishop, he resigned from his position at York and, along with a few students, left for the court at Aachen in 782.
Alcuin's arrival in Germany was the beginning of a new intellectual epoch among the Franks. Learning was at this time in a deplorable state. The older monastic and cathedral schools had been broken up, and the monasteries themselves often unworthily bestowed upon royal favorites. There had been a palace school for rudimentary instruction, but it was wholly inefficient and unimportant.
Alcuin's arrival in Germany marked the start of a new intellectual era among the Franks. At that time, education was in terrible shape. The older monastic and cathedral schools had fallen apart, and the monasteries were often unfairly given to royal favorites. There had been a palace school for basic instruction, but it was completely ineffective and insignificant.
During the years immediately following his arrival, Alcuin zealously labored at his projects of educational reform. First reorganizing the palace school, he afterward undertook a reform of the monasteries and their system of instruction, and the establishment of new schools throughout the kingdom of Charlemagne. At the court school the great king himself, as well as Liutgard the queen, became his pupil. Gisela, Abbess of Chelles, the sister of Charlemagne, came also to him for instruction, as did the Princes Charles, Pepin, and Louis, and the Princesses Rotrud and Gisela. On himself and the others, in accordance with the fashion of the time, Alcuin bestowed fanciful names. He was Flaccus or Albinus, Charlemagne was David, the queen was Ava, and Pepin was Julius. The subjects of instruction in this school, the centre of culture of the kingdom, were first of all, grammar; then arithmetic, astronomy, rhetoric, and dialectic. The king himself studied poetry, astronomy, arithmetic, the writings of the Fathers, and theology proper. It was under the influence of Alcuin that Charlemagne issued in 787 the capitulary that has been called "the first general charter of education for the Middle Ages." It reproves the abbots for their illiteracy, and exhorts them to the study of letters; and although its effect was less than its purpose, it served, with subsequent decrees of the king, to stimulate learning and literature throughout all Germany.
During the years right after he arrived, Alcuin worked hard on his educational reform projects. He first reorganized the palace school, then he took on reforming the monasteries and their teaching systems, and established new schools throughout Charlemagne's kingdom. At the court school, the great king himself, along with Queen Liutgard, became his student. Gisela, Abbess of Chelles and Charlemagne's sister, also came to him for lessons, as did Princes Charles, Pepin, and Louis, and Princesses Rotrud and Gisela. Alcuin gave himself and others whimsical names, as was the style of the time. He was known as Flaccus or Albinus, Charlemagne was called David, the queen was Ava, and Pepin went by Julius. The subjects taught at this school, the cultural hub of the kingdom, included grammar, arithmetic, astronomy, rhetoric, and dialectic. The king himself studied poetry, astronomy, arithmetic, the writings of the Church Fathers, and theology. It was under Alcuin's influence that Charlemagne issued the capitulary in 787, known as "the first general charter of education for the Middle Ages." This document criticized the abbots for being illiterate and encouraged them to study letters; while its impact wasn’t as great as its intent, it helped, along with later royal decrees, to promote learning and literature across all of Germany.
Alcuin's system included, besides the palace school, and the monastic and cathedral schools, which in some instances gave both elementary and superior instruction, all the parish or village elementary schools, whose head was the parish priest.
Alcuin's system included, in addition to the palace school, the monastic and cathedral schools, which in some cases provided both basic and advanced education, as well as all the parish or village elementary schools, led by the parish priest.
In 790, seeing his plans well established, Alcuin returned to York bearing letters of reconciliation to Offa, King of Mercia, between whom and Charlemagne dissension had arisen. Having accomplished his errand, he went back to the German court in 792. Here his first act was to take a vigorous part in the furious controversy respecting the doctrine of Adoptionism. Alcuin not only wrote against the heresy, but brought about its condemnation by the Council of Frankfort, in 794.
In 790, with his plans firmly in place, Alcuin went back to York, carrying letters of reconciliation to Offa, the King of Mercia, with whom Charlemagne had been in conflict. After completing his task, he returned to the German court in 792. His first action there was to actively engage in the heated debate over the doctrine of Adoptionism. Alcuin not only wrote against the heresy but also helped secure its condemnation by the Council of Frankfort in 794.
Two years later, at his own request, he was made Abbot of the Benedictine monastery of St. Martin, at Tours. Not contented with reforming the lax monastic life, he resolved to make Tours a seat of learning. Under his management, it presently became the most renowned school in the kingdom. Especially in the copying of manuscripts did the brethren excel. Alcuin kept up a vast correspondence with Britain as well as with different parts of the Frankish kingdom; and of the two hundred and thirty letters preserved, the greater part belonged to this time. In 799, at Aachen, he held a public disputation on Adoptionism with Felix, Bishop of Urgel, who was wholly vanquished. When the king, in 800, was preparing for that visit to the Papal court which was to end with his coronation as Emperor of the Holy Roman Empire, he invited Alcuin to accompany him. But the old man, wearied with many burdens, could not make the journey. By the beginning of 804 he had become much enfeebled. It was his desire, often expressed, to die on the day of Pentecost. His wish was fulfilled, for he died at dawn on the 19th of May. He was buried in the Cloister Church of St. Martin, near the monastery.
Two years later, at his own request, he became the Abbot of the Benedictine monastery of St. Martin in Tours. Not satisfied with just reforming the relaxed monastic life, he decided to turn Tours into a center of learning. Under his leadership, it quickly became the most famous school in the kingdom. The monks especially excelled in copying manuscripts. Alcuin maintained extensive correspondence with Britain as well as various parts of the Frankish kingdom, and of the two hundred and thirty letters that were preserved, most were from this period. In 799, in Aachen, he held a public debate on Adoptionism with Felix, the Bishop of Urgel, who was completely defeated. When the king, in 800, was getting ready for his visit to the Papal court that would end with his coronation as Emperor of the Holy Roman Empire, he invited Alcuin to join him. But the old man, worn down by many burdens, couldn’t make the trip. By early 804, he had become quite weak. He often expressed a desire to die on Pentecost. His wish came true, as he passed away at dawn on May 19th. He was buried in the Cloister Church of St. Martin, close to the monastery.
Alcuin's literary activity was exerted in various directions. Two-thirds of all that he wrote was theological in character. These works are exegetical, like the 'Commentary on the Gospel of St. John'; dogmatic, like the 'Writings against Felix of Urgel and Elipandus of Toledo,' his best work of this class; or liturgical and moral, like the 'Lives of the Saints,' The other third is made up of the epistles, already mentioned; of poems on a great variety of subjects, the principal one being the 'Poem on the Saints of the Church at York'; and of those didactic works which form his principal claim to attention at the present day. His educational treatises are the following: 'On Grammar,' 'On Orthography,' 'On Rhetoric and the Virtues,' 'On Dialectics,' 'Disputation between the Royal and Most Noble Youth Pepin, and Albinus the Scholastic,' and 'On the Calculation of Easter,' The most important of all these writings is his 'Grammar,' which consists of two parts: the first a dialogue between a teacher and his pupils on philosophy and studies in general; the other a dialogue between a teacher, a young Frank, and a young Saxon, on grammar. These latter, in Alcuin's language, have "but lately rushed upon the thorny thickets of grammatical density" Grammar begins with the consideration of the letters, the vowels and consonants, the former of which "are, as it were, the souls, and the consonants the bodies of words." Grammar itself is defined to be "the science of written sounds, the guardian of correct speaking and writing. It is founded on nature, reason, authority, and custom." He enumerates no less than twenty-six parts of grammar, which he then defines. Many of his definitions and particularly his etymologies, are remarkable. He tells us that feet in poetry are so called "because the metres walk on them"; littera is derived from legitera, "since the littera serve to prepare the way for readers" (legere, iter). In his 'Orthography,' a pendant to the 'Grammar,' coelebs, a bachelor, is "one who is on his way ad coelum" (to heaven). Alcuin's 'Grammar' is based principally on Donatus. In this, as in all his works, he compiles and adapts, but is only rarely original. 'On Rhetoric and the Virtues' is a dialogue between Charlemagne and Albinus (Alcuin). The 'Disputation between Pepin and Albinus,' the beginning of which is here given, shows both the manner and the subject-matter of his instruction. Alcuin, with all the limitations which his environment imposed upon him, stamped himself indelibly upon his day and generation, and left behind him, in his scholars, an enduring influence. Men like Rabanus, the famous Bishop of Mayence, gloried in having been his pupils, and down to the wars and devastations of the tenth century his influence upon education was paramount throughout all Western Europe. There is an excellent account of Alcuin in Professor West's 'Alcuin' ('Great Educators' Series), published in 1893.
Alcuin's literary work was diverse. About two-thirds of what he wrote was theological. These pieces include exegetical works, like the 'Commentary on the Gospel of St. John'; dogmatic writings, such as the 'Writings against Felix of Urgel and Elipandus of Toledo,' which is considered his best work in this category; as well as liturgical and moral texts like the 'Lives of the Saints.' The remaining third consists of letters, as already mentioned; poems on a wide range of topics, with the main one being the 'Poem on the Saints of the Church at York'; and didactic works, which are his most significant contributions today. His educational writings include: 'On Grammar,' 'On Orthography,' 'On Rhetoric and the Virtues,' 'On Dialectics,' 'Disputation between the Royal and Most Noble Youth Pepin, and Albinus the Scholastic,' and 'On the Calculation of Easter.' The most crucial of these is his 'Grammar,' which is divided into two parts: the first is a dialogue between a teacher and his students discussing philosophy and studies in general; the second is a dialogue between a teacher, a young Frank, and a young Saxon regarding grammar. Alcuin describes these last two as having "recently entered the thorny bushes of grammatical complexity." Grammar starts by looking at letters, vowels, and consonants, considering the vowels as "the souls" and the consonants as "the bodies of words." He defines grammar as "the science of written sounds, the guardian of correct speaking and writing. It is based on nature, reason, authority, and custom." He lists twenty-six parts of grammar, each of which he then defines. Many of his definitions, especially his etymologies, are noteworthy. He explains that feet in poetry are named so "because the meters walk on them"; littera comes from legitera, "since the littera help lead the way for readers" (legere, iter). In his 'Orthography,' which accompanies the 'Grammar,' coelebs, meaning bachelor, refers to "someone who is on their way ad coelum" (to heaven). Alcuin's 'Grammar' is primarily based on Donatus. In this and all his works, he compiles and adapts rather than being frequently original. 'On Rhetoric and the Virtues' is a dialogue between Charlemagne and Albinus (Alcuin). The 'Disputation between Pepin and Albinus,' the beginning of which is provided here, illustrates both his teaching style and subject matter. Alcuin, despite the limitations imposed by his time, made a lasting impact on his era and left an enduring influence on his students. Figures like Rabanus, the famous Bishop of Mayence, took pride in being his pupils, and up until the wars and destruction of the tenth century, his impact on education was significant throughout Western Europe. There is a detailed account of Alcuin in Professor West's 'Alcuin' from the 'Great Educators' Series, published in 1893.
ON THE SAINTS OF THE CHURCH AT YORK
There the Eboric scholars felt the rule
Of Master Aelbert, teaching in the school.
Their thirsty hearts to gladden well he knew
With doctrine's stream and learning's heavenly dew.
To some he made the grammar understood,
And poured on others rhetoric's copious flood.
The rules of jurisprudence these rehearse,
While those recite in high Eonian verse,
Or play Castalia's flutes in cadence sweet
And mount Parnassus on swift lyric feet.
Anon the master turns their gaze on high
To view the travailing sun and moon, the sky
In order turning with its planets seven,
And starry hosts that keep the law of heaven.
The storms at sea, the earthquake's shock, the race
Of men and beasts and flying fowl they trace;
Or to the laws of numbers bend their mind,
And search till Easter's annual day they find.
Then, last and best, he opened up to view
The depths of Holy Scripture, Old and New.
Was any youth in studies well approved,
Then him the master cherished, taught, and loved;
And thus the double knowledge he conferred
Of liberal studies and the Holy Word.
ON THE SAINTS OF THE CHURCH AT YORK
There, the scholars of Eboric experienced the guidance
Of Master Aelbert, who taught in the school.
He knew how to satisfy their eager hearts
With a stream of knowledge and the heavenly gift of learning.
For some, he made grammar clear,
And offered others an abundance of rhetoric.
The principles of law they would recite,
While others spoke in lofty Eonian verse,
Or played the flutes of Castalia in sweet harmony
And ascended Parnassus on quick lyrical feet.
Soon, the master directed their attention upward
To observe the struggling sun and moon, the sky
In its orderly movement with its seven planets,
And the starry multitude that upholds the laws of heaven.
They followed the storms at sea, the tremors of earthquakes, and the movements
Of men and beasts and flying birds they traced;
Or focused their minds on the principles of numbers,
Searching until they discovered Easter’s yearly date.
Finally, and most importantly, he revealed
The depths of Holy Scripture, both Old and New.
If any student excelled in his studies,
The master valued, taught, and cared for him;
Thus, he imparted both the knowledge of liberal arts and the Holy Word.
Disputation Between Pepin, The Most Noble and Royal Youth, and Albinus the Scholastic
Pepin--What is writing?
Albinus--The treasury of history.
Pepin--What is language?
Albinus--The herald of the soul.
Pepin--What generates language?
Albinus--The tongue.
Pepin--What is the tongue?
Albinus--A whip of the air.
Pepin--What is the air?
Albinus--A maintainer of life.
Pepin--What is life?
Albinus--The joy of the happy; the torment of the suffering;
a waiting for death.
Pepin--What is death?
Albinus--An inevitable ending; a journey into uncertainty; a
source of tears for the living; the probation of wills; a waylayer
of men.
Pepin--What is man?
Albinus--A booty of death; a passing traveler; a stranger on
earth.
Pepin--What is man like?
Albinus--The fruit of a tree.
Pepin--What are the heavens?
Albinus--A rolling ball; an immeasurable vault.
Pepin--What is light?
Albinus--The sight of all things.
Pepin--What is day?
Albinus--The admonisher to labor.
Pepin--What is the sun?
Albinus--The glory and splendor of the heavens; the attractive
in nature; the measure of hours; the adornment of day.
Pepin--What is the moon?
Albinus--The eye of night; the dispenser of dew; the presager
of storms.
Pepin--What are the stars?
Albinus--A picture on the vault of heaven; the steersmen of
ships; the ornament of night.
Pepin--What is rain?
Albinus--The fertilizer of the earth; the producer of crops.
Pepin--What is fog?
Albinus--Night in day; the annoyance of eyes.
Pepin--What is wind?
Albinus--The mover of air; the agitation of water; the dryer
of the earth.
Pepin--What is the earth?
Albinus--The mother of growth; the nourisher of the living;
the storehouse of life; the effacer of all.
Pepin--What is the sea?
Albinus--The path of adventure; the bounds of the earth;
the division of lands; the harbor of rivers; the source of rains;
a refuge in danger; a pleasure in enjoyment.
Pepin--What are rivers?
Albinus--A ceaseless motion; a refreshment to the sun; the
waters of the earth.
Pepin--What is water?
Albinus--The supporter of life; the cleanser of filth.
Pepin--What is fire?
Albinus--An excessive heat; the nurse of growing things; the
ripener of crops.
Pepin--What is cold?
Albinus--The trembling of our members.
Pepin--What is frost?
Albinus--An assailer of plants; the destruction of leaves; a
fetter to the earth; a bridger of streams.
Pepin--What is snow?
Albinus--Dry water.
Pepin--What is winter?
Albinus--An exile of summer.
Pepin--What is spring?
Albinus--A painter of the earth.
Pepin--What is summer?
Albinus--That which brings to the earth a new garment, and
ripens the fruit.
Pepin--What is autumn?
Albinus--The barn of the year.
Discussion Between Pepin, The Most Noble and Royal Youth, and Albinus the Scholar
Pepin--What is writing?
Albinus--The treasure of history.
Pepin--What is language?
Albinus--The voice of the soul.
Pepin--What creates language?
Albinus--The tongue.
Pepin--What is the tongue?
Albinus--A whip of the air.
Pepin--What is the air?
Albinus--A giver of life.
Pepin--What is life?
Albinus--The joy of the happy; the pain of the suffering; a wait for death.
Pepin--What is death?
Albinus--An unavoidable end; a journey into the unknown; a source of tears for the living; a test of wills; a barrier for men.
Pepin--What is man?
Albinus--The prey of death; a temporary traveler; a stranger on earth.
Pepin--What is man like?
Albinus--The fruit of a tree.
Pepin--What are the heavens?
Albinus--A rolling sphere; an endless vault.
Pepin--What is light?
Albinus--The vision of all things.
Pepin--What is day?
Albinus--The call to work.
Pepin--What is the sun?
Albinus--The glory and brilliance of the heavens; the attraction in nature; the measure of time; the beauty of day.
Pepin--What is the moon?
Albinus--The eye of night; the giver of dew; the predictor of storms.
Pepin--What are the stars?
Albinus--A picture on the sky; the guides for ships; the decoration of night.
Pepin--What is rain?
Albinus--The nourishment of the earth; the creator of crops.
Pepin--What is fog?
Albinus--Night during the day; the annoyance of eyes.
Pepin--What is wind?
Albinus--The mover of air; the agitation of water; the dryer of the earth.
Pepin--What is the earth?
Albinus--The mother of growth; the nourisher of living things; the storehouse of life; the eraser of all.
Pepin--What is the sea?
Albinus--The path of adventure; the edges of the earth; the separation of lands; the home of rivers; the source of rains; a refuge in danger; a source of enjoyment.
Pepin--What are rivers?
Albinus--A constant flow; a refreshment for the sun; the water of the earth.
Pepin--What is water?
Albinus--The sustainer of life; the cleanser of dirt.
Pepin--What is fire?
Albinus--An intense heat; the nurturer of growth; the ripener of crops.
Pepin--What is cold?
Albinus--The shivering of our bodies.
Pepin--What is frost?
Albinus--An attacker of plants; the destroyer of leaves; a restraint on the earth; a barrier for streams.
Pepin--What is snow?
Albinus--Frozen water.
Pepin--What is winter?
Albinus--The exile of summer.
Pepin--What is spring?
Albinus--A painter of the earth.
Pepin--What is summer?
Albinus--That which brings a new coat to the earth, and ripens the fruit.
Pepin--What is autumn?
Albinus--The harvest time of the year.
A LETTER FROM ALCUIN TO CHARLEMAGNE
I, your Flaccus, in accordance with your entreaty and your gracious kindness, am busied under the shelter of St. Martin's, in bestowing upon many of my pupils the honey of the Holy Scriptures. I am eager that others should drink deep of the old wine of ancient learning; I shall presently begin to nourish still others with the fruits of grammatical ingenuity; and some of them I am eager to enlighten with a knowledge of the order of the stars, that seem painted, as it were, on the dome of some mighty palace. I have become all things to all men (1 Cor. i. 22) so that I may train up many to the profession of God's Holy Church and to the glory of your imperial realm, lest the grace of Almighty God in me should be fruitless (1 Cor. xv. 10) and your munificent bounty of no avail. But your servant lacks the rarer books of scholastic learning, which in my own country I used to have (thanks to the generous and most devoted care of my teacher and to my own humble endeavors), and I mention it to your Majesty so that, perchance, it may please you who are eagerly concerned about the whole body of learning, to have me dispatch some of our young men to procure for us certain necessary works, and bring with them to France the flowers of England; so that a graceful garden may not exist in York alone, but so that at Tours as well there may be found the blossoming of Paradise with its abundant fruits; that the south wind, when it comes, may cause the gardens along the River Loire to burst into bloom, and their perfumed airs to stream forth, and finally, that which follows in the Canticle, whence I have drawn this simile, may be brought to pass... (Canticle v. 1, 2). Or even this exhortation of the prophet Isaiah, which urges us to acquire wisdom:--"A11 ye who thirst, come to the waters; and you who have not money, hasten, buy and eat: come, without money and without price, and buy wine and milk" (Isaiah iv. 1.)
I, your Flaccus, in response to your request and your kindness, am busy under the shelter of St. Martin's, sharing the teachings of the Holy Scriptures with many of my students. I want others to deeply enjoy the rich knowledge of classical learning; soon, I will start to nurture even more students with the benefits of grammar skills; and I'm eager to enlighten some with an understanding of the stars that appear to be painted on the vast ceiling of a grand palace. I’ve become versatile to connect with everyone (1 Cor. i. 22) so that I can guide many toward the service of God’s Holy Church and the honor of your imperial realm, making sure that the grace of Almighty God through me bears fruit (1 Cor. xv. 10) and that your generous support is not wasted. But your servant is missing some rare books on academic learning, which I used to have back in my own country (thanks to the dedicated support of my teacher and my own humble efforts), and I mention this to Your Majesty so that, perhaps, it may please you, who care deeply about all fields of knowledge, to allow me to send some of our young men to gather certain essential works for us, and bring with them to France the treasures of England; so that a beautiful garden may not only thrive in York, but that at Tours as well, we may see the blossoming of Paradise with its abundant fruits; that the south wind, when it arrives, may cause the gardens along the River Loire to burst into bloom, filling the air with their sweet scents, and ultimately, that what follows in the Canticle, from which I have drawn this comparison, may be fulfilled... (Canticle v. 1, 2). Or even this calling from the prophet Isaiah, urging us to seek wisdom: “All you who are thirsty, come to the waters; and you who have no money, hurry, buy and eat: come, without money and without cost, and buy wine and milk” (Isaiah iv. 1).
And this is a thing which your gracious zeal will not overlook: how upon every page of the Holy Scriptures we are urged to the acquisition of wisdom; how nothing is more honorable for insuring a happy life, nothing more pleasing in the observance, nothing more efficient against sin, nothing more praiseworthy in any lofty station, than that men live according to the teachings of the philosophers. Moreover, nothing is more essential to the government of the people, nothing better for the guidance of life into the paths of honorable character, than the grace which wisdom gives, and the glory of training and the power of learning. Therefore it is that in its praise, Solomon, the wisest of all men, exclaims, "Better is wisdom than all precious things, and more to be desired" (Prov. viii. 11 seq). To secure this with every possible effort and to get possession of it by daily endeavor, do you, my lord King, exhort the young men who are in your Majesty's palace, that they strive for this in the flower of their youth, so that they may be deemed worthy to live through an old age of honor, and that by its means they may be able to attain to everlasting happiness. I, myself, according to my disposition, shall not be slothful in sowing the seeds of wisdom among your servants in this land, being mindful of the injunction, "Sow thy seed in the morning, and at eventide let not thy hand cease; since thou knowest not what will spring up, whether these or those, and if both together, still better is it" (Eccles. xi. 6). In the morning of my life and in the fruitful period of my studies I sowed seed in Britain, and now that my blood has grown cool in the evening of life, I still cease not; but sow the seed in France, desiring that both may spring up by the grace of God. And now that my body has grown weak, I find consolation in the saying of St. Jerome, who declares in his letter to Nepotianus, "Almost all the powers of the body are altered in old men, and wisdom alone will increase while the rest decay." And a little further he says, "The old age of those who have adorned their youth with noble accomplishments and have meditated on the law of the Lord both day and night becomes more and more deeply accomplished with its years, more polished from experience, more wise by the lapse of time; and it reaps the sweetest fruit of ancient learning." In this letter in praise of wisdom, one who wishes can read many things of the scientific pursuits of the ancients, and can understand how eager were these ancients to abound in the grace of wisdom. I have noted that your zeal, which is pleasing to God and praiseworthy, is always advancing toward this wisdom and takes pleasure in it, and that you are adorning the magnificence of your worldly rule with still greater intellectual splendor. In this may our Lord Jesus Christ, who is himself the supreme type of divine wisdom, guard you and exalt you, and cause you to attain to the glory of His own blessed and everlasting vision.
And this is something your gracious enthusiasm won't miss: how on every page of the Holy Scriptures, we're encouraged to seek wisdom; how nothing is more honorable for ensuring a happy life, nothing more enjoyable in practice, nothing more effective against sin, and nothing more commendable in any high position than living according to the teachings of philosophers. Additionally, nothing is more vital for governing people, nothing better for guiding life toward honorable character, than the grace that wisdom provides, the honor of education, and the power of learning. That's why Solomon, the wisest of all men, declares, "Wisdom is better than all precious things and more desirable" (Prov. viii. 11 seq). Therefore, my lord King, you should encourage the young men in your palace to strive for this during their youth so they may be worthy of living an honorable old age and, through it, achieve everlasting happiness. I, for my part, will not be lazy in sowing the seeds of wisdom among your servants in this land, remembering the advice, "Sow your seed in the morning, and at evening let your hand not be idle; for you do not know which will succeed, this or that, or whether both will do equally well" (Eccles. xi. 6). In the morning of my life and the fruitful time of my studies, I sowed seeds in Britain; now, as my blood slows in the evening of life, I continue to sow seeds in France, hoping that both may flourish by God's grace. And now that my body is weak, I find comfort in the words of St. Jerome, who writes in his letter to Nepotianus, "Almost all the powers of the body change in old age, but wisdom alone will grow while everything else declines." He adds, "The old age of those who have enriched their youth with noble deeds and have meditated on the law of the Lord day and night becomes more accomplished with each passing year, more refined through experience, and wiser with time; they gather the sweetest fruits of ancient knowledge." In this letter praising wisdom, anyone interested can read about the scientific pursuits of the ancients and see how eager they were to excel in wisdom's grace. I've noticed that your zeal, which is pleasing to God and commendable, is always moving toward this wisdom and finds joy in it, while enhancing the grandeur of your worldly reign with even more intellectual brilliance. In this, may our Lord Jesus Christ, who is the ultimate embodiment of divine wisdom, protect and lift you up, allowing you to reach the glory of His own blessed and eternal vision.
HENRY M. ALDEN
(1836-)
enry Mills Alden, since 1864 the editor of Harper's Magazine, was born in Mount Tabor, Vermont, November 11th, 1836, the eighth in descent from Captain John Alden, the Pilgrim. He graduated at Williams College, and studied theology at Andover Seminary, but was never ordained a minister, having almost immediately turned his attention to literature. His first work that attracted attention was an essay on the Eleusinian Mysteries, published in the Atlantic Monthly. The scholarship and subtle method revealed in this and similar works led to his engagement to deliver a course of twelve Lowell Institute lectures at Boston, in 1863 and 1864, and he took for his subject 'The Structure of Paganism.' Before this he had removed to New York, had engaged in general editorial work, and formed his lasting connection with the house of Harper and Brothers.
Henry Mills Alden, who has been the editor of Harper's Magazine since 1864, was born in Mount Tabor, Vermont, on November 11, 1836. He is the eighth descendant of Captain John Alden, the Pilgrim. He graduated from Williams College and studied theology at Andover Seminary, but he was never ordained as a minister, quickly shifting his focus to literature. His first notable work was an essay on the Eleusinian Mysteries, published in the Atlantic Monthly. The scholarship and intricate approach displayed in this and other works led to his opportunity to give a series of twelve Lowell Institute lectures in Boston in 1863 and 1864, titled 'The Structure of Paganism.' Before this, he had moved to New York, taken on general editorial work, and established his long-term association with Harper and Brothers.
As an editor Mr. Alden is the most practical of men, but he is in reality a poet, and in another age he might have been a mystic. He has the secret of preserving his life to himself, while paying the keenest attention to his daily duties. In his office he is immersed in affairs which require the exercise of vigilant common-sense, and knowledge of life and literature. At his home he is a serene and optimistic philosopher, contemplating the forces that make for our civilization, and musing over the deep problems of man's occupation of this earth. In 1893 appeared anonymously a volume entitled 'God in His World,' which attracted instantly wide attention in this country and in England for its subtlety of thought, its boldness of treatment, its winning sweetness of temper, and its exquisite style. It was by Mr. Alden, and in 1895 it was followed by 'A Study of Death,' continuing the great theme of the first,--the unity of creation, the certainty that there is in no sense a war between the Creator and his creation. In this view the Universe is not divided into the Natural and the Supernatural: all is Natural. But we can speak here only of their literary quality. The author is seen to be a poet in his conceptions, but in form his writing is entirely within the limits of prose; yet it is a prose most harmonious, most melodious, and it exhibits the capacity of our English tongue in the hand of a master. The thought is sometimes so subtle as to elude the careless reader, but the charm of the melody never fails to entrance. The study of life and civilization is profound, but the grace of treatment seems to relieve the problems of half their difficulty.
As an editor, Mr. Alden is the most practical person, but he is truly a poet at heart, and in another time, he might have been a mystic. He knows how to keep his personal life private while staying deeply focused on his daily responsibilities. In the office, he deals with matters that require sharp common sense and a solid understanding of life and literature. At home, he is a calm and optimistic philosopher, reflecting on the forces that shape our civilization and pondering the big questions about humanity's role on this planet. In 1893, he anonymously published a book titled 'God in His World,' which quickly gained attention in both the U.S. and England for its deep insights, bold approach, appealing tone, and exquisite writing style. This was by Mr. Alden, and in 1895, he released 'A Study of Death,' which continued the theme from the first book—the unity of creation and the idea that there’s no conflict between the Creator and creation. From this perspective, the Universe isn’t split into Natural and Supernatural; everything is Natural. But here we can only discuss their literary qualities. The author comes across as a poet in his ideas, yet his writing maintains a prose format that is beautifully harmonious and melodious, showcasing the power of the English language in the hands of a master. The ideas can sometimes be so subtle that they escape the attention of a casual reader, but the sweet rhythm of the writing consistently captivates. The exploration of life and civilization is deep, but the elegant style seems to ease the complexities of the issues presented.
His wife did not live to read the exquisite dedication given below.
His wife didn’t live long enough to read the beautiful dedication below.
A DEDICATION
My earliest written expression of intimate thought or cherished fancy was for your eyes only; it was my first approach to your maidenly heart, a mystical wooing, which neglected no resource, near or remote, for the enhancement of its charm, and so involved all other mystery in its own.
My first written expression of personal feelings or secret dreams was just for you; it was my initial attempt to reach your innocent heart, a magical courtship that used every possible resource, near or far, to enhance its appeal, and intertwined all other mysteries with its own.
In you, childhood has been inviolate, never losing its power of leading me by an unspoken invocation to a green field, ever kept fresh by a living fountain, where the Shepherd tends his flock. Now, through a body racked with pain, and sadly broken, still shines this unbroken childhood, teaching me Love's deepest mystery.
In you, childhood has remained untouched, always able to guide me silently to a green field, perpetually refreshed by a flowing fountain, where the Shepherd cares for his flock. Now, through a body worn out by pain and sadly broken, this unshaken childhood still shines, teaching me the deepest mystery of Love.
It is fitting, then, that I should dedicate to you this book touching that mystery. It has been written in the shadow, but illumined by the brightness of an angel's face seen in the darkness, so that it has seemed easy and natural for me to find at the thorn's heart a secret and everlasting sweetness far surpassing that of the rose itself, which ceases in its own perfection.
It makes sense that I should dedicate this book to you, which explores that mystery. It has been written in the dark but lit up by the brightness of an angel's face, making it feel easy and natural for me to discover a secret and lasting sweetness at the heart of the thorn, one that far exceeds that of the rose itself, which fades in its own perfection.
Whether that angel we have seen shall, for my need and comfort, and for your own longing, hold back his greatest gift, and leave you mine in the earthly ways we know and love, or shall hasten to make the heavenly surprise, the issue in either event will be a home-coming; if here, yet already the deeper secret will have been in part disclosed; and if beyond, that secret, fully known, will not betray the fondest hope of loving hearts. Love never denied Death, and Death will not deny Love.
Whether that angel we've seen will, for my need and comfort, and for your own longing, hold back his greatest gift and leave you mine in the earthly ways we know and love, or will rush to create the heavenly surprise, the result in either case will be a homecoming; if here, then the deeper secret will have already been partially revealed; and if beyond, that secret, fully understood, will not betray the deepest hope of loving hearts. Love never rejected Death, and Death will not reject Love.
THE DOVE AND THE SERPENT
The Dove flies, and the Serpent creeps. Yet is the Dove fond, while the Serpent is the emblem of wisdom. Both were in Eden: the cooing, fluttering, wingèd spirit, loving to descend, companion-like, brooding, following; and the creeping thing which had glided into the sunshine of Paradise from the cold bosoms of those nurses of an older world--Pain, and Darkness, and Death--himself forgetting these in the warmth and green life of the Garden. And our first parents knew naught of these as yet unutterable mysteries, any more than they knew that their roses bloomed over a tomb: so that when all animate creatures came to Adam to be named, the meaning of this living allegory which passed before him was in great part hidden, and he saw no sharp line dividing the firmament below from the firmament above; rather he leaned toward the ground, as one does in a garden, seeing how quickly it was fashioned into the climbing trees, into the clean flowers, and into his own shapely frame. It was upon the ground he lay when that deep sleep fell upon him from which he woke to find his mate, lithe as the serpent, yet with the fluttering heart of the dove.
The Dove flies, and the Serpent slithers. Yet the Dove is affectionate, while the Serpent represents wisdom. Both were in Eden: the gentle, fluttering spirit, eager to come down, like a companion, nurturing, following; and the crawling creature that had emerged into the light of Paradise from the cold embrace of the ancient forces—Pain, Darkness, and Death—forgetting all of this in the warmth and life of the Garden. Our first parents were unaware of these unspeakable mysteries, just as they didn’t realize that their roses bloomed over a grave: so when all living creatures came to Adam to be named, the meaning of the living allegory that passed before him was mostly hidden, and he saw no clear division between the sky above and the ground below; instead, he leaned toward the earth, like one does in a garden, observing how quickly it transformed into climbing trees, beautiful flowers, and his own well-formed body. He was on the ground when that deep sleep fell upon him, from which he awakened to find his partner, as graceful as the serpent, yet with the tender spirit of the dove.
As the Dove, though winged for flight, ever descended, so the Serpent, though unable wholly to leave the ground, tried ever to lift himself therefrom, as if to escape some ancient bond. The cool nights revived and nourished his memories of an older time, wherein lay his subtile wisdom, but day by day his aspiring crest grew brighter. The life of Eden became for him oblivion, the light of the sun obscuring and confounding his reminiscence, even as for Adam and Eve this life was Illusion, the visible disguising the invisible, and pleasure veiling pain.
As the Dove, although made for flying, continually descended, the Serpent, though never fully able to leave the ground, always tried to lift himself up, as if to escape some ancient bond. The cool nights revived and nourished his memories of a time long past, where his subtle wisdom resided, but day by day his rising crest became more vibrant. The life of Eden turned into forgetfulness for him, as the sunlight obscured and confused his memories, just like for Adam and Eve, this life was an Illusion, where the visible masked the invisible, and pleasure hid pain.
In Adam the culture of the ground maintained humility. He was held, moreover, in lowly content by the charm of the woman, who was to him like the earth grown human; and since she was the daughter of Sleep, her love seemed to him restful as the night. Her raven locks were like the mantle of darkness, and her voice had the laughter of streams that lapsed into unseen depths.
In Adam, the culture of the earth kept him humble. He was also content in a simple way because of the charm of the woman, who felt to him like the earth made human; and since she was the daughter of Sleep, her love felt as peaceful as the night. Her dark hair was like a cloak of shadows, and her voice had the laughter of streams that flowed into hidden depths.
But Eve had something of the Serpent's unrest, as if she too had come from the Under-world, which she would fain forget, seeking liberation, urged by desire as deep as the abyss she had left behind her, and nourished from roots unfathomably hidden--the roots of the Tree of Life. She thus came to have conversation with the Serpent.
But Eve had a hint of the Serpent's restlessness, as if she too had emerged from the Underworld, which she desperately wanted to forget, seeking freedom, driven by a desire as deep as the abyss she had escaped, and fed by roots that were unfathomably hidden—the roots of the Tree of Life. This is how she ended up having a conversation with the Serpent.
In the lengthening days of Eden's one Summer these two were more and more completely enfolded in the Illusion of Light. It was under this spell that, dwelling upon the enticement of fruit good to look at, and pleasant to the taste, the Serpent denied Death, and thought of Good as separate from Evil. "Ye shall not surely die, but shall be as the gods, knowing good and evil." So far, in his aspiring day-dream, had the Serpent fared from his old familiar haunts--so far from his old-world wisdom!
In the long days of Eden's summer, these two became completely wrapped up in the Illusion of Light. Under this spell, as they considered the appeal of fruit that looked good and tasted nice, the Serpent denied death and saw good as separate from evil. "You definitely won't die, but you will be like the gods, knowing good and evil." The Serpent had strayed far from his familiar places—so far from his old-world wisdom!
A surer omen would have come to Eve had she listened to the plaintive notes of the bewildered Dove that in his downward flutterings had begun to divine what the Serpent had come to forget, and to confess what he had come to deny.
A clearer sign would have reached Eve if she had paid attention to the sad sounds of the confused Dove, who in its downward flutters started to understand what the Serpent had forgotten and to reveal what he had denied.
For already was beginning to be felt "the season's difference," and the grave mystery, without which Paradise itself could not have been, was about to be unveiled,--the background of the picture becoming its foreground. The fond hands plucking the rose had found the thorn. Evil was known as something by itself, apart from Good, and Eden was left behind, as one steps out of infancy.
For already the change of season was starting to be felt, and the serious mystery, without which Paradise itself couldn’t exist, was about to be revealed—the background of the picture becoming the main focus. The tender hands picking the rose had discovered the thorn. Evil was recognized as something separate from Good, and Eden was left behind, just like leaving childhood.
From that hour have the eyes of the children of men been turned from the accursed earth, looking into the blue above, straining their vision for a glimpse of white-robed angels.
From that moment, the eyes of mankind have turned away from the cursed ground, gazing up into the blue sky, straining to catch a glimpse of angels in white robes.
Yet it was the Serpent that was lifted up in the wilderness; and when He who "became sin for us" was being bruised in the heel by the old enemy, the Dove descended upon Him at His baptism. He united the wisdom of the Serpent with the harmlessness of the Dove. Thus in Him were bound together and reconciled the elements which in human thought had been put asunder. In Him, Evil is overcome of Good, as, in Him, Death is swallowed up of Life; and with His eyes we see that the robes of angels are white, because they have been washed in blood.
Yet it was the Serpent that was lifted up in the wilderness; and when He who "became sin for us" was being wounded in the heel by the old enemy, the Dove descended upon Him at His baptism. He combined the wisdom of the Serpent with the innocence of the Dove. Thus in Him were joined and reconciled the aspects that in human thinking had been separated. In Him, Evil is defeated by Good, as in Him, Death is overcome by Life; and with His eyes, we see that the robes of angels are white because they have been washed in blood.
Death and Sleep
The Angel of Death is the invisible Angel of Life. While the organism is alive as a human embodiment, death is present, having the same human distinction as the life, from which it is inseparable, being, indeed, the better half of living,--its winged half, its rest and inspiration, its secret spring of elasticity, and quickness. Life came upon the wings of Death, and so departs.
The Angel of Death is the unseen Angel of Life. While a person is alive, death is there as well, having the same human importance as life, from which it cannot be separated. In fact, it is the better half of existence—its winged part, its peace and motivation, its hidden source of resilience and energy. Life arrives on the wings of Death and leaves in the same way.
If we think of life apart from death our thought is partial, as if we would give flight to the arrow without bending the bow. No living movement either begins or is completed save through death. If the shuttle return not there is no web; and the texture of life is woven through this tropic movement.
If we consider life without death, our understanding is incomplete, like trying to shoot an arrow without pulling back the bowstring. No living action starts or finishes without involving death. If the shuttle doesn’t return, there’s no fabric; the fabric of life is created through this constant back-and-forth motion.
It is a commonly accepted scientific truth that the continuance of life in any living thing depends upon death. But there are two ways of expressing this truth: one, regarding merely the outward fact, as when we say that animal or vegetable tissue is renewed through decay; the other, regarding the action and reaction proper to life itself, whereby it forever springs freshly from its source. The latter form of expression is mystical, in the true meaning of that term. We close our eyes to the outward appearance, in order that we may directly confront a mystery which is already past before there is any visible indication thereof. Though the imagination engaged in this mystical apprehension borrows its symbols or analogues from observation and experience, yet these symbols are spiritually regarded by looking at life on its living side, and abstracted as far as possible from outward embodiment. We especially affect physiological analogues because, being derived from our experience, we may the more readily have the inward regard of them; and by passing from one physiological analogue to another, and from all these to those furnished by the processes of nature outside of our bodies, we come to an apprehension of the action and reaction proper to life itself as an idea independent of all its physical representations.
It is widely accepted scientific knowledge that the existence of life in any living thing relies on death. There are two ways to express this truth: one focuses on the obvious fact, like when we say that animal or plant tissue is renewed through decay; the other focuses on the actions and reactions inherent to life itself, from which it constantly emerges anew. The second way of expressing this is mystical in the true sense of the word. We shut our eyes to the external appearance so we can face a mystery that has already occurred before there are any visible signs of it. Although the imagination involved in this mystical understanding draws its symbols or analogies from observation and experience, these symbols are viewed spiritually by looking at life from its living aspect and removing as much as possible from its physical form. We particularly favor physiological analogies because, since they come from our experiences, we can more easily reflect on them; and by moving from one physiological analogy to another, and then to those found in the processes of nature outside our bodies, we begin to grasp the actions and reactions essential to life itself as an idea separate from all its physical representations.
Thus we trace the rhythmic beating of the pulse to the systole and diastole of the heart, and we note a similar alternation in the contraction and relaxation of all our muscles. Breathing is alternately inspiration and expiration. Sensation itself is by beats, and falls into rhythm. There is no uninterrupted strain of either action or sensibility; a current or a contact is renewed, having been broken. In psychical operation there is the same alternate lapse and resurgence. Memory rises from the grave of oblivion. No holding can be maintained save through alternate release. Pulsation establishes circulation, and vital motions proceed through cycles, each one of which, however minute, has its tropic of Cancer and of Capricorn. Then there are the larger physiological cycles, like that wherein sleep is the alternation of waking. Passing from the field of our direct experience to that of observation, we note similar alternations, as of day and night, summer and winter, flood and ebb tide; and science discloses them at every turn, especially in its recent consideration of the subtle forces of Nature, leading us back of all visible motions to the pulsations of the ether....
Thus we trace the rhythmic beating of the pulse to the heart's contraction and relaxation, and we notice a similar back-and-forth in the way all our muscles work. Breathing consists of inhaling and exhaling. Sensation itself is rhythmic and occurs in beats. There is no constant strain of either action or feeling; a flow or connection is reestablished after being interrupted. In mental activity, we see the same pattern of falling away and coming back. Memory emerges from the depths of forgetfulness. You can’t hold on to anything without letting go first. Pulsation creates circulation, and vital movements follow cycles, each of which, no matter how small, has its own extremes. Then there are larger biological cycles, like the alternation of sleep and wakefulness. Moving from our direct experiences to what we can observe, we see similar alternations, such as day and night, summer and winter, high and low tides; and science reveals these patterns at every opportunity, especially in its recent exploration of the subtle forces of Nature, guiding us back through all visible movements to the pulsations of the ether....
In considering the action and reaction proper to life itself, we here dismiss from view all measured cycles, whose beginning and end are appreciably separate; our regard is confined to living moments, so fleet that their beginning and ending meet as in one point, which is seen to be at once the point of departure and of return. Thus we may speak of a man's life as included between his birth and his death, and with reference to this physiological term, think of him as living, and then as dead; but we may also consider him while living as yet every moment dying, and in this view death is clearly seen to be the inseparable companion of life,--the way of return, and so of continuance. This pulsation, forever a vanishing and a resurgence, so incalculably swift as to escape observation, is proper to life as life, does not begin with what we call birth nor end with what we call death (considering birth and death as terms applicable to an individual existence); it is forever beginning and forever ending. Thus to all manifest existence we apply the term Nature (natura), which means "forever being born"; and on its vanishing side it is moritura, or "forever dying." Resurrection is thus a natural and perpetual miracle. The idea of life as transcending any individual embodiment is as germane to science as it is to faith.
In examining the natural cycle of life, we set aside all distinct beginnings and ends; we focus instead on fleeting moments where start and finish converge as one point, which serves as both the beginning and the end. We often think of a person's life as stretching from birth to death, viewing them as alive and then as dead. However, we can also see that while alive, each moment is a step towards dying, making death an inseparable part of life—the path of return and continuation. This rhythm, constantly disappearing and reappearing, is so fast that we often can’t notice it; it doesn’t start with birth or end with death (when we consider birth and death as events in an individual’s life); it’s always beginning and always ending. Therefore, we use the term Nature (natura), which means "forever being born"; on its ending side, it is moritura, or "forever dying." Resurrection is thus a natural and ongoing miracle. The concept of life extending beyond any individual form is just as relevant to science as it is to faith.
Death, thus seen as essential, is lifted above its temporary and visible accidents. It is no longer associated with corruption, but rather with the sweet and wholesome freshness of life, being the way of its renewal. Sweeter than the honey which Samson found in the lion's carcass is this everlasting sweetness of Death; and it is a mystery deeper than the strong man's riddle.
Death, understood as essential, is elevated beyond its temporary and visible tragedies. It's no longer linked to decay, but instead to the fresh and vibrant essence of life, serving as its means of renewal. This eternal sweetness of Death is sweeter than the honey Samson discovered in the lion's body; and it is a mystery deeper than the riddle of the strong man.
So is Death pure and clean, as is the dew that comes with the cool night when the sun has set; clean and white as the snowflakes that betoken the absolution which Winter gives, shriving the earth of all her Summer wantonness and excess, when only the trees that yield balsam and aromatic fragrance remain green, breaking the box of precious ointment for burial.
So, Death is pure and clean, like the dew that falls on a cool night after the sun has set; clean and white like the snowflakes that signify the forgiveness Winter provides, cleansing the earth of all its Summer indulgence and excess, leaving only the trees that produce balsam and fragrant aromas green, breaking the container of precious ointment for burial.
In this view also is restored the kinship of Death with Sleep.
In this perspective, the connection between Death and Sleep is also restored.
The state of the infant seems to be one of chronic mysticism, since during the greater part of its days its eyes are closed to the outer world. Its larger familiarity is still with the invisible, and it seems as if the Mothers of Darkness were still withholding it as their nursling, accomplishing for it some mighty work in their proper realm, some such fiery baptism of infants as is frequently instanced in Greek mythology, tempering them for earthly trials. The infant must needs sleep while this work is being done for it; it has been sleeping since the work began, from the foundation of the world, and the old habit still clings about it and is not easily laid aside....
The state of the baby seems to be one of ongoing mysticism, as for most of its days, its eyes are shut to the outside world. Its primary connection is still with the unseen, and it feels like the Mothers of Darkness are still nurturing it, preparing it for some significant purpose in their realm, similar to the fiery baptism of infants often seen in Greek mythology, which toughens them for life on Earth. The baby must sleep while this work is being done; it has been sleeping since the work started, from the beginning of time, and that old habit still clings to it and isn't easily shaken off...
That which we have been considering as the death that is in every moment is a reaction proper to life itself, waking or sleeping, whereby it is renewed, sharing at once Time and Eternity--time as outward form, and eternity as its essential quality. Sleep is a special relaxation, relieving a special strain. As daily we build with effort and design an elaborate superstructure above the living foundation, so must this edifice nightly be laid in ruins. Sleep is thus a disembarrassment, the unloading of a burden wherewith we have weighted ourselves. Here again we are brought into a kind of repentance, and receive absolution. Sleep is forgiveness.
What we’ve been thinking about as death in every moment is actually a response that is inherent to life itself, whether we’re awake or asleep. It’s a way for life to be refreshed, connecting both Time and Eternity—time as the outer form and eternity as its true essence. Sleep is a unique kind of rest that eases a specific tension. Just as we work hard every day to construct a complex structure above our living foundation, this structure must be torn down each night. Sleep is therefore a release, a way to unload the burdens we carry. We’re once again led to a form of reflection and given forgiveness. Sleep represents forgiveness.
THE PARABLE OF THE PRODIGAL
I
Standing at the gate of Birth, it would seem as if it were the vital destination of all things to fly from their source, as if it were the dominant desire of life to enter into limitations. We might mentally represent to ourselves an essence simple and indivisible that denies itself in diversified manifold existence. To us, this side the veil, nay, immeshed in innumerable veils that hide from us the Father's face, this insistence appears to have the stress of urgency, as if the effort of all being, its unceasing travail, were like the beating of the infinite ocean upon the shores of Time; and as if, within the continent of Time, all existence were forever knocking at new gates, seeking, through some as yet untried path of progression, greater complexity, a deeper involvement. All the children seem to be beseeching the Father to divide unto them His living, none willingly abiding in that Father's house. But in reality their will is His will--they fly, and they are driven, like fledglings from the mother-nest.
Standing at the gate of Birth, it feels like the essential destination for everything trying to escape its source, as if life’s main desire is to enter into limitations. We can imagine an essence that is simple and indivisible, which denies itself by existing in a diverse and complex way. To us, on this side of the veil, or rather, trapped in countless veils that hide the Father’s face from us, this insistence seems urgent, as if all of existence is continuously working hard, like the relentless beating of the infinite ocean against the shores of Time; and as if, within the realm of Time, everything is forever knocking on new doors, searching for, through some yet unexplored path of growth, greater complexity and a deeper connection. All the children appear to be pleading with the Father to share His life with them, none happily staying in that Father’s house. But in truth, their will aligns with His will—they flee, and they are driven, like fledglings leaving the nest of their mother.
II
The story of a solar system, or of any synthesis in time, repeats the parable of the Prodigal Son, in its essential features. It is a cosmic parable.
The story of a solar system, or of any synthesis over time, echoes the parable of the Prodigal Son in its key aspects. It is a cosmic parable.
The planet is a wanderer (planes), and the individual planetary destiny can be accomplished only through flight from its source. After all its prodigality it shall sicken and return.
The planet is a wanderer (planes), and an individual’s planetary destiny can only be fulfilled by breaking away from its origin. After all its excess, it will eventually become unwell and will return.
Attributing to the Earth, thus apparently separated from the Sun, some macrocosmic sentience, what must have been her wondering dream, finding herself at once thrust away and securely held, poised between her flight and her bond, and so swinging into a regular orbit about the Sun, while at the same time, in her rotation, turning to him and away from him--into the light, and into the darkness, forever denying and confessing her lord! Her emotion must have been one of delight, however mingled with a feeling of timorous awe, since her desire could not have been other than one with her destination. Despite the distance and the growing coolness she could feel the kinship still; her pulse, though modulated, was still in rhythm with that of the solar heart, and in her bosom were hidden consubstantial fires. But it was the sense of otherness, of her own distinct individuation, that was mainly being nourished, this sense, moreover, being proper to her destiny; therefore, the signs of her likeness to the Sun were more and more being buried from her view; her fires were veiled by a hardening crust, and her opaqueness stood out against his light. She had no regret for all she was surrendering, thinking only of her gain, of being clothed upon with a garment showing ever some new fold of surprising beauty and wonder. If she had remained in the Father's house--like the elder brother in the Parable--then would all that He had have been hers, in nebulous simplicity. But now, holding her revels apart, she seems to sing her own song, and to dream her own beautiful dream, wandering, with a motion wholly her own, among the gardens of cosmic order and loveliness. She glories in her many veils, which, though they hide from her both her source and her very self, are the media through which the invisible light is broken into multiform illusions that enrich her dream. She beholds the Sun as a far-off, insphered being existing for her, her ministrant bridegroom; and when her face is turned away from him into the night, she beholds innumerable suns, a myriad of archangels, all witnesses of some infinitely remote and central flame--the Spirit of all life. Yet, in the midst of these visible images, she is absorbed in her individual dream, wherein she appears to herself to be the mother of all living. It is proper to her destiny that she should be thus enwrapped in her own distinct action and passion, and refer to herself the appearances of a universe. While all that is not she is what she really is,--necessary, that is, to her full definition,--she, on the other hand, from herself interprets all else. This is the inevitable terrestrial idealism, peculiar to every individuation in time--the individual thus balancing the universe.
Attributing some macrocosmic awareness to the Earth, which seems to be distanced from the Sun, what must have been her curious dream, finding herself suddenly pushed away yet securely held, balancing between her freedom and her connection, swinging into a stable orbit around the Sun, while simultaneously, in her rotation, turning towards him and away from him—into the light and into the darkness, forever both denying and acknowledging her master! Her feelings must have been a mix of joy and cautious wonder, since her desire aligned perfectly with her destination. Despite the distance and the increasing chill, she could still sense a connection; her pulse, though adapted, was still in sync with the solar heart, and within her were hidden shared flames. But it was the sense of separateness, of her own unique individuality, that primarily grew, this sense being essential to her destiny; thus, the signs of her resemblance to the Sun were increasingly obscured from her sight; her fires were covered by a hardening crust, and her opacity stood out against his light. She felt no regret for what she was giving up, thinking only of her gain, of being wrapped in a garment displaying ever new layers of surprising beauty and wonder. If she had stayed in the Father’s house—like the elder brother in the Parable—then everything He had would have been hers, in hazy simplicity. But now, reveling on her own, she seems to sing her own song, dreaming her own beautiful dream, wandering with her own unique movement among the gardens of cosmic order and beauty. She takes pride in her many veils, which, though they obscure from her both her origin and her true self, are the means through which invisible light is transformed into countless illusions that enrich her dream. She sees the Sun as a distant, encapsulated being existing for her, her supportive bridegroom; and when her face turns away from him into the night, she sees countless stars, a swarm of archangels, all witnesses to some infinitely faraway and central flame—the Spirit of all life. Yet, amidst these visible images, she is absorbed in her personal dream, where she perceives herself as the mother of all living. It is fitting for her destiny to be so wrapped up in her own distinct actions and passions, interpreting the universe around her. While everything that is not her is what she truly is—essential, in other words, to her complete identity—she, in turn, interprets everything else from her own perspective. This is the unavoidable earthly idealism, unique to every individual throughout time—the individual thus balancing the universe.
III
In reality, the Earth has never left the Sun; apart from him she has no life, any more than has the branch severed from the vine. More truly it may be said that the Sun has never left the Earth.
In reality, the Earth has never moved away from the Sun; without it, there’s no life, just like a branch cut from the vine. It’s more accurate to say that the Sun has never left the Earth.
No prodigal can really leave the Father's house, any more than he can leave himself; coming to himself, he feels the Father's arms about him--they have always been there--he is newly appareled, and wears the signet ring of native prestige; he hears the sound of familiar music and dancing, and it may be that the young and beautiful forms mingling with him in this festival are the riotous youths and maidens of his far-country revels, also come to themselves and home, of whom also the Father saith: These were dead and are alive again, they were lost and are found. The starvation and sense of exile had been parts of a troubled dream--a dream which had also had its ecstasy, but had come into a consuming fever, with delirious imaginings of fresh fountains, of shapes drawn from the memory of childhood, and of the cool touch of kindred hands upon the brow. So near is exile to home, misery to divine commiseration--so near are pain and death, desolation and divestiture, to "a new creature," and to the kinship involved in all creation and re-creation.
No wayward person can truly leave the Father's house, just as they can't escape themselves; when they come to their senses, they feel the Father's arms around them—they've always been there—they're dressed anew and wearing the signet ring of their true worth; they hear the familiar music and laughter, and maybe the young and beautiful people celebrating with them are the wild youths and maidens from their distant party, also having come to their senses and returned home, of whom the Father says: These were dead and are alive again, they were lost and are found. The hunger and feeling of being lost were parts of a troubling dream—a dream that also had its highs but had turned into a consuming fever, filled with wild fantasies of new delights, shapes from childhood memories, and the gentle touch of caring hands on their forehead. Exile is so close to home, misery to divine compassion—pain and death, emptiness and loss, are so close to "a new creation," and to the connection inherent in all creation and recreation.
Distance in the cosmic order is a standing-apart, which is only another expression of the expansion and abundance of creative life; but at every remove its reflex is nearness, a bond of attraction, insphering and curving, making orb and orbit. While in space this attraction is diminished--being inversely as the square of the distance--and so there is maintained and emphasized the appearance of suspension and isolation, yet in time it gains preponderance, contracting sphere and orbit, aging planets and suns, and accumulating destruction, which at the point of annihilation becomes a new creation. This Grand Cycle, which is but a pulsation or breath of the Eternal life, illustrates a truth which is repeated in its least and most minutely divided moment--that birth lies next to death, as water crystallizes at the freezing-point, and the plant blossoms at points most remote from the source of nutrition.
Distance in the universe means separation, which is just another way to express the growth and richness of creative life; but no matter how far apart things are, there's still a pull, a connection that forms orbits and paths. While this attraction weakens in space—following the inverse square law concerning distance—this creates an illusion of suspension and isolation. However, over time, this pull becomes stronger, drawing in spheres and orbits, aging planets and suns, and leading to destruction, which at the moment of annihilation transforms into a new creation. This Grand Cycle, which is like a pulse or breath of eternal life, demonstrates a truth that is reflected in even the smallest moments—that birth is closely linked to death, just as water freezes at its freezing point and plants bloom furthest from their source of nourishment.
THOMAS BAILEY ALDRICH
(1836-)
poet in verse often becomes a poet in prose also, in composing novels; although the novelist may not, and in general does not, possess the faculty of writing poems. The poet-novelist is apt to put into his prose a good deal of the same charm and the same picturesque choice of phrase and image that characterize his verse; while it does not follow that the novelist who at times writes verse--like George Eliot, for example--succeeds in giving a distinctly poetic quality to prose, or even wishes to do so. Among authors who have displayed peculiar power and won fame in the dual capacity of poet and of prose romancer or novelist, Sir Walter Scott and Victor Hugo no doubt stand pre-eminent; and in American literature, Edgar Allan Poe and Oliver Wendell Holmes very strikingly combine these two functions. Another American author who has gained a distinguished position both as a poet and as a writer of prose fiction and essays is Thomas Bailey Aldrich.
A poet who writes in verse often also writes in prose, like when creating novels; however, the novelist may not, and generally does not, have the ability to write poems. The poet-novelist tends to infuse a lot of the same charm and vivid word choices and imagery into their prose that defines their poetry; yet, it doesn’t mean that a novelist who occasionally writes verse—like George Eliot, for example—manages to give a clearly poetic quality to their prose, or even wants to do so. Among authors who have shown remarkable skill and achieved fame in both roles as poet and prose writer or novelist, Sir Walter Scott and Victor Hugo undoubtedly stand out; and in American literature, Edgar Allan Poe and Oliver Wendell Holmes effectively combine these two roles. Another American author who has earned a notable reputation as both a poet and a writer of prose fiction and essays is Thomas Bailey Aldrich.
It is upon his work in the form of verse, perhaps, that Aldrich's chief renown is based; but some of his short stories in especial have contributed much to his popularity, no less than to his repute as a delicate and polished artificer in words. A New Englander, he has infused into some of his poems the true atmosphere of New England, and has given the same light and color of home to his prose, while imparting to his productions in both kinds a delightful tinge of the foreign and remote. In addition to his capacities as a poet and a romancer, he is a wit and humorist of sparkling quality. In reading his books one seems also to inhale the perfumes of Arabia and the farther East, blended with the salt sea-breeze and the pine-scented air of his native State, New Hampshire.
It is through his work in poetry, perhaps, that Aldrich is most well-known; however, some of his short stories have also greatly contributed to his popularity, as well as his reputation as a refined and skilled wordsmith. Being from New England, he has captured the true essence of the region in some of his poems and has brought the same warmth and familiar feel to his prose, while also adding a charming touch of the exotic and distant. Alongside his talents as a poet and storyteller, he is a witty and humorous writer with a sparkling quality. Reading his books makes you feel like you’re also breathing in the scents of Arabia and the Far East, mixed with the salty sea breeze and the pine-scented air of his home state, New Hampshire.
He was born in the old seaside town of Portsmouth, New Hampshire, November 11th, 1836; but moved to New York City in 1854, at the age of seventeen. There he remained until 1866; beginning his work quite early; forming his literary character by reading and observation, by the writing of poems, and by practice and experience of writing prose sketches and articles for journals and periodicals. During this period he entered into associations with the poets Stedman, Stoddard, and Bayard Taylor, and was more or less in touch with the group that included Walt Whitman, Fitz-James O'Brien, and William Winter. Removing to Boston in January, 1866, he became the editor of Every Saturday, and remained in that post until 1874, when he resigned. In 1875 he made a long tour in Europe, plucking the first fruits of foreign travel, which were succeeded by many rich and dainty gatherings from the same source in later years. In the intervals of these wanderings he lived in Boston and Cambridge; occupying for a time James Russell Lowell's historic house of Elmwood, in the semi-rural university city; and then established a pretty country house at Ponkapog, a few miles west of Boston. This last suggested the title for a charming book of travel papers, 'From Ponkapog to Pesth.' In 1881 he was appointed editor of the Atlantic Monthly, and continued to direct that famous magazine for nine years, frequently making short trips to Europe, extending his tours as far as the heart of Russia, and gathering fresh materials, for essay or song. Much of his time since giving up the Atlantic editorship has been passed in voyaging, and in 1894-5 he made a journey around the world.
He was born in the old seaside town of Portsmouth, New Hampshire, on November 11, 1836, but moved to New York City in 1854 at the age of seventeen. He stayed there until 1866, starting his work early and developing his literary style through reading and observation, writing poems, and practicing prose sketches and articles for journals and magazines. During this time, he connected with poets Stedman, Stoddard, and Bayard Taylor, and was somewhat involved with a group that included Walt Whitman, Fitz-James O'Brien, and William Winter. In January 1866, he moved to Boston and became the editor of Every Saturday, a position he held until 1874 when he resigned. In 1875, he took a long trip to Europe, experiencing the early rewards of international travel, which he would continue to enjoy in subsequent years. Between these travels, he lived in Boston and Cambridge, spending some time in James Russell Lowell's historic house of Elmwood in the semi-rural university city, and later establishing a charming country house in Ponkapog, just a few miles west of Boston. This last place inspired the title of a delightful book of travel essays, 'From Ponkapog to Pesth.' In 1881, he was appointed editor of the Atlantic Monthly and led that renowned magazine for nine years, often making short trips to Europe and traveling as far as the heart of Russia to gather fresh material for his essays and songs. Much of his time after leaving the Atlantic editorship has been spent traveling, and in 1894-95, he took a trip around the world.
From the beginning he struck with quiet certainty the vein that was his by nature in poetry; and this has broadened almost continually, yielding richer results, which have been worked out with an increasing refinement of skill. His predilection is for the picturesque; for romance combined with simplicity, purity, and tenderness of feeling, touched by fancy and by occasional lights of humor so reserved and dainty that they never disturb the pictorial harmony. The capacity for unaffected utterance of feeling on matters common to humanity reached a climax in the poem of 'Baby Bell,' which by its sympathetic and delicate description of a child's advent and death gave the author a claim to the affection^ of a wide circle; and this remained for a long time probably the best known among his poems. 'Friar Jerome's Beautiful Book' is another of the earlier favorites. 'Spring in New England' has since come to hold high rank both for its vivid and graceful description of the season, for its tender fervor of patriotism, and for its sentiment of reconciliation between North and South. The lines on 'Piscataqua River' remain one of the best illustrations of boyhood memories, and have something of Whittier's homely truth. In his longer narrative pieces, 'Judith' and 'Wyndham Towers,' cast in the mold of blank-verse idyls, Mr. Aldrich does not seem so much himself as in many of his briefer flights. An instinctive dramatic tendency finds outlet in 'Pauline Paulovna' and 'Mercedes'--the latter of which, a two-act piece in prose, has found representation in the theatre; yet in these, also, he is less eminently successful than in his lyrics and society verse.
From the start, he confidently tapped into his natural talent for poetry, and this has evolved almost continually, producing richer results that showcase an increasing level of skill. He has a preference for the picturesque; for romance blended with simplicity, purity, and tenderness of emotion, enhanced by imagination and occasional touches of humor that are so subtle and refined that they never disrupt the overall harmony. His ability to express genuine feelings about universal human experiences reached its peak in the poem 'Baby Bell,' which, through its empathetic and delicate portrayal of a child's birth and death, earned him the love of a broad audience; this poem likely remained the most famous among his works for a long time. 'Friar Jerome's Beautiful Book' is another early favorite. 'Spring in New England' has since gained a prominent place for its vivid and graceful depiction of the season, its passionate patriotism, and its sense of reconciliation between the North and South. The verses about 'Piscataqua River' are among the best examples of childhood memories, capturing a kind of simple truth reminiscent of Whittier. In his longer narrative pieces, 'Judith' and 'Wyndham Towers,' written in the style of blank-verse idyls, Mr. Aldrich doesn't seem as much himself as he does in many of his shorter works. An instinctual dramatic flair comes out in 'Pauline Paulovna' and 'Mercedes'—the latter being a two-act prose piece that has been staged—but even in these, he shines less brightly than in his lyrics and social verse.
No American poet has wrought his stanzas with greater faithfulness to an exacting standard of craftsmanship than Mr. Aldrich, or has known better when to leave a line loosely cast, and when to reinforce it with correction or with a syllable that might seem, to an ear less true, redundant. This gives to his most carefully chiseled productions an air of spontaneous ease, and has made him eminent as a sonneteer. His sonnet on 'Sleep' is one of the finest in the language. The conciseness and concentrated aptness of his expression also--together with a faculty of bringing into conjunction subtly contrasted thoughts, images, or feelings--has issued happily in short, concentrated pieces like 'An Untimely Thought,' 'Destiny,' and 'Identity,' and in a number of pointed and effective quatrains. Without overmastering purpose outside of art itself, his is the poetry of luxury rather than of deep passion or conviction; yet, with the freshness of bud and tint in springtime, it still always relates itself effectively to human experience. The author's specially American quality, also, though not dominant, comes out clearly in 'Unguarded Gates,' and with a differing tone in the plaintive Indian legend of 'Miantowona.'
No American poet has crafted his verses with greater dedication to an exacting standard of craftsmanship than Mr. Aldrich, or has understood better when to let a line flow freely and when to refine it with corrections or with an extra syllable that might seem, to a less discerning ear, unnecessary. This gives his most finely crafted works an effortless quality and has made him well-known as a sonnet writer. His sonnet on 'Sleep' is among the finest in the language. The brevity and precise expression of his words—along with his ability to skillfully combine subtly contrasting thoughts, images, or emotions—have resulted in impactful, focused pieces like 'An Untimely Thought,' 'Destiny,' and 'Identity,' as well as several sharp and effective quatrains. Without any overwhelming purpose beyond art itself, his poetry leans towards luxury rather than deep passion or conviction; yet, with the freshness of buds and colors in spring, it still connects effectively to human experience. The author's distinctly American quality, while not dominant, is evident in 'Unguarded Gates,' and takes on a different tone in the poignant Indian legend of 'Miantowona.'
If we perceive in his verse a kinship with the dainty ideals of Théophile Gautier and Alfred de Musset, this does not obscure his originality or his individual charm; and the same thing may be said with regard to his prose. The first of his short fictions that made a decided mark was 'Marjorie Daw.' The fame which it gained, in its separate field, was as swift and widespread as that of Hawthorne's 'The Gentle Boy' or Bret Harte's 'Luck of Roaring Camp.' It is a bright and half-pathetic little parody on human life and affection; or perhaps we should call it a parable symbolizing the power which imagination wields over real life, even in supposedly unimaginative people. The covert smile which it involves, at the importance of human emotions, may be traced to a certain extent in some of Mr. Aldrich's longer and more serious works of fiction: his three novels, 'Prudence Palfrey,' 'The Queen of Sheba,' and 'The Stillwater Tragedy.' 'The Story of a Bad Boy,' frankly but quietly humorous in its record of the pranks and vicissitudes of a healthy average lad (with the scene of the story localized at old Portsmouth, under the name of Rivermouth), a less ambitious work, still holds a secure place in the affections of many mature as well as younger readers. Besides these books, Mr. Aldrich has published a collection of short descriptive, reminiscent, and half-historic papers on Portsmouth,--'An Old Town by the Sea'; with a second volume of short stories entitled 'Two Bites at a Cherry.' The character-drawing in his fiction is clear-cut and effective, often sympathetic, and nearly always suffused with an agreeable coloring of humor. There are notes of pathos, too, in some of his tales; and it is the blending of these qualities, through the medium of a lucid and delightful style, that defines his pleasing quality in prose.
If we see a connection in his poetry to the delicate ideals of Théophile Gautier and Alfred de Musset, it doesn’t take away from his originality or unique charm; the same can be said about his prose. The first of his short stories that made a significant impact was 'Marjorie Daw.' The recognition it received in its category was as quick and widespread as that of Hawthorne's 'The Gentle Boy' or Bret Harte's 'Luck of Roaring Camp.' It's a bright and somewhat bittersweet parody of human life and love; or maybe we should call it a parable illustrating the influence imagination has over real life, even in people who seem completely practical. The subtle humor regarding the significance of human emotions can also be found to some degree in some of Mr. Aldrich's longer and more serious works of fiction: his three novels, 'Prudence Palfrey,' 'The Queen of Sheba,' and 'The Stillwater Tragedy.' 'The Story of a Bad Boy,' which is straightforward yet quietly funny in its portrayal of the adventures and ups and downs of a typical boy (set in old Portsmouth, called Rivermouth), is a less ambitious work but still enjoys a special place in the hearts of many adult as well as younger readers. In addition to these books, Mr. Aldrich has published a collection of short descriptive, reflective, and somewhat historical essays on Portsmouth—'An Old Town by the Sea'; along with a second volume of short stories called 'Two Bites at a Cherry.' The character portrayal in his fiction is sharp and effective, often sympathetic, and nearly always filled with a pleasant touch of humor. There are also notes of sadness in some of his stories; and it is the mix of these qualities, conveyed through a clear and enjoyable writing style, that defines his charming writing in prose.
Three roses, wan as moonlight, and weighed down
Three roses, pale as moonlight, and weighed down
Each with its loveliness as with a crown,
Each with its beauty like a crown,
Drooped in a florist's window in a town.
Drooped in a florist's window in a town.
The first a lover bought. It lay at rest,
The first one bought by a lover lay still,
Like flower on flower, that night, on Beauty's breast.
Like flowers on flowers, that night, on Beauty's chest.
The second rose, as virginal and fair,
The second rose, pure and beautiful,
Shrunk in the tangles of a harlot's hair.
Shrunk in the tangles of a prostitute's hair.
The third, a widow, with new grief made wild,
The third, a widow, wildly affected by her fresh grief,
Shut in the icy palm of her dead child.
Shut in the cold grip of her deceased child.
Somewhere--in desolate wind-swept space--
Somewhere in a desolate place--
In Twilight-land--in No-man's land--
In Twilight Zone--in No-man's land--
Two hurrying Shapes met face to face,
Two hurried figures came face to face,
And bade each other stand.
And told each other to stand.
"And who are you?" cried one, agape,
"And who are you?" one person shouted, staring in shock,
Shuddering in the gloaming light.
Shivering in the twilight.
"I know not," said the second Shape,
"I don't know," said the second Shape,
"I only died last night!"
"I just died last night!"
The new moon hung in the sky, the sun was low in the west,
The new moon was visible in the sky, and the sun was setting in the west,
And my betrothed and I in the churchyard paused to rest--
And my fiancé and I paused to take a break in the churchyard--
Happy maiden and lover, dreaming the old dream over:
Happy young woman and her lover, dreaming the same old dream again:
The light winds wandered by, and robins chirped from the nest.
The gentle breeze blew by, and robins chirped from their nest.
And lo! in the meadow sweet was the grave of a little child,
And look! in the sweet meadow was the grave of a little child,
With a crumbling stone at the feet and the ivy running wild--
With a crumbling stone at the feet and the ivy running rampant--
Tangled ivy and clover folding it over and over:
Tangled ivy and clover wrapping around it repeatedly:
Close to my sweetheart's feet was the little mound up-piled.
Close to my sweetheart's feet was the small mound piled up.
Stricken with nameless fears, she shrank and clung to me,
Struck by unknown fears, she pulled back and clung to me,
And her eyes were filled with tears for a sorrow I did not see:
And her eyes were filled with tears for a sadness I couldn’t understand:
Lightly the winds were blowing, softly her tears were flowing--
Lightly the winds were blowing, softly her tears were flowing--
Tears for the unknown years and a sorrow that was to be!
Tears for the future and a sadness that was yet to come!
GLOUCESTER, AUGUST, 1720
GLOUCESTER, AUGUST 1720
The wind it wailed, the wind it moaned,
The wind wailed, the wind moaned,
And the white caps flecked the sea;
And the white waves dotted the sea;
"An' I would to God," the skipper groaned,
"God, I wish," the skipper groaned,
"I had not my boy with me!"
"I didn't have my boy with me!"
Snug in the stern-sheets, little John
Snuggled in the back seat, little John
Laughed as the scud swept by;
Laughed as the clouds drifted by;
But the skipper's sunburnt cheek grew wan
But the captain's sunburned cheek became pale.
As he watched the wicked sky.
As he looked at the ominous sky.
"Would he were at his mother's side!"
"How I wish he were by his mother's side!"
And the skipper's eyes were dim.
And the captain's eyes were dull.
"Good Lord in heaven, if ill betide,
"Good Lord in heaven, if bad luck strikes,
What would become of him!
What will happen to him!
"For me--my muscles are as steel,
"For me—my muscles are like steel,
For me let hap what may;
For me, let whatever happens, happen;
I might make shift upon the keel
I might manage things on the bottom of the boat.
Until the break o' day.
Until dawn.
"But he, he is so weak and small,
"But he, he is so weak and small,
So young, scarce learned to stand--
So young, barely learned to stand--
O pitying Father of us all,
O compassionate Father of us all,
I trust him in thy hand!
I trust him in your hands!
"For thou who markest from on high
For you who watch from above
A sparrow's fall--each one!--
A sparrow's fall—every single one!
Surely, O Lord, thou'lt have an eye
Surely, O Lord, you'll have an eye
On Alec Yeaton's son!"
On Alec Yeaton's kid!
Then, helm hard-port; right straight he sailed
Then, turn hard to port; he sailed straight ahead.
Towards the headland light:
Towards the lighthouse:
The wind it moaned, the wind it wailed,
The wind moaned, the wind wailed,
And black, black fell the night.
And the night fell dark, dark.
Then burst a storm to make one quail,
Then a storm broke out that made one tremble,
Though housed from winds and waves--
Though sheltered from winds and waves--
They who could tell about that gale
They who could talk about that storm
Must rise from watery graves!
Must rise from watery graves!
Sudden it came, as sudden went;
Suddenly it came, and just as suddenly it left;
Ere half the night was sped,
Ere half the night was sped,
The winds were hushed, the waves were spent,
The winds were quiet, the waves were worn out,
And the stars shone overhead.
And the stars shone above.
Now, as the morning mist grew thin,
Now, as the morning fog lifted,
The folk on Gloucester shore
The people on Gloucester shore
Saw a little figure floating in
Saw a small figure floating in
Secure, on a broken oar!
Secure on a broken oar!
Up rose the cry, "A wreck! a wreck!
Up rose the cry, "A wreck! A wreck!"
Pull mates, and waste no breath!"--
Pull mates, and don't waste your breath!
They knew it, though 'twas but a speck
They knew it, even though it was just a tiny spot.
Upon the edge of death!
On the brink of death!
Long did they marvel in the town
Long did they marvel in the town
At God his strange decree,
At God's strange decree,
That let the stalwart skipper drown
That allowed the brave captain to drown
And the little child go free!
And the little child is free!
My mind lets go a thousand things,
My mind lets go of a thousand things,
Like dates of wars and deaths of kings,
Like dates of battles and the deaths of kings,
And yet recalls the very hour--
And yet remembers that exact hour--
'Twas noon by yonder village tower.
It was noon by that village tower.
And on the last blue noon in May--
And on the last sunny afternoon in May--
The wind came briskly up this way,
The wind blew quickly this way,
Crisping the brook beside the road;
Crisping the stream next to the road;
Then, pausing here, set down its load
Then, pausing here, set down its load
Of pine-scents, and shook listlessly
Of pine scents, and shook listlessly
Two petals from that wild-rose tree.
Two petals from that wild rose tree.
I
I
Shakespeare and Milton--what third blazoned name
Shakespeare and Milton—what other celebrated name
Shall lips of after ages link to these?
Shall future generations connect with these?
His who, beside the wild encircling seas,
His who, next to the wild surrounding seas,
Was England's voice, her voice with one acclaim,
Was England's voice, her voice with one accord,
For threescore years; whose word of praise was fame,
For sixty years; their word of praise was fame,
Whose scorn gave pause to man's iniquities.
Whose contempt made people rethink their wrongdoings.
II
II
What strain was his in that Crimean war?
What strain did he experience in that Crimean war?
A bugle-call in battle; a low breath,
A bugle call in battle; a soft breath,
Plaintive and sweet, above the fields of death!
Plaintive and sweet, above the fields of death!
So year by year the music rolled afar,
So year after year, the music spread far and wide,
From Euxine wastes to flowery Kandahar,
From the barren lands of the Black Sea to the blooming beauty of Kandahar,
Bearing the laurel or the cypress wreath.
Bearing the laurel or the cypress crown.
III
III
Others shall have their little space of time,
Others will get their brief moment in the spotlight,
Their proper niche and bust, then fade away
Their rightful place and prominence, then disappear.
Into the darkness, poets of a day;
Into the darkness, poets of a day;
But thou, O builder of enduring rhyme,
But you, O creator of lasting verse,
Thou shalt not pass! Thy fame in every clime
You shall not pass! Your fame in every land
On earth shall live where Saxon speech has sway.
On Earth, where the Saxon language is spoken.
IV
IV
Waft me this verse across the winter sea,
Waft me this verse across the winter sea,
Through light and dark, through mist and blinding sleet,
Through light and darkness, through fog and blinding sleet,
O winter winds, and lay it at his feet;
O winter winds, and lay it at his feet;
Though the poor gift betray my poverty,
Though the bleak gift reveals my lack,
At his feet lay it; it may chance that he
At his feet lay it; it may happen that he
Will find no gift, where reverence is, unmeet.
Will find no gift where respect is inappropriate.
POETRY.
Photogravure from a painting by C. Schweninger.
POETRY.
Photogravure from a painting by C. Schweninger.
It was with doubt and trembling
It was with doubt and fear
I whispered in her ear.
I whispered in her ear.
Go, take her answer, bird-on-bough,
Go, get her answer, bird-on-bough,
That all the world may hear--
That everyone in the world can hear--
Sweetheart, sigh no more!
Sweetheart, stop sighing!
Sing it, sing it, tawny throat,
Sing it, sing it, warm voice,
Upon the wayside tree,
By the roadside tree,
How fair she is, how true she is,
How beautiful she is, how genuine she is,
How dear she is to me--
How precious she is to me--
Sweetheart, sigh no more!
Honey, stop sighing!
Sing it, sing it, and through the summer long
Sing it, sing it, and all through the summer long
The winds among the clover-tops,
The winds through the clover,
And brooks, for all their silvery stops,
And streams, despite their shiny pauses,
Shall envy you the song--
Will envy you the song--
Sweetheart, sigh no more!
Sweetheart, stop your sighing!
"A note
"A message
All out of tune in this world's instrument."
All out of tune in this world's music.
AMY LEVY.
AMY LEVY.
I know not in what fashion she was made,
I don’t know how she was created,
Nor what her voice was, when she used to speak,
Nor what her voice was when she used to speak,
Nor if the silken lashes threw a shade
Nor if the silky lashes cast a shadow
On wan or rosy cheek.
On a pale or rosy cheek.
I picture her with sorrowful vague eyes,
I see her with sad, unfocused eyes,
Illumed with such strange gleams of inner light
Illuminated by such unusual glows of inner light
As linger in the drift of London skies
As I linger in the flow of London skies
Ere twilight turns to night.
Before twilight turns to night.
I know not; I conjecture. 'Twas a girl
I don't know; I guess it was a girl.
That with her own most gentle desperate hand
That with her own very gentle, desperate hand
From out God's mystic setting plucked life's pearl--
From God's mysterious setting, we took life's pearl--
'Tis hard to understand.
It's hard to understand.
So precious life is! Even to the old
So precious is life! Even to the old
The hours are as a miser's coins, and she--
The hours are like a miser's coins, and she--
Within her hands lay youth's unminted gold
Within her hands lay the untapped wealth of youth.
And all felicity.
And all happiness.
The winged impetuous spirit, the white flame
The swift, spirited being, the white flame
That was her soul once, whither has it flown?
That was her soul once; where has it gone?
Above her brow gray lichens blot her name
Above her brow, gray lichens cover her name.
Upon the carven stone.
On the carved stone.
This is her Book of Verses--wren-like notes,
This is her Book of Verses—tiny wren-like notes,
Shy franknesses, blind gropings, haunting fears;
Shy honesty, uncertain searches, lingering fears;
At times across the chords abruptly floats
At times, the chords float abruptly.
A mist of passionate tears.
A haze of passionate tears.
A fragile lyre too tensely keyed and strung,
A delicate lyre that's been tuned and strung too tightly,
A broken music, weirdly incomplete:
A broken song, oddly unfinished:
Here a proud mind, self-baffled and self-stung,
Here a proud mind, confused and hurt by its own actions,
Lies coiled in dark defeat.
Lies wrapped in dark defeat.
ELMWOOD
In Memory of James Russell Lowell
Here, in the twilight, at the well-known gate
I linger, with no heart to enter more.
Among the elm-tops the autumnal air
Murmurs, and spectral in the fading light
A solitary heron wings its way
Southward--save this no sound or touch of life.
Dark is the window where the scholar's lamp
Was used to catch a pallor from the dawn.
Yet I must needs a little linger here.
Each shrub and tree is eloquent of him,
For tongueless things and silence have their speech.
This is the path familiar to his foot
From infancy to manhood and old age;
For in a chamber of that ancient house
His eyes first opened on the mystery
Of life, and all the splendor of the world.
Here, as a child, in loving, curious way,
He watched the bluebird's coming; learned the date
Of hyacinth and goldenrod, and made
Friends of those little redmen of the elms,
And slyly added to their winter store
Of hazel-nuts: no harmless thing that breathed,
Footed or winged, but knew him for a friend.
The gilded butterfly was not afraid
To trust its gold to that so gentle hand,
The bluebird fled not from the pendent spray.
Ah, happy childhood, ringed with fortunate stars!
What dreams were his in this enchanted sphere,
What intuitions of high destiny!
The honey-bees of Hybla touched his lips
In that old New-World garden, unawares.
So in her arms did Mother Nature fold
Her poet, whispering what of wild and sweet
Into his ear--the state-affairs of birds,
The lore of dawn and sunset, what the wind
Said in the tree-tops--fine, unfathomed things
Henceforth to turn to music in his brain:
A various music, now like notes of flutes,
And now like blasts of trumpets blown in wars.
Later he paced this leafy academe
A student, drinking from Greek chalices
The ripened vintage of the antique world.
And here to him came love, and love's dear loss;
Here honors came, the deep applause of men
Touched to the heart by some swift-wingèd word
That from his own full heart took eager flight--
Some strain of piercing sweetness or rebuke,
For underneath his gentle nature flamed
A noble scorn for all ignoble deed,
Himself a bondman till all men were free.
Thus passed his manhood; then to other lands
He strayed, a stainless figure among courts
Beside the Manzanares and the Thames.
Whence, after too long exile, he returned
With fresher laurel, but sedater step
And eye more serious, fain to breathe the air
Where through the Cambridge marshes the blue Charles
Uncoils its length and stretches to the sea:
Stream dear to him, at every curve a shrine
For pilgrim Memory. Again he watched
His loved syringa whitening by the door,
And knew the catbird's welcome; in his walks
Smiled on his tawny kinsmen of the elms
Stealing his nuts; and in the ruined year
Sat at his widowed hearthside with bent brows
Leonine, frosty with the breath of time,
And listened to the crooning of the wind
In the wide Elmwood chimneys, as of old.
And then--and then....
The after-glow has faded from the elms,
And in the denser darkness of the boughs
From time to time the firefly's tiny lamp
Sparkles. How often in still summer dusks
He paused to note that transient phantom spark
Flash on the air--a light that outlasts him!
The night grows chill, as if it felt a breath
Blown from that frozen city where he lies.
All things turn strange. The leaf that rustles here
Has more than autumn's mournfulness. The place
Is heavy with his absence. Like fixed eyes
Whence the dear light of sense and thought has fled,
The vacant windows stare across the lawn.
The wise sweet spirit that informed it all
Is otherwhere. The house itself is dead.
O autumn wind among the sombre pines,
Breathe you his dirge, but be it sweet and low.
With deep refrains and murmurs of the sea,
Like to his verse--the art is yours alone.
His once--you taught him. Now no voice but yours!
Tender and low, O wind among the pines.
I would, were mine a lyre of richer strings,
In soft Sicilian accents wrap his name.
ELMWOOD
In Memory of James Russell Lowell
Here, at dusk, by the familiar gate
I linger, unable to go in anymore.
In the treetops, the autumn air
Whispers, and in the fading light
A lone heron flies
Southward—except for this, there's no sound or sign of life.
Dark is the window where the scholar's lamp
Used to catch a weak light from the dawn.
But I have to linger a little while here.
Each shrub and tree reminds me of him,
For voiceless things and silence can speak.
This is the path he walked
From childhood to manhood and old age;
In a room of that old house
His eyes first opened to the mystery
Of life and all the beauty of the world.
Here, as a child, with a loving, curious heart,
He watched for the bluebird's arrival and learned the dates
Of hyacinth and goldenrod, making
Friends with those little red squirrels in the elms,
And slyly adding to their winter stash
Of hazelnuts; no harmless creature that lived,
Whether it walked or flew, didn’t know he was a friend.
The dazzling butterfly wasn’t afraid
To trust its wings to that gentle hand,
The bluebird didn’t flee from the hanging branches.
Ah, happy childhood, surrounded by good fortune!
What dreams did he have in this magical place,
What feelings of lofty destiny!
The honeybees from Hybla kissed his lips
In that old New World garden, without him knowing.
So in her arms did Mother Nature embrace
Her poet, whispering wild and sweet things
Into his ear—the lives of birds,
The wisdom of dawn and dusk, what the wind
Said in the treetops—fine, deep things
That would turn into music in his mind:
A varied music, sometimes like flute notes,
And sometimes like trumpet blasts in battle.
Later he walked through this green academy
As a student, sipping from Greek chalices
The rich wine of the ancient world.
And here love came to him, and the pain of love lost;
Here honors came, the deep applause of men
Touched to their core by some swift word
That flew from his own eager heart—
A wave of deep sweetness or sharp rebuke,
For beneath his gentle nature burned
A noble disdain for every ignoble act,
Himself a servant until all men were free.
Thus passed his manhood; then he wandered to other lands,
A pure soul among courts
By the Manzanares and the Thames.
After too long away, he returned
With fresh laurels, but a steadier step
And a more serious gaze, eager to breathe the air
Where the blue Charles River winds
Through the Cambridge marshes and flows to the sea:
A stream dear to him, at every bend a shrine
For the memory of a pilgrim. Again he watched
His beloved syringa blooming white by the door,
And recognized the catbird’s welcome; on his walks
He smiled at his tawny cousins in the elms
Stealing his nuts; and in the weary year
Sat by his lonely fireside with furrowed brow
Like a lion, aged by time,
And listened to the wind's crooning
In the wide Elmwood chimneys, just like before.
And then—then....
The afterglow has faded from the elms,
And in the denser darkness of the branches
From time to time, the firefly's tiny light
Glitters. How often in still summer evenings
He paused to see that brief phantom light
Flash in the air—a light that outlasts him!
The night turns cold, as if it felt a breath
From that frozen city where he lies.
Everything feels strange. The leaf that rustles here
Carries more than autumn’s sadness. The place
Is heavy with his absence. Like empty eyes
From which the dear light of sense and thought has gone,
The vacant windows stare across the lawn.
The wise, sweet spirit that filled it all
Is elsewhere. The house itself is lifeless.
O autumn wind among the dark pines,
Sing his dirge, but let it be sweet and soft.
With deep echoes and whispers of the sea,
Like his verse—the art is yours alone.
It was his once—you taught him. Now no voice but yours!
Gentle and soft, O wind among the pines.
I wish, if I had a lyre with richer strings,
To wrap his name in soft Sicilian tones.
SEA LONGINGS
The first world-sound that fell upon my ear
Was that of the great winds along the coast
Crushing the deep-sea beryl on the rocks--
The distant breakers' sullen cannonade.
Against the spires and gables of the town
The white fog drifted, catching here and there
At overleaning cornice or peaked roof,
And hung--weird gonfalons. The garden walks
Were choked with leaves, and on their ragged biers
Lay dead the sweets of summer--damask rose,
Clove-pink, old-fashioned, loved New England flowers
Only keen salt-sea odors filled the air.
Sea-sounds, sea-odors--these were all my world.
Hence is it that life languishes with me
Inland; the valleys stifle me with gloom
And pent-up prospect; in their narrow bound
Imagination flutters futile wings.
Vainly I seek the sloping pearl-white sand
And the mirage's phantom citadels
Miraculous, a moment seen, then gone.
Among the mountains I am ill at ease,
Missing the stretched horizon's level line
And the illimitable restless blue.
The crag-torn sky is not the sky I love,
But one unbroken sapphire spanning all;
And nobler than the branches of a pine
Aslant upon a precipice's edge
Are the strained spars of some great battle-ship
Plowing across the sunset. No bird's lilt
So takes me as the whistling of the gale
Among the shrouds. My cradle-song was this,
Strange inarticulate sorrows of the sea,
Blithe rhythms upgathered from the Sirens' caves.
Perchance of earthly voices the last voice
That shall an instant my freed spirit stay
On this world's verge, will be some message blown
Over the dim salt lands that fringe the coast
At dusk, or when the trancèd midnight droops
With weight of stars, or haply just as dawn,
Illumining the sullen purple wave,
Turns the gray pools and willow-stems to gold.
SEA LONGINGS
The first sound from the world that I heard
Was the great winds along the coast
Crashing the deep-sea beryl against the rocks--
The distant waves' gloomy thunder.
Against the spires and rooftops of the town,
The white fog drifted, catching now and then
On overhanging cornices or peaked roofs,
And hung there--strange banners. The garden paths
Were buried in leaves, and on their ragged beds
Lay the dead sweetness of summer--damask roses,
Clove-pinks, old-fashioned, cherished New England flowers.
Only sharp salt-sea scents filled the air.
Sea-sounds, sea-scents--these were my whole world.
That's why life feels so stagnant for me
Inland; the valleys suffocate me with their gloom
And confined views; within their narrow limits,
Imagination flaps its wings in vain.
I search in vain for the sloping pearl-white sand
And the ghostly castles of mirages,
Miraculous, seen for a moment, then vanished.
Among the mountains, I feel out of place,
Missing the flat line of the stretched horizon
And the endless restless blue.
The jagged sky is not the sky I adore,
But one solid sapphire spreading across it all;
And more magnificent than the branches of a pine
Leaning over a cliff's edge
Are the strained masts of a grand battleship
Cutting through the sunset. No bird's song
Captivates me like the whistling of the gale
Among the rigging. My lullaby was this,
Strange, inexpressible sorrows of the sea,
Cheerful rhythms gathered from the Sirens' caves.
Perhaps the last earthly voice
That will briefly hold my liberated spirit
On the edge of this world will be some message carried
Over the dim salt lands that hug the coast
At dusk, or when the tranquil midnight hangs
With the weight of stars, or perhaps just as dawn,
Illuminating the gloomy purple waves,
Turns the gray pools and willow stems to gold.
A SHADOW OF THE NIGHT
Close on the edge of a midsummer dawn
In troubled dreams I went from land to land,
Each seven-colored like the rainbow's arc,
Regions where never fancy's foot had trod
Till then; yet all the strangeness seemed not strange,
At which I wondered, reasoning in my dream
With twofold sense, well knowing that I slept.
At last I came to this our cloud-hung earth,
And somewhere by the seashore was a grave,
A woman's grave, new-made, and heaped with flowers;
And near it stood an ancient holy man
That fain would comfort me, who sorrowed not
For this unknown dead woman at my feet.
But I, because his sacred office held
My reverence, listened; and 'twas thus he spake:--
"When next thou comest thou shalt find her still
In all the rare perfection that she was.
Thou shalt have gentle greeting of thy love!
Her eyelids will have turned to violets,
Her bosom to white lilies, and her breath
To roses. What is lovely never dies,
But passes into other loveliness,
Star-dust, or sea-foam, flower, or wingèd air.
If this befalls our poor unworthy flesh,
Think thee what destiny awaits the soul!
What glorious vesture it shall wear at last!"
While yet he spoke, seashore and grave and priest
Vanished, and faintly from a neighboring spire
Fell five slow solemn strokes upon my ear.
Then I awoke with a keen pain at heart,
A sense of swift unutterable loss,
And through the darkness reached my hand to touch
Her cheek, soft-pillowed on one restful palm--
To be quite sure!
A SHADOW OF THE NIGHT
As dawn broke on a midsummer morning,
I drifted through troubled dreams from place to place,
Each location vibrant like a rainbow,
Areas where no imagination had ever ventured
Until then; yet all the unfamiliarity felt strangely normal,
As I pondered, aware in my dream
With dual awareness, fully knowing I was asleep.
Eventually, I arrived at our cloud-covered earth,
And somewhere along the coastline was a grave,
A woman’s grave, freshly dug and adorned with flowers;
Nearby stood an elderly holy man
Who wished to comfort me, though I felt no sorrow
For this unknown woman lying at my feet.
Yet, because his sacred role inspired
My respect, I listened; and he spoke these words:--
“When you return, you shall find her still
In all the exquisite beauty she possessed.
You will receive a gentle greeting from your love!
Her eyelids will have turned to violets,
Her body to white lilies, and her breath
To roses. What is beautiful never truly dies,
But transforms into other forms of beauty,
Star-dust, or sea-foam, flowers, or the air itself.
If this happens to our fragile, mortal bodies,
Imagine what destiny awaits the soul!
What magnificent garments it will wear at last!”
As he spoke, the seashore, the grave, and the priest
Disappeared, and faintly from a nearby steeple
Came five slow, solemn chimes that reached my ears.
Then I woke, feeling a sharp pain in my heart,
A sense of quick, indescribable loss,
And in the darkness, I reached out to touch
Her cheek, resting softly on my palm—
Just to be sure!
I leave behind me the elm-shadowed square
I leave behind the square shaded by elms
And carven portals of the silent street,
And carved doorways of the quiet street,
And wander on with listless, vagrant feet
And stroll aimlessly with tired, wandering feet
Through seaward-leading alleys, till the air
Through alleys that lead to the sea, until the air
Smells of the sea, and straightway then the care
Smells of the ocean, and right away the worry
Slips from my heart, and life once more is sweet.
Slips from my heart, and life is sweet again.
At the lane's ending lie the white-winged fleet.
At the end of the lane are the white-winged boats.
O restless Fancy, whither wouldst thou fare?
O restless imagination, where would you go?
Here are brave pinions that shall take thee far--
Here are strong wings that will take you far--
Gaunt hulks of Norway; ships of red Ceylon;
Gaunt hulks of Norway; ships from red Ceylon;
Slim-masted lovers of the blue Azores!
Slim-masted lovers of the blue Azores!
'Tis but an instant hence to Zanzibar,
'Tis but a moment away to Zanzibar,
Or to the regions of the Midnight Sun:
Or to the areas of the Midnight Sun:
Ionian isles are thine, and all the fairy shores!
Ionian islands are yours, along with all the magical shores!
Though I am native to this frozen zone
Though I am from this cold area
That half the twelvemonth torpid lies, or dead;
That half the year lies dormant, or lifeless;
Though the cold azure arching overhead
Though the cold blue sky arched overhead
And the Atlantic's never-ending moan
And the Atlantic's constant murmur
Are mine by heritage, I must have known
Are mine by heritage, I must have known
Life otherwhere in epochs long since fled;
Life in ancient times;
For in my veins some Orient blood is red,
For I have some Oriental blood flowing through my veins,
And through my thought are lotus blossoms blown.
And through my mind, lotus blossoms are carried away.
I do remember ... it was just at dusk,
I remember ... it was just at dusk,
Near a walled garden at the river's turn,
Near a walled garden at the bend in the river,
(A thousand summers seem but yesterday!)
(A thousand summers seem like just yesterday!)
A Nubian girl, more sweet than Khoorja musk,
A Nubian girl, sweeter than Khoorja musk,
Came to the water-tank to fill her urn,
Came to the water tank to fill her jug,
And with the urn she bore my heart away!
And with the urn, she took my heart with her!
PÈRE ANTOINE'S DATE-PALM
Near the Levée, and not far from the old French Cathedral in the Place d'Armes, at New Orleans, stands a fine date-palm, thirty feet in height, spreading its broad leaves in the alien air as hardily as if its sinuous roots were sucking strength from their native earth.
Near the levee, not far from the old French Cathedral in the Place d'Armes, New Orleans, stands a tall date palm, thirty feet high, spreading its wide leaves in the foreign air as confidently as if its twisting roots were drawing strength from their native soil.
Sir Charles Lyell, in his 'Second Visit to the United States,' mentions this exotic:--"The tree is seventy or eighty years old; for Père Antoine, a Roman Catholic priest, who died about twenty years ago, told Mr. Bringier that he planted it himself, when he was young. In his will he provided that they who succeeded to this lot of ground should forfeit it if they cut down the palm."
Sir Charles Lyell, in his 'Second Visit to the United States,' mentions this exotic: "The tree is seventy or eighty years old; because Père Antoine, a Roman Catholic priest who died about twenty years ago, told Mr. Bringier that he planted it himself when he was young. In his will, he stated that whoever inherited this piece of land would lose it if they cut down the palm."
Wishing to learn something of Père Antoine's history, Sir Charles Lyell made inquiries among the ancient Creole inhabitants of the faubourg. That the old priest, in his last days, became very much emaciated, that he walked about the streets like a mummy, that he gradually dried up, and finally blew away, was the meagre and unsatisfactory result of the tourist's investigations. This is all that is generally told of Père Antoine.
Wishing to learn more about Père Antoine's history, Sir Charles Lyell asked the older Creole residents of the neighborhood. The lackluster findings of the tourist's inquiries revealed that the old priest, in his final days, became very thin, walked the streets like a mummy, gradually shriveled up, and eventually faded away. This is pretty much all that's usually shared about Père Antoine.
In the summer of 1861, while New Orleans was yet occupied by the Confederate forces, I met at Alexandria, in Virginia, a lady from Louisiana--Miss Blondeau by name--who gave me the substance of the following legend touching Père Antoine and his wonderful date-palm. If it should appear tame to the reader, it will be because I am not habited in a black ribbed-silk dress, with a strip of point-lace around my throat, like Miss Blondeau; it will be because I lack her eyes and lips and Southern music to tell it with.
In the summer of 1861, while New Orleans was still held by the Confederate forces, I met a lady from Louisiana in Alexandria, Virginia—Miss Blondeau, to be exact—who shared the following legend about Père Antoine and his amazing date-palm. If it seems bland to the reader, it’s because I’m not dressed in a black ribbed silk dress with a strip of lace around my neck like Miss Blondeau; it’s because I don’t have her eyes and lips and Southern charm to tell it.
When Père Antoine was a very young man, he had a friend whom he loved as he loved his life. Émile Jardin returned his passion, and the two, on account of their friendship, became the marvel of the city where they dwelt. One was never seen without the other; for they studied, walked, ate, and slept together.
When Father Antoine was a young man, he had a friend he loved as much as his own life. Émile Jardin felt the same way about him, and because of their friendship, they became the talk of the town where they lived. They were never seen apart; they studied, walked, ate, and slept together.
Thus began Miss Blondeau, with the air of Fiammetta telling her prettiest story to the Florentines in the garden of Boccaccio.
Thus began Miss Blondeau, resembling Fiammetta sharing her most enchanting story with the people of Florence in Boccaccio's garden.
Antoine and Émile were preparing to enter the Church; indeed, they had taken the preliminary steps, when a circumstance occurred which changed the color of their lives. A foreign lady, from some nameless island in the Pacific, had a few months before moved into their neighborhood. The lady died suddenly, leaving a girl of sixteen or seventeen, entirely friendless and unprovided for. The young men had been kind to the woman during her illness, and at her death--melting with pity at the forlorn situation of Anglice, the daughter--swore between themselves to love and watch over her as if she were their sister.
Antoine and Émile were getting ready to join the Church; they had even taken the first steps, when something happened that changed everything for them. A foreign woman from an unknown island in the Pacific had moved into their neighborhood a few months earlier. She passed away suddenly, leaving behind a girl who was around sixteen or seventeen, totally alone and unprepared for life. The young men had been kind to the woman during her illness, and when she died—filled with compassion for the unfortunate situation of Anglice, her daughter—they promised each other to care for and protect her as if she were their sister.
Now Anglice had a wild, strange beauty that made other women seem tame beside her; and in the course of time the young men found themselves regarding their ward not so much like brothers as at first. In brief, they found themselves in love with her.
Now Anglice had a wild, unusual beauty that made other women seem ordinary in comparison; and over time, the young men started to see their ward not so much as a sister as they initially did. In short, they found themselves in love with her.
They struggled with their hopeless passion month after month, neither betraying his secret to the other; for the austere orders which they were about to assume precluded the idea of love and marriage. Until then they had dwelt in the calm air of religious meditations, unmoved except by that pious fervor which in other ages taught men to brave the tortures of the rack and to smile amid the flames. But a blonde girl, with great eyes and a voice like the soft notes of a vesper hymn, had come in between them and their ascetic dreams of heaven. The ties that had bound the young men together snapped silently one by one. At last each read in the pale face of the other the story of his own despair.
They struggled with their hopeless passion month after month, keeping each other’s secret; the strict vows they were about to take ruled out any thoughts of love and marriage. Until then, they had lived in the peaceful atmosphere of religious reflection, only moved by that pious enthusiasm which in other times encouraged people to endure torture and smile through the flames. But then a blonde girl, with big eyes and a voice like the gentle melody of a evening hymn, came between them and their austere dreams of heaven. The bonds that had connected the young men quietly broke one by one. Eventually, each saw in the pale face of the other the reflection of his own despair.
And she? If Anglice shared their trouble, her face told no story. It was like the face of a saint on a cathedral window. Once, however, as she came suddenly upon the two men and overheard words that seemed to burn like fire on the lip of the speaker, her eyes grew luminous for an instant. Then she passed on, her face as immobile as before in its setting of wavy gold hair.
And her? If Anglice revealed their struggle, her face showed nothing. It was like a saint’s face on a stained glass window. Once, though, when she unexpectedly came across the two men and overheard words that felt like fire on the speaker’s lips, her eyes lit up for a moment. Then she moved on, her face as still as before in its frame of wavy golden hair.
"Entre or et roux Dieu fit ses longs cheveux."
"Between gold and red, God made her long hair."
One night Émile and Anglice were missing. They had flown--but whither, nobody knew, and nobody save Antoine cared. It was a heavy blow to Antoine--for he had himself half resolved to confess his love to Anglice and urge her to fly with him.
One night, Émile and Anglice were gone. They had escaped—but to where, no one knew, and no one except Antoine seemed to care. It was a tough blow for Antoine—because he had been half planning to confess his love to Anglice and convince her to run away with him.
A strip of paper slipped from a volume on Antoine's priedieu, and fluttered to his feet.
A strip of paper fell out of a book on Antoine's priedieu and floated down to his feet.
"Do not be angry," said the bit of paper, piteously; "forgive us, for we love." ("Pardonnez-nous, car nous aimons.")
"Don't be angry," said the piece of paper, sadly; "forgive us, because we love." ("Pardonnez-nous, car nous aimons.")
Three years went by wearily enough. Antoine had entered the Church, and was already looked upon as a rising man; but his face was pale and his heart leaden, for there was no sweetness in life for him.
Three years passed by quite slowly. Antoine had joined the Church and was already seen as someone on the rise; however, his face was pale and his heart felt heavy, as there was no joy in life for him.
Four years had elapsed, when a letter, covered with outlandish postmarks, was brought to the young priest--a letter from Anglice. She was dying;--would he forgive her? Émile, the year previous, had fallen a victim to the fever that raged on the island; and their child, Anglice, was likely to follow him. In pitiful terms she begged Antoine to take charge of the child until she was old enough to enter the convent of the Sacré-Coeur. The epistle was finished hastily by another hand, informing Antoine of Madame Jardin's death; it also told him that Anglice had been placed on board a vessel shortly to leave the island for some Western port.
Four years had passed when a letter with strange postmarks was delivered to the young priest— a letter from Anglice. She was dying; would he forgive her? Émile, the year before, had fallen victim to the fever that swept through the island, and their child, Anglice, was likely to follow him. In desperate terms, she pleaded with Antoine to take care of the child until she was old enough to join the convent of the Sacré-Coeur. The letter was hastily finished by someone else, informing Antoine of Madame Jardin's death; it also told him that Anglice had been put on a ship set to leave the island for some Western port.
The letter, delayed by storm and shipwreck, was hardly read and wept over when little Anglice arrived.
The letter, held up by a storm and shipwreck, was barely read and cried over when little Anglice showed up.
On beholding her, Antoine uttered a cry of joy and surprise--she was so like the woman he had worshiped.
Upon seeing her, Antoine let out a cry of joy and surprise—she looked so much like the woman he had adored.
The passion that had been crowded down in his heart broke out and lavished its richness on this child, who was to him not only the Anglice of years ago, but his friend Émile Jardin also.
The passion that had been suppressed in his heart burst out and showered its richness on this child, who was to him not only the English version from years ago but also his friend Émile Jardin.
Anglice possessed the wild, strange beauty of her mother--the bending, willowy form, the rich tint of skin, the large tropical eyes, that had almost made Antoine's sacred robes a mockery to him.
Anglice had the wild, unique beauty of her mother—the graceful, slender figure, the warm shade of her skin, the big, exotic eyes that nearly made Antoine's sacred robes seem ridiculous to him.
For a month or two Anglice was wildly unhappy in her new home. She talked continually of the bright country where she was born, the fruits and flowers and blue skies, the tall, fan-like trees, and the streams that went murmuring through them to the sea. Antoine could not pacify her.
For a month or two, Anglice was extremely unhappy in her new home. She kept talking about the vibrant country where she was born, the fruits and flowers, the blue skies, the tall, fan-like trees, and the streams that flowed through them to the sea. Antoine couldn't calm her down.
By and by she ceased to weep, and went about the cottage in a weary, disconsolate way that cut Antoine to the heart. A long-tailed paroquet, which she had brought with her in the ship, walked solemnly behind her from room to room, mutely pining, it seemed, for those heavy orient airs that used to ruffle its brilliant plumage.
By and by, she stopped crying and moved through the cottage in a tired, heartbroken way that deeply affected Antoine. A long-tailed parakeet she had brought with her on the ship walked silently behind her from room to room, as if it were mournfully longing for the warm eastern breezes that used to ruffle its vibrant feathers.
Before the year ended, he noticed that the ruddy tinge had faded from her cheek, that her eyes had grown languid, and her slight figure more willowy than ever.
Before the year ended, he noticed that the rosy color had faded from her cheek, that her eyes had become dull, and her slender figure was more delicate than ever.
A physician was consulted. He could discover nothing wrong with the child, except this fading and drooping. He failed to account for that. It was some vague disease of the mind, he said, beyond his skill.
A doctor was consulted. He couldn't find anything wrong with the child, aside from their fading and drooping. He couldn't explain that. He said it was some vague mental ailment that was beyond his expertise.
So Anglice faded day after day. She seldom left the room now. At last Antoine could not shut out the fact that the child was passing away. He had learned to love her so!
So Anglice faded day after day. She rarely left the room now. Finally, Antoine couldn’t ignore the fact that the child was dying. He had come to love her so much!
"Dear heart," he said once, "What is't ails thee?"
"Dear heart," he said one time, "What's bothering you?"
"Nothing, mon père," for so she called him.
"Nothing, Dad," for that’s what she called him.
The winter passed, the balmy spring had come with its magnolia blooms and orange blossoms, and Anglice seemed to revive. In her small bamboo chair, on the porch, she swayed to and fro in the fragrant breeze, with a peculiar undulating motion, like a graceful tree.
The winter faded away, and the warm spring arrived with its magnolia flowers and orange blossoms, and Anglice seemed to come back to life. In her small bamboo chair on the porch, she rocked back and forth in the fragrant breeze, moving with a unique undulating motion, like a graceful tree.
At times something seemed to weigh upon her mind. Antoine observed it, and waited. Finally she spoke.
At times, it felt like something was bothering her. Antoine noticed it and waited. Eventually, she spoke up.
"Near our house," said little Anglice--"near our house, on the island, the palm-trees are waving under the blue sky. Oh, how beautiful! I seem to lie beneath them all day long. I am very, very happy. I yearned for them so much that I grew ill--don't you think it was so, mon père?
"Near our house," said little Anglice, "close to us, on the island, the palm trees are swaying under the blue sky. Oh, it’s so beautiful! I feel like I could lie beneath them all day long. I am so incredibly happy. I missed them so much that I got sick—don’t you think that’s true, dad?"
"Hélas, yes!" exclaimed Antoine, suddenly. "Let us hasten to those pleasant islands where the palms are waving."
“Hélas, yes!” Antoine exclaimed suddenly. “Let’s hurry to those lovely islands where the palm trees are swaying.”
Anglice smiled. "I am going there, mon père."
Anglice smiled. "I'm going there, Dad."
A week from that evening the wax candles burned at her feet and forehead, lighting her on the journey.
A week later that evening, the wax candles burned at her feet and forehead, lighting her way on the journey.
All was over. Now was Antoine's heart empty. Death, like another Émile, had stolen his new Anglice. He had nothing to do but to lay the blighted flower away.
All was over. Now Antoine's heart was empty. Death, like another Émile, had taken his new English. He had nothing left to do but to put the wilted flower away.
Père Antoine made a shallow grave in his garden, and heaped the fresh brown mold over his idol.
Père Antoine dug a shallow grave in his garden and piled the fresh brown soil over his idol.
In the tranquil spring evenings, the priest was seen sitting by the mound, his finger closed in the unread breviary.
In the peaceful spring evenings, the priest was spotted sitting by the mound, his finger resting on the unread breviary.
The summer broke on that sunny land; and in the cool morning twilight, and after nightfall, Antoine lingered by the grave. He could never be with it enough.
The summer arrived in that sunny place; and in the cool morning twilight, and after dark, Antoine stayed by the grave. He could never spend enough time there.
One morning he observed a delicate stem, with two curiously shaped emerald leaves, springing up from the centre of the mound. At first he merely noticed it casually; but presently the plant grew so tall, and was so strangely unlike anything he had ever seen before, that he examined it with care.
One morning, he noticed a slender stem with two uniquely shaped green leaves emerging from the center of the mound. At first, he just saw it in passing, but soon the plant grew so tall and looked so unusual compared to anything he had seen before that he looked at it more closely.
How straight and graceful and exquisite it was! When it swung to and fro with the summer wind, in the twilight, it seemed to Antoine as if little Anglice were standing there in the garden.
How straight, graceful, and beautiful it was! When it swayed back and forth with the summer breeze at dusk, it felt to Antoine as if little Anglice were standing there in the garden.
The days stole by, and Antoine tended the fragile shoot, wondering what manner of blossom it would unfold, white, or scarlet, or golden. One Sunday, a stranger, with a bronzed, weather-beaten face like a sailor's, leaned over the garden rail, and said to him, "What a fine young date-palm you have there, sir!"
The days passed quickly, and Antoine cared for the delicate shoot, curious about what kind of flower it would grow, whether white, red, or yellow. One Sunday, a stranger with a sun-tanned, rugged face like a sailor's leaned over the garden fence and said to him, "What a lovely young date-palm you have there, sir!"
"Mon Dieu!" cried Père Antoine starting, "and is it a palm?"
"God!" shouted Père Antoine, surprised. "Is that a palm?"
"Yes, indeed," returned the man. "I didn't reckon the tree would flourish in this latitude."
"Yes, definitely," replied the man. "I didn't think the tree would thrive in this climate."
"Ah, mon Dieu!" was all the priest could say aloud; but he murmured to himself, "Bon Dieu, vous m'avez donné cela!"
"Ah, my God!" was all the priest could say out loud; but he murmured to himself, "Good God, you gave me this!"
If Père Antoine loved the tree before, he worshiped it now. He watered it, and nurtured it, and could have clasped it in his arms. Here were Émile and Anglice and the child, all in one!
If Father Antoine loved the tree before, he adored it now. He watered it, took care of it, and could have wrapped his arms around it. Here were Émile, Anglice, and the child, all in one!
The years glided away, and the date-palm and the priest grew together--only one became vigorous and the other feeble. Père Antoine had long passed the meridian of life. The tree was in its youth. It no longer stood in an isolated garden; for pretentious brick and stucco houses had clustered about Antoine's cottage. They looked down scowling on the humble thatched roof. The city was edging up, trying to crowd him off his land. But he clung to it like lichen and refused to sell.
The years slipped by, and the date-palm and the priest grew side by side—one thriving, while the other grew weak. Père Antoine had long passed the peak of his life. The tree was still young. It no longer stood in a lonely garden; instead, flashy brick and stucco houses had crowded around Antoine's cottage. They loomed over him, glaring down at the simple thatched roof. The city was pushing closer, trying to force him off his land. But he held on like lichen and refused to sell.
Speculators piled gold on his doorsteps, and he laughed at them. Sometimes he was hungry, and cold, and thinly clad; but he laughed none the less.
Speculators dumped gold on his doorstep, and he laughed at them. Sometimes he was hungry, cold, and poorly dressed; but he laughed just the same.
"Get thee behind me, Satan!" said the old priest's smile.
"Get behind me, Satan!" said the old priest with a smile.
Père Antoine was very old now, scarcely able to walk; but he could sit under the pliant, caressing leaves of his palm, loving it like an Arab; and there he sat till the grimmest of speculators came to him. But even in death Père Antoine was faithful to his trust: the owner of that land loses it if he harm the date-tree.
Père Antoine was very old now, hardly able to walk; but he could sit under the soft, comforting leaves of his palm tree, loving it like an Arab; and there he sat until the toughest of speculators came to him. But even in death, Père Antoine remained true to his duty: the owner of that land loses it if he harms the date tree.
And there it stands in the narrow, dingy street, a beautiful, dreamy stranger, an exquisite foreign lady whose grace is a joy to the eye, the incense of whose breath makes the air enamored. May the hand wither that touches her ungently!
And there it stands in the narrow, gritty street, a beautiful, dreamy stranger, an exquisite foreign woman whose grace is a pleasure to behold, the sweet scent of whose breath fills the air with charm. May the hand that touches her roughly wither away!
"Because it grew from the heart of little Anglice," said Miss Blondeau tenderly.
"Because it grew from the heart of little Anglice," said Miss Blondeau gently.
MISS MEHETABEL'S SON
I
You will not find Greenton, or Bayley's Four-Corners as it is more usually designated, on any map of New England that I know of. It is not a town; it is not even a village: it is merely an absurd hotel. The almost indescribable place called Greenton is at the intersection of four roads, in the heart of New Hampshire, twenty miles from the nearest settlement of note, and ten miles from any railway station. A good location for a hotel, you will say. Precisely; but there has always been a hotel there, and for the last dozen years it has been pretty well patronized--by one boarder. Not to trifle with an intelligent public, I will state at once that, in the early part of this century, Greenton was a point at which the mail-coach on the Great Northern Route stopped to change horses and allow the passengers to dine. People in the county, wishing to take the early mail Portsmouth-ward, put up over night at the old tavern, famous for its irreproachable larder and soft feather-beds. The tavern at that time was kept by Jonathan Bayley, who rivaled his wallet in growing corpulent, and in due time passed away. At his death the establishment, which included a farm, fell into the hands of a son-in-law. Now, though Bayley left his son-in-law a hotel--which sounds handsome--he left him no guests; for at about the period of the old man's death the old stage-coach died also. Apoplexy carried off one, and steam the other. Thus, by a sudden swerve in the tide of progress, the tavern at the Corners found itself high and dry, like a wreck on a sand-bank. Shortly after this event, or maybe contemporaneously, there was some attempt to build a town at Greenton; but it apparently failed, if eleven cellars choked up with débris and overgrown with burdocks are any indication of failure. The farm, however, was a good farm, as things go in New Hampshire, and Tobias Sewell, the son-in-law, could afford to snap his fingers at the traveling public if they came near enough--which they never did.
You won't find Greenton, or Bayley's Four-Corners as it's more commonly known, on any New England map that I know of. It’s not a town; it’s not even a village: it’s just a ridiculous hotel. This almost indescribable place called Greenton is located at the intersection of four roads, right in the heart of New Hampshire, twenty miles from the nearest notable settlement, and ten miles from any train station. A great spot for a hotel, you might say. Exactly; but there's always been a hotel there, and for the last twelve years, it’s been mostly frequented by one guest. To not underestimate an intelligent audience, I’ll say right off that, in the early part of this century, Greenton was a stop for the mail-coach on the Great Northern Route where it changed horses and let passengers have lunch. Locals wanting to catch the early mail to Portsmouth would stay overnight at the old tavern, known for its excellent food and comfy feather beds. At that time, the tavern was run by Jonathan Bayley, who grew as round as his wallet, and eventually passed away. When he died, the place, which included a farm, went to his son-in-law. Now, even though Bayley left his son-in-law a hotel—which sounds impressive—he didn’t leave him any guests; because around the time the old man died, the old stagecoach service also came to an end. One was taken by a stroke, and the other by steam. So, with a sudden shift in the tide of progress, the tavern at the Corners found itself stranded, like a shipwreck on a sandbank. Shortly after this, or maybe at the same time, there was some attempt to establish a town at Greenton; but that clearly failed, as indicated by the eleven cellars filled with debris and choked with burdocks. However, the farm was a decent one, as far as farms go in New Hampshire, and Tobias Sewell, the son-in-law, could afford to ignore the traveling public if they happened to come close enough—which they never did.
The hotel remains to-day pretty much the same as when Jonathan Bayley handed in his accounts in 1840, except that Sewell has from time to time sold the furniture of some of the upper chambers to bridal couples in the neighborhood. The bar is still open, and the parlor door says PARLOUR in tall black letters. Now and then a passing drover looks in at that lonely bar-room, where a high-shouldered bottle of Santa Cruz rum ogles with a peculiarly knowing air a shriveled lemon on a shelf; now and then a farmer rides across country to talk crops and stock and take a friendly glass with Tobias; and now and then a circus caravan with speckled ponies, or a menagerie with a soggy elephant, halts under the swinging sign, on which there is a dim mail-coach with four phantomish horses driven by a portly gentleman whose head has been washed off by the rain. Other customers there are none, except that one regular boarder whom I have mentioned.
The hotel is pretty much the same today as it was when Jonathan Bayley submitted his accounts in 1840, except that Sewell has occasionally sold the furniture from some of the upper rooms to newlyweds in the area. The bar is still open, and the parlor door still says PARLOUR in big black letters. Every now and then, a passing drover stops by that quiet bar room, where a tall bottle of Santa Cruz rum looks knowingly at a shriveled lemon on a shelf; sometimes a farmer rides in from the countryside to discuss crops and livestock and share a drink with Tobias; and occasionally, a circus caravan with spotted ponies or a menagerie with a droopy elephant stops under the swinging sign, which features a faded mail coach with four ghostly horses driven by a well-fed gentleman whose head has been washed away by the rain. There are no other customers, except for that one regular boarder I mentioned.
If misery makes a man acquainted with strange bed-fellows, it is equally certain that the profession of surveyor and civil engineer often takes one into undreamed-of localities. I had never heard of Greenton until my duties sent me there, and kept me there two weeks in the dreariest season of the year. I do not think I would, of my own volition, have selected Greenton for a fortnight's sojourn at any time; but now the business is over, I shall never regret the circumstances that made me the guest of Tobias Sewell, and brought me into intimate relations with Miss Mehetabel's Son.
If hardship makes a person familiar with unexpected companions, it's just as true that the job of a surveyor and civil engineer often leads one to unexpected places. I had never heard of Greenton until my work took me there, and I stayed for two weeks during the bleakest time of the year. I don’t think I would have chosen Greenton for a two-week stay at any time on my own; but now that the work is done, I won’t regret the situation that made me a guest of Tobias Sewell and brought me closer to Miss Mehetabel's Son.
It was a black October night in the year of grace 1872, that discovered me standing in front of the old tavern at the Corners. Though the ten miles' ride from K---- had been depressing, especially the last five miles, on account of the cold autumnal rain that had set in, I felt a pang of regret on hearing the rickety open wagon turn round in the road and roll off in the darkness. There were no lights visible anywhere, and only for the big, shapeless mass of something in front of me, which the driver had said was the hotel, I should have fancied that I had been set down by the roadside. I was wet to the skin and in no amiable humor; and not being able to find bell-pull or knocker, or even a door, I belabored the side of the house with my heavy walking-stick. In a minute or two I saw a light flickering somewhere aloft, then I heard the sound of a window opening, followed by an exclamation of disgust as a blast of wind extinguished the candle which had given me an instantaneous picture en silhouette of a man leaning out of a casement.
It was a dark October night in 1872 when I found myself standing in front of the old tavern at the Corners. The ten-mile ride from K---- had been miserable, especially the last five miles due to the cold autumn rain that had started to fall. I felt a twinge of regret when I heard the rickety open wagon turn around on the road and disappear into the darkness. There were no lights in sight, and if it weren't for the large, shapeless figure in front of me, which the driver had said was the hotel, I would have thought I was dropped off by the roadside. I was drenched and in no cheerful mood; unable to find a bell-pull, knocker, or even a door, I banged the side of the building with my heavy walking stick. After a minute or two, I saw a light flickering somewhere above, then I heard a window creak open, followed by an annoyed exclamation as a gust of wind snuffed out the candle that had briefly illuminated a silhouette of a man leaning out of the window.
"I say, what do you want, down there?" inquired an unprepossessing voice.
"I ask, what do you want down there?" a plain voice inquired.
"I want to come in; I want a supper, and a bed, and numberless things."
"I want to come in; I want dinner, a place to sleep, and so many other things."
"This isn't no time of night to go rousing honest folks out of their sleep. Who are you, anyway?"
"This isn't the time of night to wake up decent people from their sleep. Who are you, anyway?"
The question, superficially considered, was a very simple one, and I, of all people in the world, ought to have been able to answer it off-hand; but it staggered me. Strangely enough, there came drifting across my memory the lettering on the back of a metaphysical work which I had seen years before on a shelf in the Astor Library. Owing to an unpremeditatedly funny collocation of title and author, the lettering read as follows:--"Who am I? Jones." Evidently it had puzzled Jones to know who he was, or he wouldn't have written a book about it, and come to so lame and impotent a conclusion. It certainly puzzled me at that instant to define my identity. "Thirty years ago," I reflected, "I was nothing; fifty years hence I shall be nothing again, humanly speaking. In the mean time, who am I, sure enough?" It had never before occurred to me what an indefinite article I was. I wish it had not occurred to me then. Standing there in the rain and darkness, I wrestled vainly with the problem, and was constrained to fall back upon a Yankee expedient.
The question, at first glance, seemed really simple, and I, of all people, should have been able to answer it right away; but it threw me off. Strangely, I remembered the title on the back of a philosophical book I had seen years ago on a shelf in the Astor Library. Because of a hilariously odd pairing of title and author, it read: "Who am I? Jones." Clearly, it had puzzled Jones to figure out who he was, or else he wouldn't have written a book about it and arrived at such a weak conclusion. At that moment, I too struggled to define my identity. "Thirty years ago," I thought, "I was nothing; in fifty years, I’ll be nothing again, speaking humanly. So, in between, who am I, really?" It had never struck me how indefinite I was. I wish I hadn’t realized that then. Standing there in the rain and darkness, I wrestled uselessly with the question and had to resort to a typical Yankee approach.
"Isn't this a hotel?" I asked finally.
"Isn't this a hotel?" I finally asked.
"Well, it is a sort of hotel," said the voice, doubtfully. My hesitation and prevarication had apparently not inspired my interlocutor with confidence in me.
"Well, it's kind of a hotel," said the voice, unsure. My hesitation and evasion clearly hadn’t made my conversation partner feel confident in me.
"Then let me in. I have just driven over from K---- in this infernal rain. I am wet through and through."
"Then let me in. I just drove over from K---- in this awful rain. I'm soaked to the bone."
"But what do you want here, at the Corners? What's your business? People don't come here, leastways in the middle of the night."
"But what do you want here, at the Corners? What's your deal? People don't come here, at least not in the middle of the night."
"It isn't in the middle of the night," I returned, incensed. "I come on business connected with the new road. I'm the superintendent of the works."
"It’s not the middle of the night," I replied, annoyed. "I’m here for business related to the new road. I’m the supervisor of the project."
"Oh!"
"Oh!"
"And if you don't open the door at once, I'll raise the whole neighborhood--and then go to the other hotel."
"And if you don't open the door right now, I'll make a scene in the whole neighborhood—and then I'll just head to another hotel."
When I said that, I supposed Greenton was a village with a population of at least three or four thousand, and was wondering vaguely at the absence of lights and other signs of human habitation. Surely, I thought, all the people cannot be abed and asleep at half past ten o'clock: perhaps I am in the business section of the town, among the shops.
When I said that, I figured Greenton was a village with a population of at least three or four thousand, and I was vaguely puzzled by the lack of lights and other signs of people living there. Surely, I thought, everyone can’t be in bed and asleep at half past ten: maybe I’m in the business district, surrounded by the shops.
"You jest wait," said the voice above.
"You just wait," said the voice above.
This request was not devoid of a certain accent of menace, and I braced myself for a sortie on the part of the besieged, if he had any such hostile intent. Presently a door opened at the very place where I least expected a door, at the farther end of the building, in fact, and a man in his shirt-sleeves, shielding a candle with his left hand, appeared on the threshold. I passed quickly into the house, with Mr. Tobias Sewell (for this was Mr. Sewell) at my heels, and found myself in a long, low-studded bar-room.
This request had a hint of threat, and I prepared myself for an attack from the person inside, if he had any hostile intentions. Soon, a door opened in the last place I expected it, at the far end of the building, and a man in his shirt sleeves, holding a candle with his left hand, appeared in the doorway. I quickly stepped into the house, with Mr. Tobias Sewell (who was Mr. Sewell) right behind me, and found myself in a long, low-ceiling bar room.
There were two chairs drawn up before the hearth, on which a huge hemlock back-log was still smoldering, and on the unpainted deal counter contiguous stood two cloudy glasses with bits of lemon-peel in the bottom, hinting at recent libations. Against the discolored wall over the bar hung a yellowed hand-bill, in a warped frame, announcing that "the Next Annual N.H. Agricultural Fair" would take place on the 10th of September, 1841. There was no other furniture or decoration in this dismal apartment, except the cobwebs which festooned the ceiling, hanging down here and there like stalactites.
There were two chairs set up in front of the fireplace, where a large hemlock log was still smoldering, and on the bare wooden counter nearby stood two cloudy glasses with bits of lemon peel at the bottom, hinting at recent drinks. Against the stained wall above the bar hung an old, yellowed poster in a crooked frame, announcing that "the Next Annual N.H. Agricultural Fair" would take place on September 10, 1841. There was no other furniture or decoration in this gloomy room, except for the cobwebs that decorated the ceiling, hanging down in places like stalactites.
Mr. Sewell set the candlestick on the mantel-shelf, and threw some pine-knots on the fire, which immediately broke into a blaze, and showed him to be a lank, narrow-chested man, past sixty, with sparse, steel-gray hair, and small, deep-set eyes, perfectly round, like a fish's, and of no particular color. His chief personal characteristics seemed to be too much feet and not enough teeth. His sharply cut, but rather simple face, as he turned it towards me, wore a look of interrogation. I replied to his mute inquiry by taking out my pocket-book and handing him my business-card, which he held up to the candle and perused with great deliberation.
Mr. Sewell placed the candlestick on the mantel and tossed some pine knots onto the fire, which flared up instantly, revealing him to be a tall, skinny man over sixty, with thin, steel-gray hair and small, deep-set eyes that were perfectly round, like a fish's, and without a specific color. His main physical traits seemed to be large feet and few teeth. As he turned his sharply defined but quite simple face toward me, it carried an expression of curiosity. I answered his silent question by pulling out my wallet and giving him my business card, which he held up to the candle and examined carefully.
"You're a civil engineer, are you?" he said, displaying his gums, which gave his countenance an expression of almost infantile innocence. He made no further audible remark, but mumbled between his thin lips something which an imaginative person might have construed into, "If you're a civil engineer, I'll be blessed if I wouldn't like to see an uncivil one!"
"You're a civil engineer, right?" he said, showing his gums, which made his face look almost childishly innocent. He didn't say anything else out loud, but he mumbled something between his thin lips that someone with a vivid imagination might interpret as, "If you're a civil engineer, I'd be curious to see an uncivil one!"
Mr. Sewell's growl, however, was worse than his bite,--owing to his lack of teeth, probably--for he very good-naturedly set himself to work preparing supper for me. After a slice of cold ham, and a warm punch, to which my chilled condition gave a grateful flavor, I went to bed in a distant chamber in a most amiable mood, feeling satisfied that Jones was a donkey to bother himself about his identity.
Mr. Sewell's grumbling, however, was worse than his actual behavior—probably because he had no teeth—since he cheerfully set to work making dinner for me. After a slice of cold ham and a warm punch, which tasted even better because I was so cold, I went to bed in a far-off room in a really good mood, feeling convinced that Jones was a fool for stressing about his identity.
When I awoke, the sun was several hours high. My bed faced a window, and by raising myself on one elbow I could look out on what I expected would be the main street. To my astonishment I beheld a lonely country road winding up a sterile hill and disappearing over the ridge. In a cornfield at the right of the road was a small private graveyard, inclosed by a crumbling stone wall with a red gate. The only thing suggestive of life was this little corner lot occupied by death. I got out of bed and went to the other window. There I had an uninterrupted view of twelve miles of open landscape, with Mount Agamenticus in the purple distance. Not a house or a spire in sight. "Well," I exclaimed, "Greenton doesn't appear to be a very closely packed metropolis!" That rival hotel with which I had threatened Mr. Sewell overnight was not a deadly weapon, looking at it by daylight. "By Jove!" I reflected, "maybe I'm in the wrong place." But there, tacked against a panel of the bedroom door, was a faded time-table dated Greenton, August 1st, 1839.
When I woke up, the sun was already several hours high. My bed was positioned in front of a window, and by propping myself up on one elbow, I could see what I thought would be the main street. To my surprise, I found a lonely country road winding up a barren hill and disappearing over the ridge. To the right of the road, in a cornfield, was a small private graveyard surrounded by a crumbling stone wall with a red gate. The only thing hinting at life was this little patch occupied by death. I got out of bed and went to the other window. From there, I had a clear view of twelve miles of open landscape, with Mount Agamenticus in the purple distance. Not a house or a church spire in sight. "Well," I said, "Greenton doesn’t seem like a very bustling city!" That rival hotel I had threatened Mr. Sewell with the night before didn’t look so intimidating in the daylight. "By golly!" I thought, "maybe I’m in the wrong place." But there, tacked against a panel of the bedroom door, was a faded timetable dated Greenton, August 1st, 1839.
I smiled all the time I was dressing, and went smiling downstairs, where I found Mr. Sewell, assisted by one of the fair sex in the first bloom of her eightieth year, serving breakfast for me on a small table--in the bar-room!
I smiled the whole time I was getting dressed and kept smiling as I went downstairs, where I found Mr. Sewell, helped by a woman in the prime of her eighties, serving breakfast for me on a small table—in the bar room!
"I overslept myself this morning," I remarked apologetically, "and I see that I am putting you to some trouble. In future, if you will have me called, I will take my meals at the usual table d'hôte."
"I slept in this morning," I said, feeling sorry, "and I realize I'm causing you some hassle. From now on, if you could wake me up, I'll eat at the usual table d'hôte."
"At the what?" said Mr. Sewell.
"At the what?" Mr. Sewell asked.
"I mean with the other boarders."
"I mean with the other tenants."
Mr. Sewell paused in the act of lifting a chop from the fire, and, resting the point of his fork against the woodwork of the mantel-piece, grinned from ear to ear.
Mr. Sewell stopped while lifting a chop from the fire, and, resting the tip of his fork against the woodwork of the mantel, grinned widely.
"Bless you! there isn't any other boarders. There hasn't been anybody put up here sence--let me see--sence father-in-law died, and that was in the fall of '40. To be sure, there's Silas; he's a regular boarder; but I don't count him."
"Bless you! There aren't any other boarders. No one has stayed here since—let me think—since my father-in-law died, and that was in the fall of '40. Sure, there's Silas; he's a regular boarder, but I don't count him."
Mr. Sewell then explained how the tavern had lost its custom when the old stage line was broken up by the railroad. The introduction of steam was, in Mr. Sewell's estimation, a fatal error. "Jest killed local business. Carried it off, I'm darned if I know where. The whole country has been sort o' retrograding ever sence steam was invented."
Mr. Sewell then explained how the tavern lost its customers when the old stagecoach line was shut down by the railroad. In Mr. Sewell's opinion, the introduction of steam was a huge mistake. "It just killed local business. Took it away, and I really don't know where to. The whole area has been sort of going backwards ever since steam was invented."
"You spoke of having one boarder," I said.
"You mentioned having one boarder," I said.
"Silas? Yes; he come here the summer 'Tilda died--she that was 'Tilda Bayley--and he's here yet, going on thirteen year. He couldn't live any longer with the old man. Between you and I, old Clem Jaffrey, Silas's father, was a hard nut. Yes," said Mr. Sewell, crooking his elbow in inimitable pantomime, "altogether too often. Found dead in the road hugging a three-gallon demijohn. Habeas corpus in the barn," added Mr. Sewell, intending, I presume, to intimate that a post-mortem examination had been deemed necessary. "Silas," he resumed, in that respectful tone which one should always adopt when speaking of capital, "is a man of considerable property; lives on his interest, and keeps a hoss and shay. He's a great scholar, too, Silas: takes all the pe-ri-odicals and the Police Gazette regular."
"Silas? Yeah, he came here the summer 'Tilda died—she was 'Tilda Bayley—and he's still here, going on thirteen years now. He couldn't stay with the old man any longer. Between you and me, old Clem Jaffrey, Silas's father, was a tough guy. Yeah," said Mr. Sewell, bending his elbow in an unforgettable way, "way too often. Found dead in the road clinging to a three-gallon demijohn. Habeas corpus in the barn," Mr. Sewell added, intending to suggest that a post-mortem exam was necessary. "Silas," he continued, in that respectful tone one should always use when discussing someone of importance, "is a man of considerable wealth; lives off his interest and has a horse and carriage. He's quite the scholar, too, Silas: subscribes to all the periodicals and the Police Gazette regularly."
Mr. Sewell was turning over a third chop, when the door opened and a stoutish, middle-aged little gentleman, clad in deep black, stepped into the room.
Mr. Sewell was flipping over a third chop when the door opened and a plump, middle-aged gentleman dressed in all black walked into the room.
"Silas Jaffrey," said Mr. Sewell, with a comprehensive sweep of his arm, picking up me and the new-comer on one fork, so to speak. "Be acquainted!"
"Silas Jaffrey," Mr. Sewell said, sweeping his arm to include both me and the newcomer in one gesture, so to speak. "Nice to meet you!"
Mr. Jaffrey advanced briskly, and gave me his hand with unlooked-for cordiality. He was a dapper little man, with a head as round and nearly as bald as an orange, and not unlike an orange in complexion, either; he had twinkling gray eyes and a pronounced Roman nose, the numerous freckles upon which were deepened by his funereal dress-coat and trousers. He reminded me of Alfred de Musset's blackbird, which, with its yellow beak and sombre plumage, looked like an undertaker eating an omelet.
Mr. Jaffrey walked up quickly and shook my hand with unexpected warmth. He was a stylish little man, with a head as round and almost as bald as an orange, and his skin had a similar hue; he had sparkling gray eyes and a noticeable Roman nose, with lots of freckles that stood out against his dark dress coat and trousers. He reminded me of Alfred de Musset's blackbird, which, with its yellow beak and dark feathers, looked like a funeral director eating an omelet.
"Silas will take care of you," said Mr. Sewell, taking down his hat from a peg behind the door. "I've got the cattle to look after. Tell him if you want anything."
"Silas will take care of you," Mr. Sewell said, grabbing his hat from a hook behind the door. "I have to tend to the cattle. Just let him know if you need anything."
While I ate my breakfast, Mr. Jaffrey hopped up and down the narrow bar-room and chirped away as blithely as a bird on a cherry-bough, occasionally ruffling with his fingers a slight fringe of auburn hair which stood up pertly round his head and seemed to possess a luminous quality of its own.
While I had my breakfast, Mr. Jaffrey bounced around the narrow bar room and chatted cheerfully like a bird on a cherry branch, occasionally tousling a small tuft of auburn hair that stood up playfully around his head and seemed to have its own glowing quality.
"Don't I find it a little slow up here at the Corners? Not at all, my dear sir. I am in the thick of life up here. So many interesting things going on all over the world--inventions, discoveries, spirits, railroad disasters, mysterious homicides. Poets, murderers, musicians, statesmen, distinguished travelers, prodigies of all kinds turning up everywhere. Very few events or persons escape me. I take six daily city papers, thirteen weekly journals, all the monthly magazines, and two quarterlies. I could not get along with less. I couldn't if you asked me. I never feel lonely. How can I, being on intimate terms, as it were, with thousands and thousands of people? There's that young woman out West. What an entertaining creature she is!--now in Missouri, now in Indiana, and now in Minnesota, always on the go, and all the time shedding needles from various parts of her body as if she really enjoyed it! Then there's that versatile patriarch who walks hundreds of miles and saws thousands of feet of wood, before breakfast, and shows no signs of giving out. Then there's that remarkable, one may say that historical colored woman who knew Benjamin Franklin, and fought at the battle of Bunk--no, it is the old negro man who fought at Bunker Hill, a mere infant, of course, at that period. Really, now, it is quite curious to observe how that venerable female slave--formerly an African princess--is repeatedly dying in her hundred and eleventh year, and coming to life again punctually every six months in the small-type paragraphs. Are you aware, sir, that within the last twelve years no fewer than two hundred and eighty-seven of General Washington's colored coachmen have died?"
"Don't I find it a little slow up here at the Corners? Not at all, my dear sir. I'm right in the middle of life up here. There are so many interesting things happening all over the world—new inventions, discoveries, mysterious killings, railroad disasters. Poets, murderers, musicians, politicians, notable travelers, and prodigies of all kinds are popping up everywhere. Very few events or people escape my notice. I read six daily newspapers, thirteen weekly magazines, all the monthly publications, and two quarterly journals. I couldn’t get by with less. I really couldn’t if you asked me. I never feel lonely. How could I, being on familiar terms, so to speak, with thousands and thousands of people? There’s that young woman out West. What an entertaining character she is!—now in Missouri, now in Indiana, and now in Minnesota, always on the move, and constantly shedding needles from various parts of her body as if she truly enjoys it! Then there's that adaptable old man who walks hundreds of miles and saws thousands of feet of wood before breakfast, showing no signs of slowing down. And then there’s that remarkable, you could even say historic, woman of color who knew Benjamin Franklin and fought at the battle of Bunk—no, it’s the old Black man who fought at Bunker Hill, a mere infant at that time, of course. It’s really quite curious to see how that venerable former African princess keeps dying in her hundred and eleventh year and coming back to life right on schedule every six months in the small-print sections. Are you aware, sir, that in the past twelve years, no fewer than two hundred and eighty-seven of General Washington’s Black coachmen have passed away?"
For the soul of me I could not tell whether this quaint little gentleman was chaffing me or not. I laid down my knife and fork, and stared at him.
For the life of me, I couldn't tell if this quirky little man was joking with me or not. I put down my knife and fork and stared at him.
"Then there are the mathematicians!" he cried vivaciously, without waiting for a reply. "I take great interest in them. Hear this!" and Mr. Jaffrey drew a newspaper from a pocket in the tail of his coat, and read as follows:--"It has been estimated that if all the candles manufactured by this eminent firm (Stearine & Co.) were placed end to end, they would reach 2 and 7-8 times around the globe. Of course," continued Mr. Jaffrey, folding up the journal reflectively, "abstruse calculations of this kind are not, perhaps, of vital importance, but they indicate the intellectual activity of the age. Seriously, now," he said, halting in front of the table, "what with books and papers and drives about the country, I do not find the days too long, though I seldom see any one, except when I go over to K---- for my mail. Existence may be very full to a man who stands a little aside from the tumult and watches it with philosophic eye. Possibly he may see more of the battle than those who are in the midst of the action. Once I was struggling with the crowd, as eager and undaunted as the best; perhaps I should have been struggling still. Indeed, I know my life would have been very different now if I had married Mehetabel--if I had married Mehetabel."
"Then there are the mathematicians!" he exclaimed enthusiastically, not waiting for a response. "I find them really fascinating. Listen to this!" Mr. Jaffrey pulled a newspaper from the pocket of his coat and read aloud: "It’s been estimated that if all the candles made by this well-known company (Stearine & Co.) were lined up end to end, they would stretch 2 and 7/8 times around the world. Of course," he continued, thoughtfully folding the newspaper, "complex calculations like this may not be crucial, but they show the intellectual energy of our time. Seriously, though," he said, stopping in front of the table, "between reading books and journals and taking drives in the countryside, I don’t find my days too long, even though I rarely see anyone except when I go to K---- for my mail. Life can be quite rich for someone who steps back from the chaos and observes it with a thoughtful perspective. They might actually understand more about the struggle than those who are right in the thick of it. There was a time when I was part of the crowd, just as eager and fearless as anyone else; maybe I'd still be in that position. In fact, I know my life would be very different now if I had married Mehetabel—if I had married Mehetabel."
His vivacity was gone, a sudden cloud had come over his bright face, his figure seemed to have collapsed, the light seemed to have faded out of his hair. With a shuffling step, the very antithesis of his brisk, elastic tread, he turned to the door and passed into the road.
His energy was gone, a sudden shadow had fallen over his once-bright face, his posture seemed to have slumped, the light seemed to have dimmed in his hair. With a shuffling step, the complete opposite of his lively, springy walk, he turned to the door and stepped out onto the road.
"Well," I said to myself, "if Greenton had forty thousand inhabitants, it couldn't turn out a more astonishing old party than that!"
"Well," I told myself, "if Greenton had forty thousand people, it couldn't produce a more surprising old character than that!"
II
A man with a passion for bric-a-brac is always stumbling over antique bronzes, intaglios, mosaics, and daggers of the time of Benvenuto Cellini; the bibliophile finds creamy vellum folios and rare Alduses and Elzevirs waiting for him at unsuspected bookstalls; the numismatist has but to stretch forth his palm to have priceless coins drop into it. My own weakness is odd people, and I am constantly encountering them. It was plain that I had unearthed a couple of very queer specimens at Bayley's Four-Corners. I saw that a fortnight afforded me too brief an opportunity to develop the richness of both, and I resolved to devote my spare time to Mr. Jaffrey alone, instinctively recognizing in him an unfamiliar species. My professional work in the vicinity of Greenton left my evenings and occasionally an afternoon unoccupied; these intervals I purposed to employ in studying and classifying my fellow-boarder. It was necessary, as a preliminary step, to learn something of his previous history, and to this end I addressed myself to Mr. Sewell that same night,
A man who loves collecting bric-a-brac is always tripping over antique bronzes, intaglios, mosaics, and daggers from the time of Benvenuto Cellini; the book lover finds creamy vellum folios and rare Alduses and Elzevirs waiting for him at unexpected book stalls; the coin collector just has to reach out his hand to have priceless coins fall into it. My own weakness is eccentric people, and I keep running into them. It was obvious that I had found a couple of very strange individuals at Bayley's Four-Corners. I realized that two weeks was too short a time to fully explore the complexity of both, so I decided to focus my free time on Mr. Jaffrey alone, instinctively recognizing him as an unfamiliar type. My work nearby in Greenton left my evenings and sometimes an afternoon free; I planned to use those times to study and categorize my fellow boarder. It was essential, as the first step, to learn something about his past, and for that, I spoke to Mr. Sewell that same night.
"I do not want to seem inquisitive," I said to the landlord, as he was fastening up the bar, which, by the way, was the salle à manger and general sitting-room--"I do not want to seem inquisitive, but your friend Mr. Jaffrey dropped a remark this morning at breakfast which--which was not altogether clear to me."
"I don't want to come off as nosy," I said to the landlord as he was closing the bar, which, by the way, was the dining room and main lounge—"I don't want to come off as nosy, but your friend Mr. Jaffrey made a comment this morning at breakfast that—I didn't quite understand."
"About Mehetabel?" asked Mr. Sewell, uneasily.
"About Mehetabel?" Mr. Sewell asked, feeling uneasy.
"Yes."
Yes.
"Well, I wish he wouldn't!"
"Well, I hope he won't!"
"He was friendly enough in the course of conversation to hint to me that he had not married the young woman, and seemed to regret it."
"He was friendly enough during our conversation to suggest that he hadn't married the young woman and seemed to regret it."
"No, he didn't marry Mehetabel."
"No, he didn't marry Mehetabel."
"May I inquire why he didn't marry Mehetabel?"
"Can I ask why he didn't marry Mehetabel?"
"Never asked her. Might have married the girl forty times. Old Elkins's daughter, over at K----. She'd have had him quick enough. Seven years, off and on, he kept company with Mehetabel, and then she died."
"Never asked her. He could have married the girl forty times. Old Elkins's daughter, over at K----. She would have said yes in a heartbeat. For seven years, on and off, he dated Mehetabel, and then she passed away."
"And he never asked her?"
"And he never asked her?"
"He shilly-shallied. Perhaps he didn't think of it. When she was dead and gone, then Silas was struck all of a heap--and that's all about it."
"He hesitated. Maybe he didn't consider it. When she was gone, Silas was completely taken aback--and that's all there is to it."
Obviously Mr. Sewell did not intend to tell me anything more, and obviously there was more to tell. The topic was plainly disagreeable to him for some reason or other, and that unknown reason of course piqued my curiosity.
Obviously, Mr. Sewell wasn’t planning to share any more with me, and clearly, there was more to the story. The subject clearly made him uncomfortable for some reason, and that mysterious reason definitely made me curious.
As I was absent from dinner and supper that day, I did not meet Mr. Jaffrey again until the following morning at breakfast. He had recovered his bird-like manner, and was full of a mysterious assassination that had just taken place in New York, all the thrilling details of which were at his fingers' ends. It was at once comical and sad to see this harmless old gentleman, with his naïve, benevolent countenance, and his thin hair flaming up in a semicircle, like the footlights at a theatre, reveling in the intricacies of the unmentionable deed.
As I missed dinner and supper that day, I didn't see Mr. Jaffrey again until the next morning at breakfast. He had regained his bird-like demeanor and was buzzing about a mysterious assassination that had just happened in New York, with all the exciting details at his fingertips. It was both funny and sad to watch this harmless old man, with his innocent, kind face, and his thin hair standing up in a semicircle like stage lights, delighting in the complexities of the shocking event.
"You come up to my room to-night," he cried, with horrid glee, "and I'll give you my theory of the murder. I'll make it as clear as day to you that it was the detective himself who fired the three pistol-shots."
"You come up to my room tonight," he exclaimed, with ghoulish delight, "and I'll share my theory about the murder. I'll make it so clear to you that it was actually the detective himself who fired the three shots."
It was not so much the desire to have this point elucidated as to make a closer study of Mr. Jaffrey that led me to accept his invitation. Mr. Jaffrey's bedroom was in an L of the building, and was in no way noticeable except for the numerous files of newspapers neatly arranged against the blank spaces of the walls, and a huge pile of old magazines which stood in one corner, reaching nearly up to the ceiling, and threatening to topple over each instant, like the Leaning Tower at Pisa. There were green paper shades at the windows, some faded chintz valances about the bed, and two or three easy-chairs covered with chintz. On a black-walnut shelf between the windows lay a choice collection of meerschaum and brier-wood pipes.
It wasn't so much the need to clarify this issue but to learn more about Mr. Jaffrey that made me accept his invitation. Mr. Jaffrey's bedroom was in an L-shaped part of the building and was unremarkable except for the many stacks of newspapers neatly arranged against the bare walls and a massive pile of old magazines in one corner, nearly reaching the ceiling and about to topple over at any moment, like the Leaning Tower of Pisa. The windows had green paper shades, there were some faded chintz valances around the bed, and a few easy chairs covered with chintz. On a black walnut shelf between the windows was a select collection of meerschaum and brier wood pipes.
Filling one of the chocolate-colored bowls for me and another for himself, Mr. Jaffrey began prattling; but not about the murder, which appeared to have flown out of his mind. In fact, I do not remember that the topic was even touched upon, either then or afterwards.
Filling one of the chocolate-colored bowls for me and another for himself, Mr. Jaffrey started chatting away, but not about the murder, which seemed to have completely slipped his mind. Honestly, I don't recall the subject being brought up at all, either then or later.
"Cozy nest this," said Mr. Jaffrey, glancing complacently over the apartment. "What is more cheerful, now, in the fall of the year, than an open wood-fire? Do you hear those little chirps and twitters coming out of that piece of apple-wood? Those are the ghosts of the robins and bluebirds that sang upon the bough when it was in blossom last spring. In summer whole flocks of them come fluttering about the fruit-trees under the window: so I have singing birds all the year round. I take it very easy here, I can tell you, summer and winter. Not much society. Tobias is not, perhaps, what one would term a great intellectual force, but he means well. He's a realist--believes in coming down to what he calls (the hardpan); but his heart is in the right place, and he's very kind to me. The wisest thing I ever did in my life was to sell out my grain business over at K----, thirteen years ago, and settle down at the Corners. When a man has made a competency, what does he want more? Besides, at that time an event occurred which destroyed any ambition I may have had. Mehetabel died."
"Cozy place this," Mr. Jaffrey said, looking contentedly around the apartment. "What’s more cheerful this time of year than an open wood fire? Do you hear those little chirps and twitters coming from that piece of apple wood? Those are the spirits of the robins and bluebirds that sang on the branches when they were blooming last spring. In summer, whole flocks flutter around the fruit trees outside the window, so I have singing birds all year round. I take it pretty easy here, I can tell you, summer and winter. Not much socializing. Tobias isn’t exactly what you’d call a great intellect, but he means well. He’s a realist—believes in getting down to what he calls (the hardpan); but his heart is in the right place, and he’s very kind to me. The smartest thing I ever did was sell my grain business over in K----, thirteen years ago, and settle down here at the Corners. When a man has made enough money, what more does he want? Plus, around that time, something happened that killed any ambition I might have had. Mehetabel died."
"The lady you were engaged to?"
"The woman you were engaged to?"
"No, not precisely engaged. I think it was quite understood between us, though nothing had been said on the subject. Typhoid," added Mr. Jaffrey, in a low voice.
"No, not exactly engaged. I think it was pretty clear between us, even though we hadn’t talked about it. Typhoid," Mr. Jaffrey added quietly.
For several minutes he smoked in silence, a vague, troubled look playing over his countenance. Presently this passed away, and he fixed his gray eyes speculatively upon my face.
For several minutes, he smoked in silence, a vague, troubled expression crossing his face. Eventually, this faded away, and he looked at me thoughtfully with his gray eyes.
"If I had married Mehetabel," said Mr. Jaffrey, slowly, and then he hesitated. I blew a ring of smoke into the air, and, resting my pipe on my knee, dropped into an attitude of attention. "If I had married Mehetabel, you know, we should have had--ahem!--a family."
"If I had married Mehetabel," Mr. Jaffrey said slowly, pausing for a moment. I blew a ring of smoke into the air and, resting my pipe on my knee, shifted into a listening position. "If I had married Mehetabel, you know, we would have had—um—a family."
"Very likely," I assented, vastly amused at this unexpected turn.
"Probably," I agreed, really entertained by this surprising twist.
"A Boy!" exclaimed Mr. Jaffrey, explosively.
"A boy!" exclaimed Mr. Jaffrey, excitedly.
"By all means, certainly, a son."
"Definitely a son, of course."
"Great trouble about naming the boy. Mehetabel's family want him named Elkanah Elkins, after her grandfather; I want him named Andrew Jackson. We compromise by christening him Elkanah Elkins Andrew Jackson Jaffrey. Rather a long name for such a short little fellow," said Mr. Jaffrey, musingly.
"There's been a lot of debate over naming the boy. Mehetabel's family wants to name him Elkanah Elkins after her grandfather; I want to name him Andrew Jackson. We ended up compromising by naming him Elkanah Elkins Andrew Jackson Jaffrey. It’s quite a long name for such a small little guy," Mr. Jaffrey said thoughtfully.
"Andy isn't a bad nickname," I suggested.
"Andy isn't a bad nickname," I said.
"Not at all. We call him Andy, in the family. Somewhat fractious at first--colic and things. I suppose it is right, or it wouldn't be so; but the usefulness of measles, mumps, croup, whooping-cough, scarlatina, and fits is not clear to the parental eye. I wish Andy would be a model infant, and dodge the whole lot."
"Not at all. We call him Andy in the family. He was a bit difficult at first—colic and stuff. I guess it’s how it’s meant to be, or it wouldn’t happen; but the benefits of measles, mumps, croup, whooping cough, scarlet fever, and seizures aren’t obvious to a parent. I wish Andy would be a perfect baby and avoid all of it."
This suppositions child, born within the last few minutes, was plainly assuming the proportions of a reality to Mr. Jaffrey. I began to feel a little uncomfortable. I am, as I have said, a civil engineer, and it is not strictly in my line to assist at the births of infants, imaginary or otherwise. I pulled away vigorously at the pipe, and said nothing.
This supposed child, born just a few minutes ago, was clearly starting to take shape as a reality for Mr. Jaffrey. I began to feel a bit uneasy. As I mentioned, I'm a civil engineer, and helping with the births of babies, real or not, isn't exactly my job. I pulled hard on the pipe and said nothing.
"What large blue eyes he has," resumed Mr. Jaffrey, after a pause; "just like Hetty's; and the fair hair, too, like hers. How oddly certain distinctive features are handed down in families! Sometimes a mouth, sometimes a turn of the eye-brow. Wicked little boys over at K---- have now and then derisively advised me to follow my nose. It would be an interesting thing to do. I should find my nose flying about the world, turning up unexpectedly here and there, dodging this branch of the family and reappearing in that, now jumping over one great-grandchild to fasten itself upon another, and never losing its individuality. Look at Andy. There's Elkanah Elkins's chin to the life. Andy's chin is probably older than the Pyramids. Poor little thing," he cried, with sudden indescribable tenderness, "to lose his mother so early!" And Mr. Jaffrey's head sunk upon his breast, and his shoulders slanted forward, as if he were actually bending over the cradle of the child. The whole gesture and attitude was so natural that it startled me. The pipe slipped from my fingers and fell to the floor.
"What big blue eyes he has," Mr. Jaffrey continued after a pause, "just like Hetty's; and the fair hair, too, just like hers. It's so strange how certain features get passed down in families! Sometimes it’s a mouth, sometimes a way the eyebrow is shaped. Those mischievous little boys over at K---- have occasionally teased me to just follow my nose. That would be an interesting thing to do. I can imagine my nose wandering around the world, popping up unexpectedly here and there, avoiding one branch of the family and reappearing in another, skipping over one great-grandchild to latch onto another, while still keeping its own identity. Look at Andy. He has Elkanah Elkins's chin, for sure. Andy's chin is probably older than the Pyramids. Poor little guy," he exclaimed suddenly with deep tenderness, "to lose his mother so young!" Mr. Jaffrey's head dropped onto his chest, and his shoulders slumped forward, as if he were genuinely leaning over the child's cradle. The whole gesture and posture seemed so genuine that it took me by surprise. The pipe slipped from my fingers and fell to the floor.
"Hush!" whispered Mr. Jaffrey, with a deprecating motion of his hand. "Andy's asleep!"
"Hush!" Mr. Jaffrey whispered, waving his hand dismissively. "Andy’s sleeping!"
He rose softly from the chair, and walking across the room on tiptoe, drew down the shade at the window through which the moonlight was streaming. Then he returned to his seat, and remained gazing with half-closed eyes into the dropping embers.
He quietly got up from the chair, and tiptoed across the room to pull down the shade at the window where the moonlight was pouring in. Then he went back to his seat and sat there, staring with half-closed eyes at the glowing embers.
I refilled my pipe and smoked in profound silence, wondering what would come next. But nothing came next. Mr. Jaffrey had fallen into so brown a study that, a quarter of an hour afterwards, when I wished him good-night and withdrew, I do not think he noticed my departure.
I filled my pipe again and smoked in complete silence, thinking about what would happen next. But nothing did. Mr. Jaffrey had gotten so lost in thought that, fifteen minutes later, when I said goodnight and left, I don’t think he even noticed I was gone.
I am not what is called a man of imagination; it is my habit to exclude most things not capable of mathematical demonstration: but I am not without a certain psychological insight, and I think I understood Mr. Jaffrey's case. I could easily understand how a man with an unhealthy, sensitive nature, overwhelmed by sudden calamity, might take refuge in some forlorn place like this old tavern, and dream his life away. To such a man--brooding forever on what might have been, and dwelling wholly in the realm of his fancies--the actual world might indeed become as a dream, and nothing seem real but his illusions. I dare say that thirteen years of Bayley's Four-Corners would have its effect upon me; though instead of conjuring up golden-haired children of the Madonna, I should probably see gnomes and kobolds, and goblins engaged in hoisting false signals and misplacing switches for midnight express trains.
I’m not really a creative person; I tend to ignore things that can’t be proven through math. But I do have some psychological insight, and I think I understood Mr. Jaffrey's situation. It makes sense that a man with a delicate, overly sensitive nature, who’s hit hard by a sudden crisis, might seek solace in a rundown place like this old tavern and get lost in thoughts of the past. For someone like him, constantly reflecting on what could have been and living entirely in his imagination, the real world might feel like a dream, with only his fantasies feeling real. I can imagine that spending thirteen years at Bayley's Four-Corners would have an impact on me; although instead of dreaming of golden-haired children of the Madonna, I’d probably envision gnomes, goblins, and other creatures messing around with train signals and switches for midnight express trains.
"No doubt," I said to myself that night, as I lay in bed, thinking over the matter, "this once possible but now impossible child is a great comfort to the old gentleman,--a greater comfort, perhaps, than a real son would be. Maybe Andy will vanish with the shades and mists of night, he's such an unsubstantial infant; but if he doesn't, and Mr. Jaffrey finds pleasure in talking to me about his son, I shall humor the old fellow. It wouldn't be a Christian act to knock over his harmless fancy."
"No doubt," I said to myself that night, as I lay in bed, thinking things over, "this once-possible but now-impossible child is a big comfort to the old man—a bigger comfort, maybe, than a real son would be. Maybe Andy will disappear with the shadows and fog of night; he's such an insubstantial little one. But if he doesn't, and Mr. Jaffrey enjoys talking to me about his son, I’ll go along with it. It wouldn't be a nice thing to crush his harmless fantasy."
I was very impatient to see if Mr. Jaffrey's illusion would stand the test of daylight. It did. Elkanah Elkins Andrew Jackson Jaffrey was, so to speak, alive and kicking the next morning. On taking his seat at the breakfast-table, Mr. Jaffrey whispered to me that Andy had had a comfortable night.
I was really eager to see if Mr. Jaffrey's illusion would hold up in the daylight. It did. Elkanah Elkins Andrew Jackson Jaffrey was, so to speak, alive and well the next morning. When he sat down at the breakfast table, Mr. Jaffrey whispered to me that Andy had a good night.
"Silas!" said Mr. Sewell, sharply, "what are you whispering about?"
"Silas!" Mr. Sewell said sharply, "what are you whispering about?"
Mr. Sewell was in an ill humor; perhaps he was jealous because I had passed the evening in Mr. Jaffrey's room; but surely Mr. Sewell could not expect his boarders to go to bed at eight o'clock every night, as he did. From time to time during the meal Mr. Sewell regarded me unkindly out of the corner of his eye, and in helping me to the parsnips he poniarded them with quite a suggestive air. All this, however, did not prevent me from repairing to the door of Mr. Jaffrey's snuggery when night came.
Mr. Sewell was in a bad mood; maybe he was jealous because I had spent the evening in Mr. Jaffrey's room. But surely Mr. Sewell couldn't expect his tenants to go to bed at eight o'clock every night like he did. Throughout the meal, Mr. Sewell shot me unkind glances from the corner of his eye, and while serving me the parsnips, he handled them with a rather pointed attitude. Despite all of this, it didn’t stop me from heading to the door of Mr. Jaffrey's cozy room when night fell.
"Well, Mr. Jaffrey, how's Andy this evening?"
"Well, Mr. Jaffrey, how's Andy doing tonight?"
"Got a tooth!" cried Mr. Jaffrey, vivaciously.
"Got a tooth!" shouted Mr. Jaffrey, excitedly.
"No!"
"Not happening!"
"Yes, he has! Just through. Give the nurse a silver dollar. Standing reward for first tooth."
"Yes, he has! Just now. Give the nurse a silver dollar. It's a reward for the first tooth."
It was on the tip of my tongue to express surprise that an infant a day old should cut a tooth, when I suddenly recollected that Richard III. was born with teeth. Feeling myself to be on unfamiliar ground, I suppressed my criticism. It was well I did so, for in the next breath I was advised that half a year had elapsed since the previous evening.
It was right on the tip of my tongue to express surprise that a one-day-old baby should have a tooth, when I suddenly remembered that Richard III was born with teeth. Realizing I was stepping into unfamiliar territory, I held back my criticism. Luckily I did, because in the next moment, I was told that six months had passed since the previous evening.
"Andy's had a hard six months of it," said Mr. Jaffrey, with the well-known narrative air of fathers. "We've brought him up by hand. His grandfather, by the way, was brought up by the bottle--" and brought down by it, too, I added mentally, recalling Mr. Sewell's account of the old gentleman's tragic end.
"Andy's had a tough six months," said Mr. Jaffrey, with that familiar storytelling vibe of dads. "We’ve raised him ourselves. By the way, his grandfather was raised on bottles—" and brought down by it, too, I thought to myself, remembering Mr. Sewell's story about the old man's sad ending.
Mr. Jaffrey then went on to give me a history of Andy's first six months, omitting no detail however insignificant or irrelevant. This history I would in turn inflict upon the reader, if I were only certain that he is one of those dreadful parents who, under the aegis of friendship, bore you at a street-corner with that remarkable thing which Freddy said the other day, and insist on singing to you, at an evening party, the Iliad of Tommy's woes.
Mr. Jaffrey then proceeded to share the story of Andy's first six months, leaving out no detail, no matter how minor or unrelated. This story I would then subject the reader to, if I were sure they were one of those annoying parents who, cloaked in friendship, would corner you on the street with that impressive thing Freddy said the other day, and insist on recounting, at a party, the epic saga of Tommy's troubles.
But to inflict this enfantillage upon the unmarried reader would be an act of wanton cruelty. So I pass over that part of Andy's biography, and for the same reason make no record of the next four or five interviews I had with Mr. Jaffrey. It will be sufficient to state that Andy glided from extreme infancy to early youth with astonishing celerity--at the rate of one year per night, if I remember correctly; and--must I confess it?--before the week came to an end, this invisible hobgoblin of a boy was only little less of a reality to me than to Mr. Jaffrey.
But to subject the unmarried reader to this enfantillage would be a cruel thing to do. So I’ll skip that part of Andy’s story and, for the same reason, won’t record the next four or five meetings I had with Mr. Jaffrey. It’s enough to say that Andy moved from being a very young child to early adolescence at an incredible speed—about a year per night, if I recall correctly; and—I have to admit—by the end of the week, this unseen little rascal felt almost as real to me as he did to Mr. Jaffrey.
At first I had lent myself to the old dreamer's whim with a keen perception of the humor of the thing; but by and by I found that I was talking and thinking of Miss Mehetabel's son as though he were a veritable personage. Mr. Jaffrey spoke of the child with such an air of conviction!--as if Andy were playing among his toys in the next room, or making mud-pies down in the yard. In these conversations, it should be observed, the child was never supposed to be present, except on that single occasion when Mr. Jaffrey leaned over the cradle. After one of our séances I would lie awake until the small hours, thinking of the boy, and then fall asleep only to have indigestible dreams about him. Through the day, and sometimes in the midst of complicated calculations, I would catch myself wondering what Andy was up to now! There was no shaking him off; he became an inseparable nightmare to me; and I felt that if I remained much longer at Bayley's Four-Corners I should turn into just such another bald-headed, mild-eyed visionary as Silas Jaffrey.
At first, I was indulging the old dreamer's whim with a clear sense of the humor in it; but eventually, I realized I was talking and thinking about Miss Mehetabel's son as if he were a real person. Mr. Jaffrey discussed the child with such conviction!—as if Andy were playing with his toys in the next room or making mud pies in the yard. In these conversations, it should be noted that the child was never assumed to be present, except for that one time when Mr. Jaffrey leaned over the cradle. After one of our séances, I would lie awake until the early hours, thinking about the boy, and then fall asleep only to have restless dreams about him. During the day, and sometimes in the middle of complicated calculations, I would find myself wondering what Andy was up to! There was no getting rid of him; he became an unavoidable nightmare for me; and I felt that if I stayed much longer at Bayley's Four-Corners, I would turn into just another bald-headed, mild-eyed dreamer like Silas Jaffrey.
Then the tavern was a grewsome old shell any way, full of unaccountable noises after dark--rustlings of garments along unfrequented passages, and stealthy footfalls in unoccupied chambers overhead. I never knew of an old house without these mysterious noises. Next to my bedroom was a musty, dismantled apartment, in one corner of which, leaning against the wainscot, was a crippled mangle, with its iron crank tilted in the air like the elbow of the late Mr. Clem Jaffrey. Sometimes,
Then the tavern was a creepy old shell anyway, full of strange noises after dark—rustling clothes in unused hallways and quiet footsteps in empty rooms above. I’ve never known an old house that didn’t have these mysterious sounds. Next to my bedroom was a dusty, empty room, and in one corner, leaning against the wall, was a broken mangle, its iron handle sticking up like the elbow of the late Mr. Clem Jaffrey. Sometimes,
"In the dead vast and middle of the night,"
"In the deep, dark heart of the night,"
I used to hear sounds as if some one were turning that rusty crank on the sly. This occurred only on particularly cold nights, and I conceived the uncomfortable idea that it was the thin family ghosts, from the neglected graveyard in the cornfield, keeping themselves warm by running each other through the mangle. There was a haunted air about the whole place that made it easy for me to believe in the existence of a phantasm like Miss Mehetabel's son, who, after all, was less unearthly than Mr. Jaffrey himself, and seemed more properly an inhabitant of this globe than the toothless ogre who kept the inn, not to mention the silent Witch of Endor that cooked our meals for us over the bar-room fire.
I used to hear sounds like someone was secretly cranking that rusty handle. This only happened on especially cold nights, and I got the creepy feeling that it was the thin family ghosts from the neglected graveyard in the cornfield trying to keep warm by running each other through the mangle. The whole place had a haunted vibe that made it easy for me to believe in a ghost like Miss Mehetabel's son, who, after all, seemed less supernatural than Mr. Jaffrey himself and felt more like a resident of this world than the toothless ogre running the inn, not to mention the silent Witch of Endor who cooked our meals over the bar-room fire.
In spite of the scowls and winks bestowed upon me by Mr. Sewell, who let slip no opportunity to testify his disapprobation of the intimacy, Mr. Jaffrey and I spent all our evenings together--those long autumnal evenings, through the length of which he talked about the boy, laying out his path in life and hedging the path with roses. He should be sent to the High School at Portsmouth, and then to college; he should be educated like a gentleman, Andy.
In spite of the frowns and glances from Mr. Sewell, who never missed a chance to show his disapproval of our closeness, Mr. Jaffrey and I spent all our evenings together—those long autumn evenings, during which he talked about the boy, planning his future and making it sound ideal. He should go to the High School in Portsmouth, then off to college; he should be raised like a gentleman, Andy.
"When the old man dies," remarked Mr. Jaffrey one night, rubbing his hands gleefully, as if it were a great joke, "Andy will find that the old man has left him a pretty plum."
"When the old man dies," said Mr. Jaffrey one night, rubbing his hands with delight, as if it were a great joke, "Andy will discover that the old man has left him a nice little inheritance."
"What do you think of having Andy enter West Point, when he's old enough?" said Mr. Jaffrey on another occasion. "He needn't necessarily go into the army when he graduates; he can become a civil engineer."
"What do you think about having Andy apply to West Point when he’s old enough?" Mr. Jaffrey said on another occasion. "He doesn’t have to join the army after he graduates; he could become a civil engineer instead."
This was a stroke of flattery so delicate and indirect that I could accept it without immodesty.
This was a compliment so subtle and indirect that I could take it without feeling arrogant.
There had lately sprung up on the corner of Mr. Jaffrey's bureau a small tin house, Gothic in architecture and pink in color, with a slit in the roof, and the word BANK painted on one façade. Several times in the course of an evening Mr. Jaffrey would rise from his chair without interrupting the conversation, and gravely drop a nickel into the scuttle of the bank. It was pleasant to observe the solemnity of his countenance as he approached the edifice, and the air of triumph with which he resumed his seat by the fireplace. One night I missed the tin bank. It had disappeared, deposits and all, like a real bank. Evidently there had been a defalcation on rather a large scale. I strongly suspected that Mr. Sewell was at the bottom of it, but my suspicion was not shared by Mr. Jaffrey, who, remarking my glance at the bureau, became suddenly depressed.
There was recently a small tin house, Gothic in style and pink in color, that appeared on the corner of Mr. Jaffrey's desk. It had a slot in the roof and the word BANK painted on one side. Several times during the evening, Mr. Jaffrey would get up from his chair without interrupting the conversation and seriously drop a nickel into the bank. It was nice to see the seriousness on his face as he approached the little building, and the look of triumph when he settled back into his seat by the fireplace. One night, I noticed the tin bank was gone. It had vanished, along with its deposits, just like a real bank would. Clearly, there had been a significant loss. I strongly suspected that Mr. Sewell was involved, but Mr. Jaffrey didn’t share my suspicion. He became noticeably downcast when he noticed my gaze on the desk.
"I'm afraid," he said, "that I have failed to instill into Andrew those principles of integrity which--which--" and the old gentleman quite broke down.
"I'm afraid," he said, "that I haven't been able to instill those principles of integrity into Andrew which--which--" and the old gentleman completely broke down.
Andy was now eight or nine years old, and for some time past, if the truth must be told, had given Mr. Jaffrey no inconsiderable trouble; what with his impishness and his illnesses, the boy led the pair of us a lively dance. I shall not soon forget the anxiety of Mr. Jaffrey the night Andy had the scarlet-fever--an anxiety which so infected me that I actually returned to the tavern the following afternoon earlier than usual, dreading to hear that the little spectre was dead, and greatly relieved on meeting Mr. Jaffrey at the door-step with his face wreathed in smiles. When I spoke to him of Andy, I was made aware that I was inquiring into a case of scarlet-fever that had occurred the year before!
Andy was now eight or nine years old, and for quite a while, to be honest, he had given Mr. Jaffrey a fair amount of trouble; with his mischievous behavior and his health issues, the boy kept us both on our toes. I won’t soon forget the worry on Mr. Jaffrey's face the night Andy had scarlet fever—an anxiety that rubbed off on me so much that I actually went back to the tavern earlier than usual the next afternoon, fearing I would hear that the little ghost was dead, and I felt so relieved when I saw Mr. Jaffrey at the doorstep with a big smile on his face. When I asked him about Andy, I realized I was checking in on a case of scarlet fever that had happened the year before!
It was at this time, towards the end of my second week at Greenton, that I noticed what was probably not a new trait--Mr. Jaffrey's curious sensitiveness to atmospherical changes. He was as sensitive as a barometer. The approach of a storm sent his mercury down instantly. When the weather was fair he was hopeful and sunny, and Andy's prospects were brilliant. When the weather was overcast and threatening he grew restless and despondent, and was afraid that the boy was not going to turn out well.
It was around this time, towards the end of my second week at Greenton, that I realized what was likely not a new characteristic—Mr. Jaffrey's strange sensitivity to changes in the atmosphere. He was as responsive as a barometer. The hint of a storm would make him uneasy right away. When the weather was nice, he was optimistic and cheerful, and Andy's future seemed bright. But when the skies were gray and foreboding, he became anxious and discouraged, worried that the boy wouldn’t turn out well.
On the Saturday previous to my departure, which had been fixed for Monday, it rained heavily all the afternoon, and that night Mr. Jaffrey was in an unusually excitable and unhappy frame of mind. His mercury was very low indeed.
On the Saturday before my departure, which was set for Monday, it rained heavily all afternoon, and that night Mr. Jaffrey was in a particularly restless and unhappy mood. He was really down.
"That boy is going to the dogs just as fast as he can go," said Mr. Jaffrey, with a woeful face. "I can't do anything with him."
"That kid is heading for trouble as quickly as he can," said Mr. Jaffrey, looking upset. "I can't do anything to help him."
"He'll come out all right, Mr. Jaffrey. Boys will be boys. I would not give a snap for a lad without animal spirits."
"He'll be just fine, Mr. Jaffrey. Boys will be boys. I wouldn't think much of a kid who doesn't have a bit of energy."
"But animal spirits," said Mr. Jaffrey sententiously, "shouldn't saw off the legs of the piano in Tobias's best parlor. I don't know what Tobias will say when he finds it out."
"But animal spirits," Mr. Jaffrey said with a serious tone, "shouldn't go and chop off the legs of the piano in Tobias's finest living room. I can only imagine what Tobias will say when he finds out."
"What! has Andy sawed off the legs of the old spinet?" I returned, laughing.
"What! did Andy really saw off the legs of the old spinet?" I replied, laughing.
"Worse than that."
"Even worse."
"Played upon it, then!"
"Played on it, then!"
"No, sir. He has lied to me!"
"No, sir. He has deceived me!"
"I can't believe that of Andy."
"I can't believe that about Andy."
"Lied to me, sir," repeated Mr. Jaffrey, severely. "He pledged me his word of honor that he would give over his climbing. The way that boy climbs sends a chill down my spine. This morning, notwithstanding his solemn promise, he shinned up the lightning-rod attached to the extension, and sat astride the ridge-pole. I saw him, and he denied it! When a boy you have caressed and indulged and lavished pocket-money on lies to you and will climb, then there's nothing more to be said. He's a lost child."
"Lied to me, sir," Mr. Jaffrey repeated, sternly. "He promised me on his honor that he would stop climbing. The way that boy climbs gives me the chills. This morning, despite his serious promise, he scrambled up the lightning rod on the extension and sat on the ridge pole. I saw him, and he denied it! When a boy you've spoiled and given pocket money to lies to you and will climb, then there's nothing more to say. He's a lost cause."
"You take too dark a view of it, Mr. Jaffrey. Training and education are bound to tell in the end, and he has been well brought up."
"You have a pretty negative perspective on this, Mr. Jaffrey. Training and education are sure to make a difference eventually, and he has had a good upbringing."
"But I didn't bring him up on a lightning-rod, did I? If he is ever going to know how to behave, he ought to know now. To-morrow he will be eleven years old."
"But I didn't bring him up on a lightning rod, did I? If he’s ever going to learn how to act, he should know it now. Tomorrow, he’ll be eleven years old."
The reflection came to me that if Andy had not been brought up by the rod, he had certainly been brought up by the lightning. He was eleven years old in two weeks!
The thought hit me that if Andy hadn't been raised with discipline, he had definitely been raised with chaos. He was turning eleven in two weeks!
I essayed, with that perspicacious wisdom which seems to be the peculiar property of bachelors and elderly maiden ladies, to tranquillize Mr. Jaffrey's mind, and to give him some practical hints on the management of youth.
I tried, with that keen insight that seems to belong to bachelors and older single women, to calm Mr. Jaffrey's mind and to offer him some practical tips on dealing with young people.
"Spank him," I suggested at last.
"Spank him," I finally said.
"I will!" said the old gentleman.
"I will!" said the old man.
"And you'd better do it at once!" I added, as it flashed upon me that in six months Andy would be a hundred and forty-three years old!--an age at which parental discipline would have to be relaxed.
"And you should do it right now!" I added, as it struck me that in six months, Andy would be a hundred and forty-three years old!—an age by which parental discipline would need to loosen up.
The next morning, Sunday, the rain came down as if determined to drive the quicksilver entirely out of my poor friend. Mr. Jaffrey sat bolt upright at the breakfast-table, looking as woe-begone as a bust of Dante, and retired to his chamber the moment the meal was finished. As the day advanced, the wind veered round to the northeast, and settled itself down to work. It was not pleasant to think, and I tried not to think, what Mr. Jaffrey's condition would be if the weather did not mend its manners by noon; but so far from clearing off at noon, the storm increased in violence, and as night set in, the wind whistled in a spiteful falsetto key, and the rain lashed the old tavern as if it were a balky horse that refused to move on. The windows rattled in the worm-eaten frames, and the doors of remote rooms, where nobody ever went, slammed to in the maddest way. Now and then the tornado, sweeping down the side of Mount Agamenticus, bowled across the open country, and struck the ancient hostelry point-blank.
The next morning, Sunday, the rain poured down as if it was determined to wash away any trace of my poor friend. Mr. Jaffrey sat straight up at the breakfast table, looking as miserable as a bust of Dante, and headed to his room the moment the meal was over. As the day went on, the wind shifted to the northeast and started blowing hard. It wasn’t enjoyable to think—and I tried not to—about what Mr. Jaffrey’s condition would be if the weather didn’t improve by noon; but instead of clearing up, the storm got even worse, and as night fell, the wind howled in an annoying high pitch, and the rain pounded the old tavern as if it were a stubborn horse that wouldn’t move. The windows rattled in their rotting frames, and the doors of distant rooms that no one ever used slammed shut in the most chaotic way. Every so often, the tornado, racing down the side of Mount Agamenticus, swept across the open fields and hit the old inn directly.
Mr. Jaffrey did not appear at supper. I knew that he was expecting me to come to his room as usual, and I turned over in my mind a dozen plans to evade seeing him that night. The landlord sat at the opposite side of the chimney-place, with his eye upon me. I fancy he was aware of the effect of this storm on his other boarder; for at intervals, as the wind hurled itself against the exposed gable, threatening to burst in the windows, Mr. Sewell tipped me an atrocious wink, and displayed his gums in a way he had not done since the morning after my arrival at Greenton. I wondered if he suspected anything about Andy. There had been odd times during the past week when I felt convinced that the existence of Miss Mehetabel's son was no secret to Mr. Sewell.
Mr. Jaffrey didn’t show up for dinner. I knew he was expecting me to head to his room like usual, and I brainstormed a dozen ways to avoid seeing him that night. The landlord was sitting across from me by the fireplace, watching me closely. I thought he realized how this storm was affecting his other guest; every now and then, as the wind crashed against the exposed gable, threatening to break the windows, Mr. Sewell shot me an awful wink and bared his gums in a way he hadn’t since the morning after I got to Greenton. I wondered if he suspected anything about Andy. There had been strange moments over the past week when I felt sure that Mr. Sewell knew about Miss Mehetabel's son.
In deference to the gale, the landlord sat up half an hour later than was his custom. At half-past eight he went to bed, remarking that he thought the old pile would stand till morning.
In respect to the strong wind, the landlord stayed up half an hour longer than usual. At eight-thirty, he went to bed, commenting that he believed the old building would hold up until morning.
He had been absent only a few minutes when I heard a rustling at the door. I looked up, and beheld Mr. Jaffrey standing on the threshold, with his dress in disorder, his scant hair flying, and the wildest expression on his face.
He had only been gone for a few minutes when I heard some rustling at the door. I looked up and saw Mr. Jaffrey standing in the doorway, his clothes disheveled, his thin hair blowing around, and a crazed look on his face.
"He's gone!" cried Mr. Jaffrey.
"He's gone!" shouted Mr. Jaffrey.
"Who? Sewell? Yes, he just went to bed."
"Who? Sewell? Yeah, he just went to sleep."
"No, not Tobias--the boy!"
"No, not Tobias—the kid!"
"What, run away?"
"What, you're leaving?"
"No--he is dead! He has fallen from a step-ladder in the red chamber and broken his neck!"
"No—he's dead! He fell from a step-ladder in the red room and broke his neck!"
Mr. Jaffrey threw up his hands with a gesture of despair, and disappeared. I followed him through the hall, saw him go into his own apartment, and heard the bolt of the door drawn to. Then I returned to the bar-room, and sat for an hour or two in the ruddy glow of the fire, brooding over the strange experience of the last fortnight.
Mr. Jaffrey raised his hands in a gesture of despair and vanished. I followed him down the hall, watched him enter his apartment, and heard the door bolt shut. Then I went back to the bar room and sat for a couple of hours in the warm glow of the fire, reflecting on the strange experiences of the past two weeks.
On my way to bed I paused at Mr. Jaffrey's door, and in a lull of the storm, the measured respiration within told me that the old gentleman was sleeping peacefully.
On my way to bed, I stopped at Mr. Jaffrey's door, and during a break in the storm, the steady breathing inside let me know that the old gentleman was sleeping peacefully.
Slumber was coy with me that night. I lay listening to the soughing of the wind, and thinking of Mr. Jaffrey's illusion. It had amused me at first with its grotesqueness; but now the poor little phantom was dead, I was conscious that there had been something pathetic in it all along. Shortly after midnight the wind sunk down, coming and going fainter and fainter, floating around the eaves of the tavern with an undulating, murmurous sound, as if it were turning itself into soft wings to bear away the spirit of a little child.
Slumber was elusive that night. I lay there, listening to the wind rustling and thinking about Mr. Jaffrey's illusion. At first, I found it amusing because it was so bizarre; but now that the poor little phantom was gone, I realized there had been something touching about it all along. Shortly after midnight, the wind died down, coming and going softer and softer, swirling around the edges of the tavern with a gentle, murmuring sound, almost as if it was transforming into soft wings to carry away the spirit of a little child.
Perhaps nothing that happened during my stay at Bayley's Four-Corners took me so completely by surprise as Mr. Jaffrey's radiant countenance the next morning. The morning itself was not fresher or sunnier. His round face literally shone with geniality and happiness. His eyes twinkled like diamonds, and the magnetic light of his hair was turned on full. He came into my room while I was packing my valise. He chirped, and prattled, and caroled, and was sorry I was going away--but never a word about Andy. However, the boy had probably been dead several years then!
Perhaps nothing that happened during my stay at Bayley's Four-Corners surprised me more than Mr. Jaffrey's radiant face the next morning. The morning itself wasn't any fresher or sunnier. His round face literally glowed with friendliness and happiness. His eyes sparkled like diamonds, and his hair shone brightly. He came into my room while I was packing my suitcase. He chirped, chattered, and sang, expressing how sorry he was that I was leaving—but he didn't say a word about Andy. Although, the boy had probably been gone for several years by then!
The open wagon that was to carry me to the station stood at the door; Mr. Sewell was placing my case of instruments under the seat, and Mr. Jaffrey had gone up to his room to get me a certain newspaper containing an account of a remarkable shipwreck on the Auckland Islands. I took the opportunity to thank Mr. Sewell for his courtesies to me, and to express my regret at leaving him and Mr. Jaffrey.
The open wagon that was supposed to take me to the station was waiting at the door; Mr. Sewell was putting my case of instruments under the seat, and Mr. Jaffrey had gone up to his room to grab a newspaper that had a story about an incredible shipwreck on the Auckland Islands. I took the chance to thank Mr. Sewell for his kindness towards me and to share my regret about leaving him and Mr. Jaffrey.
"I have become very much attached to Mr. Jaffrey," I said; "he is a most interesting person; but that hypothetical boy of his, that son of Miss Mehetabel's--"
"I've become really attached to Mr. Jaffrey," I said; "he's such an interesting person; but that hypothetical boy of his, that son of Miss Mehetabel's—"
"Yes, I know!" interrupted Mr. Sewell, testily. "Fell off a step-ladder and broke his dratted neck. Eleven year old, wasn't he? Always does, jest at that point. Next week Silas will begin the whole thing over again, if he can get anybody to listen to him."
"Yeah, I know!" Mr. Sewell interrupted, annoyed. "He fell off a step ladder and broke his stupid neck. He was eleven, right? Always happens, right around that age. Next week, Silas will start the whole thing all over again, if he can find anyone who will listen to him."
"I see. Our amiable friend is a little queer on that subject."
"I see. Our friendly buddy is a bit strange about that topic."
Mr. Sewell glanced cautiously over his shoulder, and tapping himself significantly on the forehead, said in a low voice,--
Mr. Sewell glanced carefully over his shoulder, and tapping himself thoughtfully on the forehead, said in a low voice,--
"Room To Let--Unfurnished!"
"Room for Rent—Unfurnished!"
The foregoing selections are copyrighted, and are reprinted by permission of the author, and Houghton, Mifflin & Co., publishers.
The selections above are copyrighted and are reprinted with permission from the author and Houghton, Mifflin & Co., the publishers.
ALEARDO ALEARDI
(1812-1878)
he Italian patriot and poet, Aleardo Aleardi, was born in the village of San Giorgio, near Verona, on November 4th, 1812. He passed his boyhood on his father's farm, amid the grand scenery of the valley of the Adige, which deeply impressed itself on his youthful imagination and left its traces in all his verse. He went to school at Verona, where for his dullness he was nick-named the "mole," and afterwards he passed on to the University of Padua to study law, apparently to please his father, for in the charming autobiography prefixed to his collected poems he quotes his father as saying:--"My son, be not enamored of this coquette, Poesy; for with all her airs of a great lady, she will play thee some trick of a faithless grisette. Choose a good companion, as one might say, for instance the law: and thou wilt found a family; wilt partake of God's bounties; wilt be content in life, and die quietly and happily." In addition to satisfying his father, the young poet also wrote at Padua his first political poems. And this brought him into slight conflict with the authorities. He practiced law for a short time at Verona, and wrote his first long poem, 'Arnaldo,' published in 1842, which was very favorably received. When six years later the new Venetian republic came into being, Aleardi was sent to represent its interests at Paris. The speedy overthrow of the new State brought the young ambassador home again, and for the next ten years he worked for Italian unity and freedom. He was twice imprisoned, at Mantua in 1852, and again in 1859 at Verona, where he died April 17th, 1878.
The Italian patriot and poet, Aleardo Aleardi, was born in the village of San Giorgio, near Verona, on November 4, 1812. He spent his childhood on his father's farm, surrounded by the stunning landscape of the Adige Valley, which left a lasting impression on his young imagination and influenced all his poetry. He attended school in Verona, where he was teased with the nickname "the mole" for his lack of enthusiasm, and later went to the University of Padua to study law, seemingly to appease his father. In the charming autobiography that precedes his collected poems, he quotes his father saying: "My son, don’t get too attached to this flirt, Poetry; despite her airs of elegance, she might deceive you like a fickle mistress. Choose a solid companion—law, for example—and you’ll establish a family, enjoy God’s blessings, find contentment in life, and pass away peacefully and happily." Besides doing what his father wanted, the young poet also began writing his first political poems during his time at Padua, which led to minor conflicts with the authorities. He practiced law for a brief period in Verona and wrote his first long poem, 'Arnaldo,' published in 1842, which received a warm reception. When the new Venetian republic was established six years later, Aleardi was sent to represent its interests in Paris. However, the quick downfall of the new State brought the young ambassador back home, and for the next ten years, he fought for Italian unity and freedom. He was imprisoned twice, first in Mantua in 1852 and again in Verona in 1859, where he died on April 17, 1878.
Like most of the Italian poets of this century, Aleardi found his chief inspiration in the exciting events that marked the struggle of Italy for independence, and his best work antedated the peace of Villafranca. His first serious effort was 'Le Prime Storie' (The Primal Histories), written in 1845. In this he traces the story of the human race from the creation through the Scriptural, classical, and feudal periods down to the present century, and closes with foreshadowings of a peaceful and happy future. It is picturesque, full of lofty imagery and brilliant descriptive passages.
Like most Italian poets of this century, Aleardi drew his main inspiration from the dramatic events surrounding Italy's fight for independence, and his finest work came before the peace of Villafranca. His first serious piece was 'Le Prime Storie' (The Primal Histories), written in 1845. In this, he chronicles the history of humanity from creation through the Biblical, classical, and feudal eras up to the present century, concluding with visions of a peaceful and happy future. It is vivid, filled with grand imagery and striking descriptive sections.
'Una Ora della mia Giovinezza' (An Hour of My Youth: 1858) recounts many of his youthful trials and disappointments as a patriot. Like the 'Primal Histories,' this poem is largely contemplative and philosophical, and shines by the same splendid diction and luxurious imagery; but it is less wide-reaching in its interests and more specific in its appeal to his own countrymen. And from this time onward the patriotic qualities in Aleardi's poetry predominate, and his themes become more and more exclusively Italian. The 'Monte Circello' sings the glories and events of the Italian land and history, and successfully presents many facts of science in poetic form, while the singer passionately laments the present condition of Italy. In 'Le Citta Italiane Marinore e Commercianti' (The Marine and Commercial Cities of Italy) the story of the rise, flourishing, and fall of Venice, Florence, Pisa, and Genoa is recounted. His other noteworthy poems are 'Rafaello e la Fornarina,' 'Le Tre Fiume' (The Three Rivers), 'Le Tre Fanciulle' (The Three Maidens: 1858), 'I Sette Soldati' (The Seven Soldiers: 1859), and 'Canto Politico' (Political Songs: 1862).
'Una Ora della mia Giovinezza' (An Hour of My Youth: 1858) recounts many of his youthful struggles and disappointments as a patriot. Like the 'Primal Histories,' this poem is mostly reflective and philosophical, highlighted by the same beautiful language and rich imagery; but it is narrower in its focus and more directly aimed at his fellow countrymen. From this point forward, the patriotic qualities in Aleardi's poetry take center stage, and his themes increasingly revolve around Italian subjects. 'Monte Circello' celebrates the glories and events of Italy’s land and history, effectively presenting many scientific facts in poetic form, while the poet fervently laments the current state of Italy. In 'Le Citta Italiane Marinore e Commercianti' (The Marine and Commercial Cities of Italy), the story of Venice, Florence, Pisa, and Genoa's rise, prosperity, and decline is told. His other notable poems include 'Rafaello e la Fornarina,' 'Le Tre Fiume' (The Three Rivers), 'Le Tre Fanciulle' (The Three Maidens: 1858), 'I Sette Soldati' (The Seven Soldiers: 1859), and 'Canto Politico' (Political Songs: 1862).
A slender volume of five hundred pages contains all that Aleardi has written. Yet he is one of the chief minor Italian poets of this century, because of his loftiness of purpose and felicity of expression, his tenderness of feeling, and his deep sympathies with his struggling country.
A slim book of five hundred pages includes everything Aleardi has written. Still, he is one of the leading minor Italian poets of this century because of his high aspirations, skillful expression, emotional depth, and strong empathy for his struggling country.
"He has," observes Howells in his 'Modern Italian Poets,' "in greater degree than any other Italian poet of this, or perhaps of any age, those merits which our English taste of this time demands,--quickness of feeling and brilliancy of expression. He lacks simplicity of idea, and his style is an opal which takes all lights and hues, rather than the crystal which lets the daylight colorlessly through. He is distinguished no less by the themes he selects than by the expression he gives them. In his poetry there is passion, but his subjects are usually those to which love is accessory rather than essential; and he cares better to sing of universal and national destinies as they concern individuals, than the raptures and anguishes of youthful individuals as they concern mankind." He was original in his way; his attitude toward both the classic and the romantic schools is shown in the following passage from his autobiography, which at the same time brings out his patriotism. He says:--
"He has," notes Howells in his 'Modern Italian Poets,' "more than any other Italian poet of this or possibly any era, the qualities that our current English taste demands—an immediacy of feeling and vividness of expression. He lacks simplicity of thought, and his style is like an opal that captures all lights and colors, rather than the clear crystal that allows daylight to pass through without color. He stands out not just for the themes he chooses but also for how he expresses them. In his poetry, there is passion, yet his topics are usually ones where love is an addition rather than the main focus; he prefers to sing about universal and national fates as they relate to individuals, rather than the joys and pains of young people as they reflect on humanity." He had an original style; his perspective on both the classic and romantic schools is evident in the following excerpt from his autobiography, which also highlights his patriotic feelings. He states:--
"It seemed to me strange, on the one hand, that people who, in their serious moments and in the recesses of their hearts, invoked Christ, should in the recesses of their minds, in the deep excitement of poetry, persist in invoking Apollo and Pallas Minerva. It seemed to me strange, on the other hand, that people born in Italy, with this sun, with these nights, with so many glories, so many griefs, so many hopes at home, should have the mania of singing the mists of Scandinavia, and the Sabbaths of witches, and should go mad for a gloomy and dead feudalism, which had come from the North, the highway of our misfortunes. It seemed to me, moreover, that every Art of Poetry was marvelously useless, and that certain rules were mummies embalmed by the hand of pedants. In fine, it seemed to me that there were two kinds of Art: the one, serene with an Olympic serenity, the Art of all ages that belongs to no country; the other, more impassioned, that has its roots in one's native soil.... The first that of Homer, of Phidias, of Virgil, of Tasso; the other that of the Prophets, of Dante, of Shakespeare, of Byron. And I have tried to cling to this last, because I was pleased to see how these great men take the clay of their own land and their own time, and model from it a living statue, which resembles their contemporaries."
“It struck me as odd that people who, in their serious moments and in their hearts, turned to Christ would still, in their minds and in the passionate rush of poetry, call on Apollo and Pallas Minerva. On the other hand, I found it strange that people born in Italy, with its sun, its nights, and so many glories, sorrows, and hopes, would be obsessed with singing about the mists of Scandinavia and the witch Sabbaths, and would romanticize a bleak and dead feudalism that came from the North, the source of our troubles. Furthermore, I thought every form of Poetry was incredibly pointless, and that certain rules were like mummies preserved by pedants. In short, I felt there were two kinds of Art: one, calm and timeless, that belongs to all ages and no specific country; the other, more passionate, grounded in one’s homeland. The first includes the works of Homer, Phidias, Virgil, and Tasso; the second is that of the Prophets, Dante, Shakespeare, and Byron. I have tried to hold on to this latter form because I admired how these great figures take the clay of their own land and time, shaping it into a living statue that reflects their contemporaries.”
In another interesting passage he explains that his old drawing-master had in vain pleaded with the father to make his son a painter, and he continues:--
In another intriguing part, he explains that his old art teacher had unsuccessfully urged his father to let him become a painter, and he goes on:--
"Not being allowed to use the pencil, I have used the pen. And precisely on this account my pen resembles too much a pencil; precisely on this account I am often too much of a naturalist, and am too fond of losing myself in minute details. I am as one who in walking goes leisurely along, and stops every minute to observe the dash of light that breaks through the trees of the woods, the insect that alights on his hand, the leaf that falls on his head, a cloud, a wave, a streak of smoke; in fine, the thousand accidents that make creation so rich, so various, so poetical, and beyond which we evermore catch glimpses of that grand mysterious something, eternal, immense, benignant, and never inhuman nor cruel, as some would have us believe, which is called God."
"Since I can't use a pencil, I've switched to a pen. And because of this, my pen often looks too much like a pencil; this is why I tend to be overly detailed and get lost in small things. I'm like someone who walks slowly, stopping every minute to notice the light breaking through the trees, the insect landing on their hand, the leaf falling on their head, a cloud, a wave, a wisp of smoke; in short, all the little things that make existence so rich, so varied, so poetic, and beyond which we constantly catch glimpses of that grand mysterious something—eternal, vast, kind, and never inhuman or cruel, despite what some may claim—referred to as God."
The selections are from Howells's 'Modern Italian Poets,' 1887, by Harper and Brothers.
The selections are from Howells's 'Modern Italian Poets,' 1887, by Harper and Brothers.
In the deep circle of Siddim hast thou seen,
In the deep circle of Siddim, have you seen,
Under the shining skies of Palestine,
Under the bright skies of Palestine,
The sinister glitter of the Lake of Asphalt?
The dark shimmer of the Lake of Asphalt?
Those coasts, strewn thick with ashes of damnation,
Those shores, heavily covered in the ashes of damnation,
Forever foe to every living thing,
Forever an enemy to every living thing,
Where rings the cry of the lost wandering bird
Where echoes the call of the lost wandering bird
That on the shore of the perfidious sea
That on the shore of the treacherous sea
Athirsting dies,--that watery sepulchre
Thirsting dies,--that watery grave
Of the five cities of iniquity,
Of the five cities of sin,
Where even the tempest, when its clouds hang low,
Where even the storm, when its clouds are heavy,
Passes in silence, and the lightning dies,--
Passes in silence, and the lightning fades,--
If thou hast seen them, bitterly hath been
If you have seen them, it has been bitterly
Thy heart wrung with the misery and despair
Your heart is filled with misery and despair.
Of that dread vision!
Of that terrifying vision!
Yet there is on earth
Yet there is on Earth
A woe more desperate and miserable,--
A sadness more desperate and miserable,--
A spectacle wherein the wrath of God
A spectacle showing the anger of God
Avenges Him more terribly. It is
Avenges him even more drastically. It is
A vain, weak people of faint-heart old men,
A vain, weak people of timid old men,
That, for three hundred years of dull repose,
That, for three hundred years of boring rest,
Has lain perpetual dreamer, folded in
Has been a constant dreamer, wrapped in
The ragged purple of its ancestors,
The tattered purple of its ancestors,
Stretching its limbs wide in its country's sun,
Stretching its limbs wide in its country's sun,
To warm them; drinking the soft airs of autumn
To warm them; enjoying the gentle breezes of autumn
Forgetful, on the fields where its forefathers
Forgetful, on the fields where its ancestors
Like lions fought! From overflowing hands,
Like lions fought! From overflowing hands,
Strew we with hellebore and poppies thick
Strew we with hellebore and poppies thick
The way.
The path.
From 'The Primal Histories.'
From 'The Primal Histories.'
THE HARVESTERS
What time in summer, sad with so much light,
The sun beats ceaselessly upon the fields;
The harvesters, as famine urges them,
Draw hitherward in thousands, and they wear
The look of those that dolorously go
In exile, and already their brown eyes
Are heavy with the poison of the air.
Here never note of amorous bird consoles
Their drooping hearts; here never the gay songs
Of their Abruzzi sound to gladden these
Pathetic hands. But taciturn they toil,
Reaping the harvests for their unknowrn lords;
And when the weary labor is performed,
Taciturn they retire; and not till then
Their bagpipes crown the joys of the return,
Swelling the heart with their familiar strain.
Alas! not all return, for there is one
That dying in the furrow sits, and seeks
With his last look some faithful kinsman out,
To give his life's wage, that he carry it
Unto his trembling mother, with the last
Words of her son that comes no more. And dying,
Deserted and alone, far off he hears
His comrades going, with their pipes in time,
Joyfully measuring their homeward steps.
And when in after years an orphan comes
To reap the harvest here, and feels his blade
Go quivering through the swaths of falling grain,
He weeps and thinks--haply these heavy stalks
Ripened on his unburied father's bones.
From 'Monte Circello.'
THE HARVESTERS
In the summer, weighed down by the bright light,
The sun relentlessly beats down on the fields;
The harvesters, driven by hunger,
Come together in thousands, wearing
The expression of those who sadly go
Into exile, already their brown eyes
Heavy with the toxins in the air.
Here, there’s no comforting song of a lovebird
To uplift their weary hearts; here, the joyful tunes
From Abruzzi do not brighten
These sorrowful hands. Yet they silently work,
Harvesting for their unknown masters;
And when the exhausting task is done,
They quietly leave; only then
Do their bagpipes celebrate the joy of returning,
Filling their hearts with familiar melodies.
Sadly, not everyone comes back, for one
Sits dying in the field, searching
With his last glance for a loyal relative,
To pass on his life's earnings,
So they can carry it to his trembling mother, with the last
Words of her son who will not return. And as he dies,
Alone and abandoned, he faintly hears
His friends moving on, with their pipes in sync,
Joyfully pacing their way homeward.
And years later, when an orphan comes
To harvest here, and feels his blade
Quivering through the swaths of falling grain,
He weeps and thinks—perhaps these heavy stalks
Grew on the unburied bones of his father.
From 'Monte Circello.'
THE DEATH OF THE YEAR
Ere yet upon the unhappy Arctic lands,
In dying autumn, Erebus descends
With the night's thousand hours, along the verge
Of the horizon, like a fugitive,
Through the long days wanders the weary sun;
And when at last under the wave is quenched
The last gleam of its golden countenance,
Interminable twilight land and sea
Discolors, and the north wind covers deep
All things in snow, as in their sepulchres
The dead are buried. In the distances
The shock of warring Cyclades of ice
Makes music as of wild and strange lament;
And up in heaven now tardily are lit
The solitary polar star and seven
Lamps of the bear. And now the warlike race
Of swans gather their hosts upon the breast
Of some far gulf, and, bidding their farewell
To the white cliffs and slender junipers,
And sea-weed bridal-beds, intone the song
Of parting, and a sad metallic clang
Send through the mists. Upon their southward way
They greet the beryl-tinted icebergs; greet
Flamy volcanoes and the seething founts
Of geysers, and the melancholy yellow
Of the Icelandic fields; and, wearying
Their lily wings amid the boreal lights,
Journey away unto the joyous shores
Of morning.
From 'An Hour of My Youth.'
THE DEATH OF THE YEAR
Before the sorrowful Arctic lands,
In dying autumn, darkness falls
With the endless hours of night creeping
Along the horizon like a fugitive.
The weary sun drifts through long days;
And when at last it disappears under the waves,
The last glimmer of its golden face is extinguished.
A never-ending twilight covers land and sea,
And the north wind blankets everything in snow,
As the dead are buried in their graves.
In the distance,
The clash of icebergs echoes
Like a wild and strange lament;
And up in the sky, late to emerge,
The lonely polar star and seven
Stars of the bear shine brightly. Now the resilient
Swans gather their flocks at the mouth
Of some distant bay, saying farewell
To the white cliffs and slender junipers,
And the seaweed beds, singing the song
Of parting, sending a sad metallic sound
Through the mists. On their journey south,
They greet the green-tinted icebergs; they welcome
Fiery volcanoes and the bubbling springs
Of geysers, and the sorrowful yellow
Of the Icelandic fields; and, tiring
Their lily wings among the northern lights,
They head toward the joyful shores
Of morning.
From 'An Hour of My Youth.'
JEAN LE ROND D'ALEMBERT
(1717-1783)
ean Le Rond D'Alembert, one of the most noted of the "Encyclopedists," a mathematician of the first order, and an eminent man of letters, was born at Paris in 1717. The unacknowleged son of the Chevalier Destouches and of Mme. de Tencin, he had been exposed on the steps of the chapel St. Jean-le-Rond, near Notre-Dame. He was named after the place where he was found; the surname of D'Alembert being added by himself in later years. He was given into the care of the wife of a glazier, who brought him up tenderly and whom he never ceased to venerate as his true mother. His anonymous father, however, partly supported him by an annual income of twelve hundred francs. He was educated at the college Mazarin, and surprised his Jansenist teachers by his brilliance and precocity. They believed him to be a second Pascal; and, doubtless to complete the analogy, drew his attention away from his theological studies to geometry. But they calculated without their host; for the young student suddenly found out his genius, and mathematics and the exact sciences henceforth became his absorbing interests. He studied successively law and medicine, but finding no satisfaction in either of these professions, with the true instincts of the scholar he chose poverty with liberty to pursue the studies he loved. He astonished the scientific world by his first published works, 'Memoir on the Integral Calculus' (1739) and 'On the Refraction of Solid Bodies' (1741); and while not yet twenty-four years old, the brilliant young mathematician was made a member of the French Academy of Sciences. In 1754 he entered the Académie Française, and eighteen years later became its perpetual secretary.
Jean Le Rond D'Alembert, one of the most famous "Encyclopedists," a top-notch mathematician and a distinguished writer, was born in Paris in 1717. The unacknowledged son of Chevalier Destouches and Mme. de Tencin, he was left on the steps of the chapel St. Jean-le-Rond, near Notre-Dame. He was named after the location where he was found, with the surname D'Alembert added by himself later. He was taken in by the wife of a glazier, who raised him lovingly and whom he always regarded as his true mother. His anonymous father, however, partly supported him with an annual income of twelve hundred francs. He was educated at the college Mazarin, where he impressed his Jansenist teachers with his brilliance and exceptional talent. They thought he might be a second Pascal; to draw this parallel, they redirected his focus from theology to geometry. But they underestimated him; the young student soon discovered his genius, and from then on, mathematics and the exact sciences became his main interests. He studied law and medicine successively, but finding no satisfaction in either field, he, true to the instincts of a scholar, chose poverty with freedom to pursue the studies he loved. He amazed the scientific community with his early published works, 'Memoir on the Integral Calculus' (1739) and 'On the Refraction of Solid Bodies' (1741); by the age of twenty-four, this brilliant young mathematician was made a member of the French Academy of Sciences. In 1754, he joined the Académie Française, and eighteen years later, he became its perpetual secretary.
D'Alembert wrote many and important works on physics and mathematics. One of these, 'Memoir on the General Cause of Winds,' carried away a prize from the Academy of Sciences of Berlin, in 1746, and its dedication to Frederick II. of Prussia won him the friendship of that monarch. But his claims to a place in French literature, leaving aside his eulogies on members of the French Academy deceased between 1700 and 1772, are based chiefly on his writings in connection with the 'Encyclopédie.' Associated with Diderot in this vast enterprise, he was at first, because of his eminent position in the scientific world, its director and official head. He contributed a large number of scientific and philosophic articles, and took entire charge of the revising of the mathematical division. His most noteworthy contribution, however, is the 'Preliminary Discourse' prefixed as a general introduction and explanation of the work. In this he traced with wonderful clearness and logical precision the successive steps of the human mind in its search after knowledge, and basing his conclusion on the historical evolution of the race, he sketched in broad outlines the development of the sciences and arts. In 1758 he withdrew from the active direction of the 'Encyclopédie,' that he might free himself from the annoyance of governmental interference, to which the work was constantly subjected because of the skeptical tendencies it evinced. But he continued to contribute mathematical articles, with a few on other topics. One of these, on 'Geneva,' involved him in his celebrated dispute with Rousseau and other radicals in regard to Calvinism and the suppression of theatrical performances in the stronghold of Swiss orthodoxy.
D'Alembert wrote many important works on physics and mathematics. One of these, 'Memoir on the General Cause of Winds,' won a prize from the Academy of Sciences of Berlin in 1746, and its dedication to Frederick II of Prussia earned him the friendship of that monarch. However, his claim to a place in French literature, aside from his eulogies on members of the French Academy who passed away between 1700 and 1772, is primarily based on his writings related to the 'Encyclopédie.' Partnering with Diderot in this massive project, he was initially its director and official head due to his prominent position in the scientific community. He contributed many scientific and philosophical articles and took full responsibility for revising the mathematical section. His most significant contribution, however, is the 'Preliminary Discourse' that serves as a general introduction and explanation of the work. In this, he clearly and logically traced the steps of human thought in its pursuit of knowledge and, based on the historical evolution of humanity, outlined the development of sciences and arts. In 1758, he stepped back from the active direction of the 'Encyclopédie' to escape the frustrations of government interference, which the work frequently faced due to its skeptical leanings. Nonetheless, he continued to submit mathematical articles and a few on other topics. One of these, about 'Geneva,' led him into a famous dispute with Rousseau and other radicals regarding Calvinism and the banning of theatrical performances in the bastion of Swiss orthodoxy.
His fame was spreading over Europe. Frederick the Great of Prussia repeatedly offered him the presidency of the Academy of Sciences of Berlin. But he refused, as he also declined the magnificent offer of Catherine of Russia to become tutor to her son, at a yearly salary of a hundred thousand francs. Pope Benedict XIV. honored him by recommending him to the membership of the Institute of Bologne; and the high esteem in which he was held in England is shown by the legacy of £200 left him by David Hume.
His fame was spreading across Europe. Frederick the Great of Prussia repeatedly offered him the presidency of the Academy of Sciences in Berlin. But he turned it down, just like he also declined Catherine of Russia's generous offer to tutor her son for a yearly salary of a hundred thousand francs. Pope Benedict XIV. honored him by recommending him for membership in the Institute of Bologna; and the high regard he had in England is evident from the £200 legacy left to him by David Hume.
All these honors and distinctions did not affect the simplicity of his life, for during thirty years he continued to reside in the poor and incommodious quarters of his foster-mother, whom he partly supported out of his small income. Ill health at last drove him to seek better accommodations. He had formed a romantic attachment for Mademoiselle de l'Espinasse, and lived with her in the same house for years unscandaled. Her death in 1776 plunged him into profound grief. He died nine years later, on the 9th of October, 1783.
All these honors and distinctions didn’t change the simplicity of his life. For thirty years, he continued to live in the cramped and uncomfortable home of his foster mother, whom he partly supported with his modest income. Illness eventually forced him to look for better living arrangements. He had developed a romantic relationship with Mademoiselle de l'Espinasse, and they lived together in the same house for years without any scandal. Her death in 1776 left him in deep sorrow. He died nine years later, on October 9, 1783.
His manner was plain and at times almost rude; he had great independence of character, but also much simplicity and benevolence. With the other French deists, D'Alembert has been attacked for his religious opinions, but with injustice. He was prudent in the public expression of them, as the time necessitated; but he makes the freest statement of them in his correspondence with Voltaire. His literary and philosopic works were edited by Bassange (Paris, 1891). Condorcet, in his 'Eulogy,' gives the best account of his life and writings.
His manner was straightforward and sometimes nearly impolite; he had a strong sense of independence, but he was also quite simple and kind-hearted. Like other French deists, D'Alembert faced criticism for his religious beliefs, but it was unjustified. He was cautious about publicly expressing them, as the times demanded; however, he discussed them openly in his letters to Voltaire. His literary and philosophical works were edited by Bassange (Paris, 1891). Condorcet, in his 'Eulogy,' offers the best overview of his life and writings.
MONTESQUIEU
The interest which good citizens are pleased to take in the 'Encyclopédie,' and the great number of men of letters who consecrate their labors to it, authorize us to regard this work as the most proper monument to preserve the grateful sentiments of our country, and that respect which is due to the memory of those celebrated men who have done it honor. Persuaded, however, that M. de Montesquieu had a title to expect other panegyrics, and that the public grief deserved to be described by more eloquent pens, we should have paid his great memory the homage of silence, had not gratitude compelled us to speak. A benefactor to mankind by his writings, he was not less a benefactor to this work, and at least we may place a few lines at the base of his statue, as it were.
The interest that good citizens have in the 'Encyclopédie' and the large number of writers dedicated to it justify viewing this work as the best way to honor the heartfelt appreciation of our country and the respect owed to the memory of the esteemed individuals who have brought it prestige. However, convinced that M. de Montesquieu deserved more praise and that public sorrow should be expressed by more eloquent voices, we would have honored his great memory with silence if gratitude hadn't compelled us to speak. He was a benefactor to humanity through his writings, and he also greatly contributed to this work, so at the very least, we can put a few words at the base of his statue, so to speak.
Charles de Secondat, baron of La Brède and of Montesquieu, late life-President of the Parliament of Bordeaux, member of the French Academy of Sciences, of the Royal Academy and Belles-Lettres of Prussia, and of the Royal Society of London, was born at the castle of La Brède, near Bordeaux, the 18th of January, 1689, of a noble family of Guyenne. His great-great-grandfather, John de Secondat, steward of the household to Henry the Second, King of Navarre, and afterward to Jane, daughter of that king, who married Antony of Bourbon, purchased the estate of Montesquieu for the sum of ten thousand livres, which this princess gave him by an authentic deed, as a reward for his probity and services.
Charles de Secondat, Baron of La Brède and Montesquieu, former President of the Parliament of Bordeaux, member of the French Academy of Sciences, the Royal Academy of Belles-Lettres of Prussia, and the Royal Society of London, was born at the Château de La Brède, near Bordeaux, on January 18, 1689, into a noble family from Guyenne. His great-great-grandfather, John de Secondat, who served as the steward of the household for Henry II, King of Navarre, and later for Jane, his daughter who married Antony of Bourbon, purchased the estate of Montesquieu for ten thousand livres, which this princess granted him by an official deed as a reward for his integrity and contributions.
Henry the Third, King of Navarre, afterward Henry the Fourth, King of France, erected the lands of Montesquieu into a barony, in favor of Jacob de Secondat, son of John, first a gentleman in ordinary of the bedchamber to this prince, and afterward colonel of the regiment of Chatillon. John Gaston de Secondat, his second son, having married a daughter of the first president of the Parliament of Bordeaux, purchased the office of perpetual president in this society. He had several children, one of whom entered the service, distinguished himself, and quitted it very early in life. This was the father of Charles de Secondat, author of the 'Spirit of Laws.' These particulars may seem superfluous in the eulogy of a philosopher who stands so little in need of ancestors; but at least we may adorn their memory with that lustre which his name reflects upon it.
Henry the Third, King of Navarre, later known as Henry the Fourth, King of France, granted the lands of Montesquieu as a barony to Jacob de Secondat, the son of John, who was initially a gentleman in ordinary of the bedchamber to the king, and later colonel of the Chatillon regiment. John's second son, Gaston de Secondat, married a daughter of the first president of the Parliament of Bordeaux and acquired the role of perpetual president in this organization. He had several children, one of whom joined the service, made a name for himself, and left it early in life. This was the father of Charles de Secondat, author of the 'Spirit of Laws.' These details may seem unnecessary when praising a philosopher who doesn’t need an illustrious background; however, they allow us to enhance the memory of his ancestors with the brilliance that his name brings to it.
The early promise of his genius was fulfilled in Charles de Secondat. He discovered very soon what he desired to be, and his father cultivated this rising genius, the object of his hope and of his tenderness. At the age of twenty, young Montesquieu had already prepared materials for the 'Spirit of Laws,' by a well-digested extract from the immense body of the civil law; as Newton had laid in early youth the foundation of his immortal works. The study of jurisprudence, however, though less dry to M. de Montesquieu than to most who attempt it, because he studied it as a philosopher, did not content him. He inquired deeply into the subjects which pertain to religion, and considered them with that wisdom, decency, and equity, which characterize his work.
The early promise of his genius was realized in Charles de Secondat. He quickly figured out what he wanted to be, and his father encouraged this emerging talent, the focus of his hopes and affection. By the age of twenty, young Montesquieu had already gathered materials for the 'Spirit of Laws,' by creating a well-organized summary of the vast civil law. This was similar to how Newton laid the groundwork for his legendary works at a young age. However, even though the study of law was less tedious for M. de Montesquieu than for most who take it up—since he approached it as a philosopher—it still didn't fully satisfy him. He delved deeply into topics related to religion and examined them with the wisdom, respect, and fairness that define his work.
A brother of his father, perpetual president of the Parliament of Bordeaux, an able judge and virtuous citizen, the oracle of his own society and of his province, having lost an only son, left his fortune and his office to M. de Montesquieu.
A brother of his father, the longtime president of the Bordeaux Parliament, a skilled judge and good citizen, the go-to person in his community and region, who had lost his only son, left his wealth and his position to M. de Montesquieu.
Some years after, in 1722, during the king's minority, his society employed him to present remonstrances upon occasion of a new impost. Placed between the throne and the people, like a respectful subject and courageous magistrate he brought the cry of the wretched to the ears of the sovereign--a cry which, being heard, obtained justice. Unfortunately, this success was momentary. Scarce was the popular voice silenced before the suppressed tax was replaced by another; but the good citizen had done his duty.
Some years later, in 1722, while the king was still a minor, his society asked him to voice objections regarding a new tax. Standing between the throne and the people, like a respectful subject and brave official, he conveyed the suffering of the people to the king—a message that, once heard, led to justice. Unfortunately, this victory was short-lived. Hardly had the people's concerns been quieted before the removed tax was replaced by another; but the good citizen had fulfilled his duty.
He was received the 3d of April, 1716, into the new academy of Bordeaux. A taste for music and entertainment had at first assembled its members. M. de Montesquieu believed that the talents of his friends might be better employed in physical subjects. He was persuaded that nature, worthy of being beheld everywhere, could find everywhere eyes worthy to behold her; while it was impossible to gather together, at a distance from the metropolis, distinguished writers on works of taste. He looked upon our provincial societies for belles-lettres as a shadow of literature which obscures the reality. The Duke de la Force, by a prize which he founded at Bordeaux, seconded these rational views. It was decided that a good physical experiment would be better than a weak discourse or a bad poem; and Bordeaux got an Academy of Sciences.
He was welcomed on April 3, 1716, into the new academy of Bordeaux. Initially, a love for music and entertainment brought its members together. M. de Montesquieu believed that his friends' talents could be better used in scientific fields. He was convinced that nature, deserving to be appreciated everywhere, could find observers worthy of her beauty; however, it was impossible to gather distinguished writers on taste from afar, away from the capital. He viewed our local societies for literature as a mere shadow of true literature that obscures the reality. The Duke de la Force supported these logical ideas by establishing a prize in Bordeaux. It was agreed that a solid scientific experiment was more valuable than a weak speech or a bad poem; thus, Bordeaux gained an Academy of Sciences.
M. de Montesquieu, careless of reputation, wrote little. It was not till 1721, that is to say, at thirty-two years of age, that he published the 'Persian Letters.' The description of Oriental manners, real or supposed, is the least important thing in these letters. It serves merely as a pretense for a delicate satire upon our own customs and for the concealment of a serious intention. In this moving picture, Usbec chiefly exposes, with as much ease as energy, whatever among us most struck his penetrating eyes: our way of treating the silliest things seriously, and of laughing at the most important; our way of talking which is at once so blustering and so frivolous; our impatience even in the midst of pleasure itself; our prejudices and our actions that perpetually contradict our understandings; our great love of glory and respect for the idol of court favor, our little real pride; our courtiers so mean and vain; our exterior politeness to, and our real contempt of strangers; our fantastical tastes, than which there is nothing lower but the eagerness of all Europe to adopt them; our barbarous disdain for the two most respectable occupations of a citizen--commerce and magistracy; our literary disputes, so keen and so useless; our rage for writing before we think, and for judging before we understand. To this picture he opposes, in the apologue of the Troglodytes, the description of a virtuous people, become wise by misfortunes--a piece worthy of the portico. In another place, he represents philosophy, long silenced, suddenly reappearing, regaining rapidly the time which she had lost; penetrating even among the Russians at the voice of a genius which invites her; while among other people of Europe, superstition, like a thick atmosphere, prevents the all-surrounding light from reaching them. Finally, by his review of ancient and modern government, he presents us with the bud of those bright ideas since fully developed in his great work.
M. de Montesquieu, indifferent to his reputation, wrote very little. It wasn't until 1721, at the age of thirty-two, that he published the 'Persian Letters.' The portrayal of Eastern customs, whether real or imagined, is the least significant aspect of these letters. It merely serves as a cover for a subtle satire on our own traditions and disguises a serious purpose. In this vivid depiction, Usbec primarily reveals, with both ease and vigor, the things that struck his observant eyes: our tendency to take trivial matters seriously and to laugh at what truly matters; our way of communicating, which is both loud and superficial; our impatience even when we should be enjoying ourselves; our prejudices and our actions that frequently contradict our understanding; our great desire for glory and devotion to the idol of court favor, contrasted with our lack of genuine pride; our courtiers, who are both petty and arrogant; our outward politeness towards, accompanied by a real disdain for, outsiders; our ridiculous tastes, which are only outdone by Europe's eagerness to adopt them; our cruel disregard for the two most respected roles of a citizen—commerce and magistracy; our heated and pointless literary disputes; our obsession with writing before thinking, and judging before understanding. To this picture, he contrasts, in the fable of the Troglodytes, a description of a virtuous people who have become wise through adversity—a piece worthy of great attention. In another section, he illustrates philosophy, long silenced, suddenly making a reappearance, quickly catching up on lost time; penetrating even into Russia at the call of a genius that beckons her; while in other parts of Europe, superstition, like a thick haze, keeps the surrounding light from reaching them. Finally, through his examination of ancient and modern governments, he lays out the seeds of those brilliant ideas that he later fully develops in his major work.
These different subjects, no longer novel, as when the 'Persian Letters' first appeared, will forever remain original--a merit the more real that it proceeds alone from the genius of the writer; for Usbec acquired, during his abode in France, so perfect a knowledge of our morals, and so strong a tincture of our manners, that his style makes us forget his country. This small solecism was perhaps not unintentional. While exposing our follies and vices, he meant, no doubt, to do justice to our merits. Avoiding the insipidity of a direct panegyric, he has more delicately praised us by assuming our own air in professed satire.
These different subjects, no longer new like when the 'Persian Letters' first came out, will always feel original—an advantage that truly comes from the writer's genius. During his time in France, Usbec gained such a deep understanding of our morals and a strong influence from our customs that his style makes us forget where he’s from. This slight error was probably intentional. While pointing out our foolishness and flaws, he undoubtedly intended to highlight our strengths. Rather than giving a bland direct compliment, he has more subtly praised us by adopting our own tone in what seems like satire.
Notwithstanding the success of his work, M. de Montesquieu did not acknowledge it. Perhaps he wished to escape criticism. Perhaps he wished to avoid a contrast of the frivolity of the 'Persian Letters' with the gravity of his office; a sort of reproach which critics never fail to make, because it requires no sort of effort. But his secret was discovered, and the public suggested his name for the Academy. The event justified M. de Montesquieu's silence. Usbec expresses himself freely, not concerning the fundamentals of Christianity, but about matters which people affect to confound with Christianity itself: about the spirit of persecution which has animated so many Christians; about the temporal usurpation of ecclesiastical power; about the excessive multiplication of monasteries, which deprive the State of subjects without giving worshipers to God; about some opinions which would fain be established as principles; about our religious disputes, always violent and often fatal. If he appears anywhere to touch upon questions more vital to Christianity itself, his reflections are in fact favorable to revelation, because he shows how little human reason, left to itself, knows.
Despite the success of his work, M. de Montesquieu didn’t acknowledge it. Maybe he wanted to avoid criticism. Maybe he wanted to steer clear of the comparison between the triviality of the 'Persian Letters' and the seriousness of his role; something critics always do, as it requires no effort. But his secret was revealed, and the public suggested his name for the Academy. This event justified M. de Montesquieu's silence. Usbec speaks openly, not about the core tenets of Christianity, but about issues people often confuse with Christianity itself: the spirit of persecution that has motivated so many Christians, the temporal usurpation of ecclesiastical power, the excessive proliferation of monasteries that take away subjects from the State without providing worshipers for God, and various opinions that try to be established as principles, as well as our religious disputes, which are always violent and often fatal. If he seems to touch on more crucial questions regarding Christianity itself, his thoughts are actually supportive of revelation, as he illustrates how little human reason knows when left to its own devices.
Among the genuine letters of M. de Montesquieu the foreign printer had inserted some by another hand. Before the author was condemned, these should have been thrown out. Regardless of these considerations, hatred masquerading as zeal, and zeal without understanding, rose and united themselves against the 'Persian Letters.' Informers, a species of men dangerous and base, alarmed the piety of the ministry. M. de Montesquieu, urged by his friends, supported by the public voice, having offered himself for the vacant place of M. de Sacy in the French Academy, the minister wrote "The Forty" that his Majesty would never accept the election of the author of the "Persian Letters" that he had not, indeed, read the book, but that persons in whom he placed confidence had informed him of its poisonous tendency. M. de Montesquieu saw what a blow such an accusation might prove to his person, his family, and his tranquillity. He neither sought literary honors nor affected to disdain them when they came in his way, nor did he regard the lack of them as a misfortune: but a perpetual exclusion, and the motives of that exclusion, appeared to him to be an injury. He saw the minister, and explained that though he did not acknowledge the 'Persian Letters,' he would not disown a work for which he had no reason to blush; and that he ought to be judged upon its contents, and not upon mere hearsay. At last the minister read the book, loved the author, and learned wisdom as to his advisers. The French Academy obtained one of its greatest ornaments, and France had the happiness to keep a subject whom superstition or calumny had nearly deprived her of; for M. de Montesquieu had declared to the government that, after the affront they proposed, he would go among foreigners in quest of that safety, that repose, and perhaps those rewards which he might reasonably have expected in his own country. The nation would really have deplored his loss, while yet the disgrace of it must have fallen upon her.
Among the authentic letters of M. de Montesquieu, the foreign printer included a few written by someone else. Before the author was condemned, these should have been removed. Despite this, hatred disguised as zeal, and zeal lacking understanding, came together against the 'Persian Letters.' Informers, a dangerous and despicable type of person, raised alarms about the ministry’s piety. M. de Montesquieu, encouraged by his friends and public opinion, offered himself for the vacant position of M. de Sacy in the French Academy. The minister informed "The Forty" that his Majesty would never accept the election of the author of the "Persian Letters." He had not actually read the book, but trusted people had told him about its harmful nature. M. de Montesquieu realized how damaging this accusation could be for him, his family, and his peace of mind. He wasn't aiming for literary honors and didn’t pretend to dismiss them when they came his way, nor did he see their absence as a tragedy; however, a constant exclusion and the reasons behind it felt like an injury to him. He met with the minister and explained that although he didn’t claim the 'Persian Letters,' he wouldn’t disown a work he had no reason to be ashamed of. He insisted he should be judged based on the content of the work, not on hearsay. Eventually, the minister read the book, appreciated the author, and started to question his advisers. The French Academy gained one of its greatest assets, and France was fortunate to keep a subject who superstition or slander had almost taken away; for M. de Montesquieu had told the government that after the affront they proposed, he would seek safety, peace, and possibly the rewards he could have justly expected in his own country among foreigners. The nation would truly have mourned his loss, even as the disgrace of it would have reflected back on her.
M. de Montesquieu was received the 24th of January, 1728. His oration is one of the best ever pronounced here. Among many admirable passages which shine out in its pages is the deep-thinking writer's characterization of Cardinal Richelieu, "who taught France the secret of its strength, and Spain that of its weakness; who freed Germany from her chains and gave her new ones."
M. de Montesquieu was welcomed on January 24, 1728. His speech is one of the best ever given here. Among the many remarkable sections that stand out in its pages is the insightful writer's description of Cardinal Richelieu, "who taught France the secret of its strength, and Spain that of its weakness; who freed Germany from her chains and gave her new ones."
The new Academician was the worthier of this title, that he had renounced all other employments to give himself entirely up to his genius and his taste. However important was his place, he perceived that a different work must employ his talents; that the citizen is accountable to his country and to mankind for all the good he may do; and that he could be more useful by his writings than by settling obscure legal disputes. He was no longer a magistrate, but only a man of letters.
The new Academician truly deserved this title because he had given up all other jobs to focus completely on his creativity and interests. No matter how significant his position was, he realized that his talents needed to be used for something different; that a citizen is responsible to his country and humanity for all the good he can accomplish; and that he could make a greater impact through his writing than by resolving minor legal issues. He was no longer a magistrate, but simply a writer.
But that his works should serve other nations, it was necessary that he should travel, his aim being to examine the natural and moral world, to study the laws and constitution of every country; to visit scholars, writers, artists, and everywhere to seek for those rare men whose conversation sometimes supplies the place of years of observation. M. de Montesquieu might have said, like Democritus, "I have forgot nothing to instruct myself; I have quitted my country and traveled over the universe, the better to know truth; I have seen all the illustrious personages of my time." But there was this difference between the French Democritus and him of Abdera, that the first traveled to instruct men, and the second to laugh at them.
But for his works to benefit other nations, he needed to travel. His goal was to explore the natural and moral world, study the laws and structure of each country, meet scholars, writers, and artists, and seek out those exceptional individuals whose insights can replace years of observation. M. de Montesquieu could have said, like Democritus, "I haven't left any stone unturned to learn; I left my home and traveled the world to better understand the truth; I've met all the notable figures of my time." However, the key difference between the French Democritus and the one from Abdera is that the former traveled to educate others, while the latter did so to mock them.
He went first to Vienna, where he often saw the celebrated Prince Eugene. This hero, so fatal to France (to which he might have been so useful), after having checked the advance of Louis XIV. and humbled the Ottoman pride, lived without pomp, loving and cultivating letters in a court where they are little honored, and showing his masters how to protect them.
He first went to Vienna, where he often met the famous Prince Eugene. This hero, who was so damaging to France (where he could have been very helpful), after stopping Louis XIV.'s advances and bringing down the pride of the Ottomans, lived modestly, enjoying and promoting literature in a court that offered little respect for it, and showing his rulers how to support it.
Leaving Vienna, the traveler visited Hungary, an opulent and fertile country, inhabited by a haughty and generous nation, the scourge of its tyrants and the support of its sovereigns. As few persons know this country well, he has written with care this part of his travels.
Leaving Vienna, the traveler visited Hungary, a rich and fertile country, home to a proud and generous people, both the bane of their oppressors and the backbone of their leaders. Since not many people know this country well, he has detailed this part of his journey with care.
From Germany he went to Italy. At Venice he met the famous Mr. Law, of whose former grandeur nothing remained but projects fortunately destined to die away unorganized, and a diamond which he pawned to play at games of hazard. One day the conversation turned on the famous system which Law had invented; the source of so many calamities, so many colossal fortunes, and so remarkable a corruption in our morals. As the Parliament of Paris had made some resistance to the Scotch minister on this occasion, M. de Montesquieu asked him why he had never tried to overcome this resistance by a method almost always infallible in England, by the grand mover of human actions--in a word, by money. "These are not," answered Law, "geniuses so ardent and so generous as my countrymen; but they are much more incorruptible." It is certainly true that a society which is free for a limited time ought to resist corruption more than one which is always free: the first, when it sells its liberty, loses it; the second, so to speak, only lends it, and exercises it even when it is thus parting with it. Thus the circumstances and nature of government give rise to the vices and virtues of nations.
From Germany, he traveled to Italy. In Venice, he met the famous Mr. Law, of whom nothing remained from his past greatness except for unorganized projects that were doomed to fade away and a diamond he had pawned to gamble. One day, their conversation turned to the notorious system that Law had created, which was the source of many disasters, enormous fortunes, and a significant decline in our morals. Since the Parliament of Paris had resisted the Scottish minister, M. de Montesquieu asked him why he had never tried to overcome this resistance with a method that is almost always effective in England, the great motivator of human actions—in other words, money. "These are not," Law replied, "as passionate and generous as my countrymen; but they are much more incorruptible." It is definitely true that a society that is free for a limited time should resist corruption more than one that is always free: the first, when it sells its freedom, loses it; the second, so to speak, only lends it and continues to exercise it even while parting with it. Thus, the circumstances and nature of government lead to the vices and virtues of nations.
Another person, no less famous, whom M. de Montesquieu saw still oftener at Venice, was Count de Bonneval. This man, so well known for his adventures, which were not yet at an end, delighted to converse with so good a judge and so excellent a hearer, often related to him the military actions in which he had been engaged, and the remarkable circumstances of his life, and drew the characters of generals and ministers whom he had known.
Another well-known individual whom M. de Montesquieu encountered frequently in Venice was Count de Bonneval. This man, famous for his ongoing adventures, enjoyed talking to such a good judge and excellent listener. He often shared stories about the military actions he had participated in, the notable events of his life, and described the personalities of the generals and ministers he had met.
He went from Venice to Rome. In this ancient capital of the world he studied the works of Raphael, of Titian, and of Michael Angelo. Accustomed to study nature, he knew her when she was translated, as a faithful portrait appeals to all who are familiar with the original.
He traveled from Venice to Rome. In this ancient capital of the world, he studied the works of Raphael, Titian, and Michelangelo. Used to observing nature, he recognized it when it was transformed, just like a faithful portrait resonates with everyone familiar with the original.
After having traveled over Italy, M. de Montesquieu came to Switzerland and studied those vast countries which are watered by the Rhine. There was the less for him to see in Germany that Frederick did not yet reign. In the United Provinces he beheld an admirable monument of what human industry animated by a love of liberty can do. In England he stayed three years. Welcomed by the greatest men, he had nothing to regret save that he had not made his journey sooner. Newton and Locke were dead. But he had often the honor of paying his respects to their patroness, the celebrated Queen of England, who cultivated philosophy upon a throne, and who properly esteemed and valued M. de Montesquieu. Nor was he less well received by the nation. At London he formed intimate friendships with the great thinkers. With them he studied the nature of the government, attaining profound knowledge of it.
After traveling through Italy, M. de Montesquieu arrived in Switzerland and explored the vast regions along the Rhine. There was less for him to see in Germany since Frederick was not yet ruling. In the Netherlands, he witnessed an impressive testament to what human effort driven by a love for freedom can achieve. He spent three years in England. Welcomed by the country's most prominent figures, he only regretted not making the trip earlier. Newton and Locke had passed away. However, he often had the honor of paying his respects to their patroness, the famous Queen of England, who engaged with philosophy from her throne and appreciated M. de Montesquieu. He was warmly received by the nation as well. In London, he formed close friendships with great thinkers, studying the nature of government and gaining profound insights into it.
As he had set out neither as an enthusiast nor a cynic, he brought back neither a disdain for foreigners nor a contempt for his own country. It was the result of his observations that Germany was made to travel in, Italy to sojourn in, England to think in, and France to live in.
As he hadn’t gone out as either an enthusiast or a cynic, he returned without a disdain for foreigners or a contempt for his own country. His observations led him to conclude that Germany was meant for traveling, Italy for staying a while, England for thinking, and France for living.
After returning to his own country, M. de Montesquieu retired for two years to his estate of La Brède, enjoying that solitude which a life in the tumult and hurry of the world but makes the more agreeable. He lived with himself, after having so long lived with others; and finished his work 'On the Cause of the Grandeur and Decline of the Romans,' which appeared in 1734.
After returning to his home country, M. de Montesquieu spent two years at his estate in La Brède, relishing the solitude that life away from the chaos and rush of the world makes even more enjoyable. He took time for himself after being surrounded by others for so long and completed his work 'On the Cause of the Grandeur and Decline of the Romans,' which was published in 1734.
Empires, like men, must increase, decay, and be extinguished. But this necessary revolution may have hidden causes which the veil of time conceals from us.
Empires, just like people, rise, fall, and eventually fade away. But this inevitable change might have underlying reasons that the passage of time keeps hidden from us.
Nothing in this respect more resembles modern history than ancient history. That of the Romans must, however, be excepted. It presents us with a rational policy, a connected system of aggrandizement, which will not permit us to attribute the great fortune of this people to obscure and inferior sources. The causes of the Roman grandeur may then be found in history, and it is the business of the philosopher to discover them. Besides, there are no systems in this study, as in that of physics, which are easily overthrown, because one new and unforeseen experiment can upset them in an instant. On the contrary, when we carefully collect the facts, if we do not always gather together all the desired materials, we may at least hope one day to obtain more. A great historian combines in the most perfect manner these defective materials. His merit is like that of an architect, who, from a few remains, traces the plan of an ancient edifice; supplying, by genius and happy conjectures, what was wanting in fact.
Nothing in this regard resembles modern history more than ancient history. However, we must make an exception for the Romans. Their history offers us a rational policy and a cohesive system of expansion that prevents us from attributing the great success of this people to obscure and lesser sources. The reasons for Roman greatness can therefore be found in history, and it's the philosopher's job to uncover them. Moreover, there are no theories in this study, unlike in physics, that can be easily disproven, as one unexpected experiment can invalidate them instantly. On the contrary, when we carefully gather the facts, even if we don’t always compile all the desired materials, we can at least hope to obtain more in the future. A great historian skillfully combines these imperfect materials. Their skill is similar to that of an architect who, from a few remnants, reconstructs the design of an ancient building, using creativity and insightful guesses to fill in what is missing in reality.
It is from this point of view that we ought to consider the work of M. de Montesquieu. He finds the causes of the grandeur of the Romans in that love of liberty, of labor, and of country, which was instilled into them during their infancy; in those intestine divisions which gave an activity to their genius, and which ceased immediately upon the appearance of an enemy; in that constancy after misfortunes, which never despaired of the republic; in that principle they adhered to of never making peace but after victories; in the honor of a triumph, which was a subject of emulation among the generals; in that protection which they granted to those peoples who rebelled against their kings; in the excellent policy of permitting the conquered to preserve their religion and customs; and the equally excellent determination never to have two enemies upon their hands at once, but to bear everything from the one till they had destroyed the other. He finds the causes of their declension in the aggrandizement of the State itself: in those distant wars, which, obliging the citizens to be too long absent, made them insensibly lose their republican spirit; in the too easily granted privilege of being citizens of Rome, which made the Roman people at last become a sort of many-headed monster; in the corruption introduced by the luxury of Asia; in the proscriptions of Sylla, which debased the genius of the nation, and prepared it for slavery; in the necessity of having a master while their liberty was become burdensome to them; in the necessity of changing their maxims when they changed their government; in that series of monsters who reigned, almost without interruption, from Tiberius to Nerva, and from Commodus to Constantine; lastly, in the translation and division of the empire, which perished first in the West by the power of barbarians, and after having languished in the East, under weak or cruel emperors, insensibly died away, like those rivers which disappear in the sands.
It’s from this perspective that we should consider the work of M. de Montesquieu. He identifies the reasons for the greatness of the Romans in their love for freedom, hard work, and their country, instilled in them from childhood; in those internal conflicts that sparked their creativity, which ended as soon as an enemy appeared; in their resilience after setbacks, as they never lost hope in the republic; in their principle of making peace only after victories; in the honor of a triumph, which was a point of rivalry among generals; in the support they offered to peoples rebelling against their kings; in their smart policy of allowing the conquered to keep their religion and customs; and in their wise decision to never have two enemies at once, but to deal with one at a time until the other was defeated. He points to the reasons for their decline in the expansion of the State itself: in those distant wars that forced citizens to be away too long, causing them to gradually lose their republican spirit; in the too-readily granted privilege of Roman citizenship, which eventually turned the Roman people into a sort of many-headed monster; in the corruption that came with the luxuries of Asia; in the proscriptions of Sylla, which degraded the national spirit and set the stage for slavery; in the need for a master when their freedom became a burden; in the need to change their principles when they changed their government; in that series of tyrants who ruled almost uninterruptedly from Tiberius to Nerva, and from Commodus to Constantine; finally, in the splitting and transferring of the empire, which first fell in the West to barbarian power, and after waning in the East under weak or cruel emperors, slowly faded away, like rivers that vanish into the sands.
In a very small volume M. de Montesquieu explained and unfolded his picture. Avoiding detail, and seizing only essentials, he has included in a very small space a vast number of objects distinctly perceived, and rapidly presented, without fatiguing the reader. While he points out much, he leaves us still more to reflect upon; and he might have entitled his book, 'A Roman History for the Use of Statesmen and Philosophers.'
In a compact volume, M. de Montesquieu laid out his ideas. By skipping the details and getting straight to the essentials, he managed to cover a wide range of topics clearly and quickly, without overwhelming the reader. While he highlights many points, he also leaves us with plenty to think about; he could have named his book, 'A Roman History for Statesmen and Philosophers.'
Whatever reputation M. de Montesquieu had thus far acquired, he had but cleared the way for a far grander undertaking--for that which ought to immortalize his name, and commend it to the admiration of future ages. He had meditated for twenty years upon its execution; or, to speak more exactly, his whole life had been a perpetual meditation upon it. He had made himself in some sort a stranger in his own country, the better to understand it. He had studied profoundly the different peoples of Europe. The famous island, which so glories in her laws, and which makes so bad a use of them, proved to him what Crete had been to Lycurgus--a school where he learned much without approving everything. Thus he attained by degrees to the noblest title a wise man can deserve, that of legislator of nations.
Whatever reputation M. de Montesquieu had built so far, he had only set the stage for a much greater endeavor—one that should make his name timeless and earn it admiration for generations to come. He had spent twenty years planning its execution; more accurately, his entire life had been a constant contemplation of it. He had somewhat distanced himself from his own country to better grasp it. He had deeply studied the various peoples of Europe. The renowned island, which prides itself on its laws and misuses them terribly, became for him what Crete was for Lycurgus—a place where he learned a lot, even if he didn’t agree with everything. Thus, he gradually earned the greatest title a wise person can receive: that of legislator of nations.
If he was animated by the importance of his subject, he was at the same time terrified by its extent. He abandoned it, and returned to it again and again. More than once, as he himself owns, he felt his paternal hands fail him. At last, encouraged by his friends, he resolved to publish the 'Spirit of Laws.'
If he was excited by how important his topic was, he was also scared by how vast it was. He gave up on it, then picked it back up repeatedly. More than once, as he himself admitted, he felt his fatherly instincts let him down. Finally, after being encouraged by his friends, he decided to publish the 'Spirit of Laws.'
In this important work M. de Montesquieu, without insisting, like his predecessors, upon metaphysical discussions, without confining himself, like them, to consider certain people in certain particular relations or circumstances, takes a view of the actual inhabitants of the world in all their conceivable relations to each other. Most other writers in this way are either simple moralists, or simple lawyers, or even sometimes simple theologists. As for him, a citizen of all nations, he cares less what duty requires of us than what means may constrain us to do it; about the metaphysical perfection of laws, than about what man is capable of; about laws which have been made, than about those which ought to have been made; about the laws of a particular people, than about those of all peoples. Thus, when comparing himself to those who have run before him in this noble and grand career, he might say, with Correggio, when he had seen the works of his rivals, "And I, too, am a Painter."
In this important work, M. de Montesquieu, without pushing for metaphysical discussions like his predecessors, and without limiting himself to specific groups in specific circumstances, looks at the actual inhabitants of the world in all their potential relationships with one another. Most other writers in this context are either just moralists, just lawyers, or sometimes just theologians. However, as a citizen of all nations, he is less concerned with what duty demands of us and more focused on what forces might compel us to act; less interested in the philosophical perfection of laws than in what humans are capable of; more concerned with the laws that should exist than those that have been created; and more focused on the laws of all peoples rather than those specific to one group. Therefore, when he compares himself to those who came before him in this noble and grand pursuit, he might say, like Correggio after seeing the works of his rivals, "And I, too, am a Painter."
Filled with his subject, the author of the 'Spirit of Laws' comprehends so many materials, and treats them with such brevity and depth, that assiduous reading alone discloses its merit. This study will make that pretended want of method, of which some readers have accused M. de Montesquieu, disappear. Real want of order should be distinguished from what is apparent only. Real disorder confuses the analogy and connection of ideas; or sets up conclusions as principles, so that the reader, after innumerable windings, finds himself at the point whence he set out. Apparent disorder is when the author, putting his ideas in their true place, leaves it to the readers to supply intermediate ones. M. de Montesquieu's book is designed for men who think, for men capable of supplying voluntary and reasonable omissions.
Filled with his topic, the author of the 'Spirit of Laws' covers so much ground and handles it with such conciseness and depth that only careful reading reveals its value. This study will eliminate the supposed lack of method that some readers have attributed to M. de Montesquieu. It's important to differentiate real disorganization from what seems to be disorganization. Real disorder muddles the relationship and connection between ideas or presents conclusions as if they were principles, causing the reader to end up where they started after countless twists and turns. Apparent disorder, on the other hand, occurs when the author places their ideas correctly and expects readers to fill in the gaps. M. de Montesquieu's book is meant for thinkers, for those capable of filling in reasonable and thoughtful omissions.
The order perceivable in the grand divisions of the 'Spirit of Laws' pervades the smaller details also. By his method of arrangement we easily perceive the influence of the different parts upon each other; as, in a system of human knowledge well understood, we may perceive the mutual relation of sciences and arts. There must always remain something arbitrary in every comprehensive scheme, and all that can be required of an author is, that he follow strictly his own system.
The order seen in the main sections of the 'Spirit of Laws' extends to the finer details as well. Through his method of organization, we can easily see how the different parts influence one another; much like in a well-understood system of human knowledge, we can see the interconnections between sciences and arts. There will always be some level of subjectivity in any comprehensive plan, and all that's expected of an author is that they consistently adhere to their own system.
For an allowable obscurity the same defense exists. What may be obscure to the ignorant is not so for those whom the author had in mind. Besides, voluntary obscurity is not properly obscurity. Obliged to present truths of great importance, the direct avowal of which might have shocked without doing good, M. de Montesquieu has had the prudence to conceal them from those whom they might have hurt without hiding them from the wise.
For an acceptable level of obscurity, the same defense applies. What may seem unclear to those who lack knowledge is not the same for the audience the author intended. Furthermore, intentional obscurity isn’t true obscurity. Forced to reveal significant truths that could shock without providing any real benefit, M. de Montesquieu wisely chose to conceal those truths from those who might be harmed by them while still being open with the knowledgeable.
He has especially profited from the two most thoughtful historians, Tacitus and Plutarch; but, though a philosopher familiar with these authors might have dispensed with many others, he neglected nothing that could be of use. The reading necessary for the 'Spirit of Laws' is immense; and the author's ingenuity is the more wonderful because he was almost blind, and obliged to depend on other men's eyes. This prodigious reading contributes not only to the utility, but to the agreeableness of the work. Without sacrificing dignity, M. de Montesquieu entertains the reader by unfamiliar facts, or by delicate allusions, or by those strong and brilliant touches which paint, by one stroke, nations and men.
He has greatly benefited from the insights of two of the most thoughtful historians, Tacitus and Plutarch. However, even though a philosopher well-acquainted with these authors might not have needed many others, he didn’t overlook anything that could be useful. The amount of reading required for the 'Spirit of Laws' is enormous, and the author's creativity is even more impressive considering he was nearly blind and had to rely on others to read for him. This extensive reading adds not only to the usefulness but also to the enjoyment of the work. Without losing any dignity, M. de Montesquieu keeps the reader engaged with unusual facts, subtle references, and those strikingly vivid descriptions that capture entire nations and individuals in a single stroke.
In a word, M. de Montesquieu stands for the study of laws, as Descartes stood for that of philosophy. He often instructs us, and is sometimes mistaken; and even when he mistakes, he instructs those who know how to read him. The last edition of his works demonstrates, by its many corrections and additions, that when he has made a slip, he has been able to rise again.
In short, M. de Montesquieu represents the study of laws just like Descartes represents philosophy. He teaches us often and is occasionally wrong; even when he is mistaken, he still teaches those who know how to interpret him. The latest edition of his works shows through its numerous corrections and additions that when he has made an error, he has been able to bounce back.
But what is within the reach of all the world is the spirit of the 'Spirit of Laws,' which ought to endear the author to all nations, to cover far greater faults than are his. The love of the public good, a desire to see men happy, reveals itself everywhere; and had it no other merit, it would be worthy, on this account alone, to be read by nations and kings. Already we may perceive that the fruits of this work are ripe. Though M. de Montesquieu scarcely survived the publication of the 'Spirit of Laws,' he had the satisfaction to foresee its effects among us; the natural love of Frenchmen for their country turned toward its true object; that taste for commerce, for agriculture, and for useful arts, which insensibly spreads itself in our nation; that general knowledge of the principles of government, which renders people more attached to that which they ought to love. Even the men who have indecently attacked this work perhaps owe more to it than they imagine. Ingratitude, besides, is their least fault. It is not without regret and mortification that we expose them; but this history is of too much consequence to M. de Montesquieu and to philosophy to be passed over in silence. May that reproach, which at last covers his enemies, profit them!
But what everyone can appreciate is the essence of the 'Spirit of Laws,' which should endear the author to every nation, overshadowing far greater flaws than his own. The love for the common good and a genuine wish to see people happy shine through everywhere; and even if it had no other merit, this alone would make it worthy of being read by both nations and leaders. We can already see that the results of this work are evident. Although M. de Montesquieu barely lived long enough after publishing the 'Spirit of Laws,' he found comfort in anticipating its impact among us; the natural affection of the French for their homeland shifted towards its rightful focus; the growing appreciation for trade, agriculture, and practical skills that subtly spreads across our nation; and the widespread understanding of government principles that makes people more devoted to what they should cherish. Even those who have shamefully criticized this work likely owe more to it than they realize. Besides, ingratitude is their least offense. We reveal them not without regret and dismay, but this issue is too significant for M. de Montesquieu and for philosophy to ignore. May that shame, which ultimately tarnishes his adversaries, serve them well!
The 'Spirit of Laws' was at once eagerly sought after on account of the reputation of its author; but though M. de Montesquieu had written for thinkers, he had the vulgar for his judge. The brilliant passages scattered up and down the work, admitted only because they illustrated the subject, made the ignorant believe that it was written for them. Looking for an entertaining book, they found a useful one, whose scheme and details they could not comprehend without attention. The 'Spirit of Laws' was treated with a deal of cheap wit; even the title of it was made a subject of pleasantry. In a word, one of the finest literary monuments which our nation ever produced was received almost with scurrility. It was requisite that competent judges should have time to read it, that they might correct the errors of the fickle multitude. That small public which teaches, dictated to that large public which listens to hear, how it ought to think and speak; and the suffrages of men of abilities formed only one voice over all Europe.
The 'Spirit of Laws' was quickly sought after because of its author's reputation; however, while M. de Montesquieu wrote for intellectuals, the general public became his judges. The brilliant sections scattered throughout the work, only included because they illustrated the topic, led the uninformed to believe it was meant for them. Looking for an entertaining read, they found a useful one, whose structure and details they couldn't grasp without focus. The 'Spirit of Laws' was met with a lot of cheap humor; even the title was made a joke. In short, one of the greatest literary achievements our nation ever produced was received with ridicule. It was necessary for knowledgeable readers to take the time to read it so they could correct the misunderstandings of the fickle masses. That smaller audience which educates influenced the larger one that listens to determine how they should think and speak; and the opinions of capable individuals merged into a single voice across all of Europe.
The open and secret enemies of letters and philosophy now united their darts against this work. Hence that multitude of pamphlets discharged against the author, weapons which we shall not draw from oblivion. If those authors were not forgotten, it might be believed that the 'Spirit of Laws' was written amid a nation of barbarians.
The open and hidden enemies of literature and philosophy have now aimed their attacks at this work. This is why so many pamphlets have been launched against the author, weapons that we will not revive from obscurity. If those writers were not forgotten, one might think that the 'Spirit of Laws' was created in the midst of a barbaric society.
M. de Montesquieu despised the obscure criticisms of the curious. He ranked them with those weekly newspapers whose encomiums have no authority, and their darts no effect; which indolent readers run over without believing, and in which sovereigns are insulted without knowing it. But he was not equally indifferent about those principles of irreligion which they accused him of having propagated. By ignoring such reproaches he would have seemed to deserve them, and the importance of the object made him shut his eyes to the meanness of his adversaries. The ultra-zealous, afraid of that light which letters diffuse, not to the prejudice of religion, but to their own disadvantage, took different ways of attacking him; some, by a trick as puerile as cowardly, wrote fictitious letters to themselves; others, attacking him anonymously, had afterwards fallen by the ears among themselves. M. de Montesquieu contented himself with making an example of the most extravagant. This was the author of an anonymous periodical paper, who accused M. de Montesquieu of Spinozism and deism (two imputations which are incompatible); of having followed the system of Pope (of which there is not a word in his works); of having quoted Plutarch, who is not a Christian author; of not having spoken of original sin and of grace. In a word, he pretended that the 'Spirit of Laws' was a production of the constitution Unigenitus; a preposterous idea. Those who understand M. de Montesquieu and Clement XI. may judge, by this accusation, of the rest.
M. de Montesquieu looked down on the pointless criticisms from the curious. He considered them similar to those weekly newspapers whose praises carry no weight and whose attacks have no impact; lazy readers skim through them without believing anything, and kings are insulted without ever realizing it. However, he didn’t ignore the accusations of irreligion that were aimed at him. If he brushed off such criticisms, it would have seemed like he deserved them, and the significance of the issue made him overlook the pettiness of his opponents. The overly zealous, fearing the clarity that literature brings—not to harm religion, but to their own detriment—used various tactics to go after him; some, with a trick as childish as it was cowardly, wrote fake letters to themselves; others, attacking him anonymously, then ended up arguing among themselves. M. de Montesquieu decided to expose the most outrageous of these claims. This was the author of an anonymous periodical who accused M. de Montesquieu of Spinozism and deism (two charges that contradict each other), of having followed the system of Pope (which isn’t mentioned anywhere in his works), of quoting Plutarch, who isn’t a Christian author, and of not discussing original sin and grace. In short, he claimed that the 'Spirit of Laws' was a product of the constitution Unigenitus; a ridiculous notion. Those who understand M. de Montesquieu and Clement XI. can judge the rest based on this accusation.
This enemy procured the philosopher an addition of glory as a man of letters: the 'Defense of the Spirit of Laws' appeared. This work, for its moderation, truth, delicacy of ridicule, is a model. M. de Montesquieu might easily have made his adversary odious; he did better--he made him ridiculous. We owe the aggressor eternal thanks for having procured us this masterpiece. For here, without intending it, the author has drawn a picture of himself; those who knew him think they hear him; and posterity, when reading his 'Defense,' will decide that his conversation equaled his writings--an encomium which few great men have deserved.
This opponent gave the philosopher an extra boost of fame as a writer: the "Defense of the Spirit of Laws" was published. This work, known for its balance, truthfulness, and subtle humor, is a perfect example. M. de Montesquieu could have easily made his rival seem terrible, but he did something smarter—he made him look foolish. We owe the aggressor eternal gratitude for providing us with this masterpiece. In this work, the author unintentionally reveals a portrait of himself; those who knew him feel like they can hear him; and future generations, when they read his "Defense," will conclude that his conversation matched his writing—an accolade that few great individuals truly deserve.
Another circumstance gave him the advantage. The critic loudly accused the clergy of France, and especially the faculty of theology, of indifference to the cause of God, because they did not proscribe the 'Spirit of Laws.' The faculty resolved to examine the 'Spirit of Laws.' Though several years have passed, it has not yet pronounced a decision. It knows the grounds of reason and of faith; it knows that the work of a man of letters ought not to be examined like that of a theologian; that a bad interpretation does not condemn a proposition, and that it may injure the weak to see an ill-timed suspicion of heresy thrown upon geniuses of the first rank. In spite of this unjust accusation, M. de Montesquieu was always esteemed, visited, and well received by the greatest and most respectable dignitaries of the Church. Would he have preserved this esteem among men of worth, if they had regarded him as a dangerous writer?
Another situation gave him the upper hand. The critic loudly accused the clergy of France, especially the theology faculty, of being indifferent to the cause of God because they didn't ban the 'Spirit of Laws.' The faculty decided to review the 'Spirit of Laws.' Even though several years have gone by, they still haven't made a decision. They understand the reasons grounded in logic and faith; they understand that the work of a writer shouldn't be judged like that of a theologian; that a wrong interpretation doesn't discredit a statement, and that it can harm the vulnerable to see an unfounded suspicion of heresy directed at top-tier thinkers. Despite this unfair accusation, M. de Montesquieu was always respected, visited, and warmly welcomed by the most prominent and respected leaders of the Church. Would he have maintained this respect among reputable individuals if they viewed him as a dangerous writer?
M. de Montesquieu's death was not unworthy of his life. Suffering greatly, far from a family that was dear to him, surrounded by a few friends and a great crowd of spectators, he preserved to the last his calmness and serenity of soul. After performing with decency every duty, full of confidence in the Eternal Being, he died with the tranquillity of a man of worth, who had ever consecrated his talents to virtue and humanity. France and Europe lost him February 10th, 1755, aged sixty-six.
M. de Montesquieu's death matched the greatness of his life. Enduring significant suffering, far from his beloved family and surrounded by a few friends and many onlookers, he maintained his calm and peaceful spirit until the end. After fulfilling all his responsibilities with dignity, fully trusting in the Eternal Being, he passed away with the serenity of a man of honor, who had always dedicated his talents to virtue and humanity. France and Europe lost him on February 10th, 1755, at the age of sixty-six.
All the newspapers published this event as a misfortune. We may apply to M. de Montesquieu what was formerly said of an illustrious Roman: that nobody, when told of his death, showed any joy or forgot him when he was no more. Foreigners were eager to demonstrate their regrets: my Lord Chesterfield, whom it is enough to name, wrote an article to his honor--an article worthy of both. It is the portrait of Anaxagoras drawn by Pericles. The Royal Academy of Sciences and Belles-Lettres of Prussia, though it is not its custom to pronounce a eulogy on foreign members, paid him an honor which only the illustrious John Bernoulli had hitherto received. M. de Maupertuis, though ill, performed himself this last duty to his friend, and would not permit so sacred an office to fall to the share of any other. To these honorable suffrages were added those praises given him, in presence of one of us, by that very monarch to whom this celebrated Academy owes its lustre; a prince who feels the losses which Philosophy sustains, and at the same time comforts her.
All the newspapers reported this event as a tragedy. We can say about M. de Montesquieu what was once said of a famous Roman: that nobody, upon hearing of his death, expressed any joy or forgot him once he was gone. Foreigners were eager to show their sorrow: my Lord Chesterfield, whose name alone is enough, wrote an article in his honor—an article worthy of both. It’s like the portrait of Anaxagoras drawn by Pericles. The Royal Academy of Sciences and Belles-Lettres of Prussia, even though it typically doesn’t give eulogies for foreign members, honored him in a way that only the renowned John Bernoulli had previously received. M. de Maupertuis, despite being unwell, took it upon himself to fulfill this last duty to his friend and wouldn't let anyone else do it. Together with these esteemed acknowledgments were the praises given to him, in the presence of one of us, by that very monarch to whom this celebrated Academy owes its prestige; a prince who feels the losses that Philosophy suffers and also offers her comfort.
The 17th of February the French Academy, according to custom, performed a solemn service for him, at which all the learned men of this body assisted. They ought to have placed the 'Spirit of Laws' upon his coffin, as heretofore they exposed, opposite to that of Raphael, his Transfiguration. This simple and affecting decoration would have been a fit funeral oration.
On February 17th, the French Academy, as per tradition, held a solemn service for him, attended by all the scholars of the organization. They should have placed the 'Spirit of Laws' on his coffin, just like they had displayed Raphael's Transfiguration opposite it before. This straightforward and moving tribute would have made an appropriate funeral speech.
M. de Montesquieu had, in company, an unvarying sweetness and gayety of temper. His conversation was spirited, agreeable, and instructive, because he had known so many great men. It was, like his style, concise, full of wit and sallies, without gall, and without satire. Nobody told a story more brilliantly, more readily, more gracefully, or with less affectation.
M. de Montesquieu was always cheerful and easygoing when he was with others. His conversations were lively, enjoyable, and educational because he had met so many influential people. His style was concise, filled with humor and quick remarks, free of bitterness and sarcasm. No one could tell a story more impressively, effortlessly, or gracefully, with less pretense.
His frequent absence of mind only made him the more amusing. He always roused himself to reanimate the conversation. The fire of his genius, his prodigality of ideas, gave rise to flashes of speech; but he never interrupted an interesting conversation; and he was attentive without affectation and without constraint. His conversation not only resembled his character and his genius, but had the method which he observed in his study. Though capable of long-continued meditation, he never exhausted his strength; he always left off application before he felt the least symptom of fatigue.
His frequent absent-mindedness only made him more entertaining. He always snapped back into the conversation with energy. The brilliance of his ideas sparked lively discussions; however, he never interrupted an interesting conversation. He listened attentively, without showing off or being uncomfortable. His conversation not only reflected his personality and intelligence but also had the structure he maintained in his studies. Although he was capable of deep thought for extended periods, he never wore himself out; he always stopped working before he felt even a hint of tiredness.
He was sensible to glory, but wished only to deserve it, and never tried to augment his own fame by underhand practices.
He was aware of glory but only wanted to earn it honestly, and he never tried to boost his own reputation through shady tactics.
Worthy of all distinctions, he asked none, and he was not surprised that he was forgot; but he has protected at court men of letters who were persecuted, celebrated, and unfortunate, and has obtained favors for them.
Worthy of all honors, he requested none, and he wasn't shocked that he was overlooked; however, he has supported at court writers who were oppressed, renowned, and unlucky, and has secured benefits for them.
Though he lived with the great, their company was not necessary to his happiness. He retired whenever he could to the country; there again with joy to welcome his philosophy, his books, and his repose. After having studied man in the commerce of the world, and in the history of nations, he studied him also among those simple people whom nature alone has instructed. From them he could learn something; he endeavored, like Socrates, to find out their genius; he appeared as happy thus as in the most brilliant assemblies, especially when he made up their differences, and comforted them by his beneficence.
Though he hung out with the important people, their company wasn’t essential for his happiness. He made sure to retreat to the countryside whenever he could; there he joyfully welcomed his philosophy, his books, and his peace. After studying humanity in the hustle and bustle of the world and the history of nations, he also took the time to learn from simple folks who had been taught only by nature. He sought to understand their true nature, similar to Socrates; he seemed just as happy there as he did in the most glamorous gatherings, especially when he helped resolve their conflicts and provided comfort through his kindness.
Nothing does greater honor to his memory than the economy with which he lived, and which has been blamed as excessive in a proud and avaricious age. He would not encroach on the provision for his family, even by his generosity to the unfortunate, or by those expenses which his travels, the weakness of his sight, and the printing of his works made necessary. He transmitted to his children, without diminution or augmentation, the estate which he received from his ancestors, adding nothing to it but the glory of his name and the example of his life. He had married, in 1715, dame Jane de Lartigue, daughter of Peter de Lartigue, lieutenant-colonel of the regiment of Molevrier, and had by her two daughters and one son.
Nothing honors his memory more than the way he lived simply, which has been criticized as excessive in a proud and greedy time. He would not touch the resources meant for his family, even with his generosity towards those in need or the expenses incurred from his travels, his eyesight weakening, and the publishing of his works. He passed down to his children, without any decrease or increase, the estate he inherited from his ancestors, adding nothing to it except the legacy of his name and the example of his life. He married Dame Jane de Lartigue in 1715, the daughter of Peter de Lartigue, a lieutenant-colonel of the Molevrier regiment, and they had two daughters and one son together.
Those who love truth and their country will not be displeased to find some of his maxims here. He thought: That every part of the State ought to be equally subject to the laws, but that the privileges of every part of the State ought to be respected when they do not oppose the natural right which obliges every citizen equally to contribute to the public good; that ancient possession was in this kind the first of titles, and the most inviolable of rights, which it was always unjust and sometimes dangerous to shake; that magistrates, in all circumstances, and notwithstanding their own advantage, ought to be magistrates without partiality and without passion, like the laws which absolve and punish without love or hatred. He said upon occasion of those ecclesiastical disputes which so much employed the Greek emperors and Christians, that theological disputes, when they are not confined to the schools, infallibly dishonor a nation in the eyes of its neighbors: in fact, the contempt in which wise men hold those quarrels does not vindicate the character of their country; because, sages making everywhere the least noise, and being the smallest number, it is never from them that the nation is judged.
Those who care about truth and their country won't be disappointed to find some of his principles here. He believed that every part of the State should be equally subject to the laws, but that the privileges of each part should be respected as long as they don't conflict with the natural right that requires every citizen to contribute to the public good. He thought that longstanding ownership was the first and most inviolable title, and it is always unjust, and sometimes dangerous, to challenge it. He maintained that magistrates, in all situations and regardless of their own interests, should act without bias or emotion, just like the laws that absolve or punish without love or hate. He commented on the ecclesiastical disputes that occupied the Greek emperors and Christians, stating that when theological arguments extend beyond the schools, they inevitably bring dishonor to a nation in the eyes of its neighbors. In fact, the disdain that wise people have for these conflicts does not reflect positively on their country; because sages, who make the least noise and are the smallest group, are never the ones by whom the nation is judged.
We look upon that special interest which M. de Montesquieu took in the (Encyclopedic) as one of the most honorable rewards of our labor. Perhaps the opposition which the work has met with, reminding him of his own experience, interested him the more in our favor. Perhaps he was sensible, without perceiving it, of that justice which we dared to do him in the first volume of the 'Encyclopedic,' when nobody as yet had ventured to say a word in his defense. He prepared for us an article upon 'Taste,' which has been found unfinished among his papers. We shall give it to the public in that condition, and treat it with the same respect that antiquity formerly showed to the last words of Seneca. Death prevented his giving us any further marks of his approval; and joining our own griefs with those of all Europe, we might write on his tomb:--
We regard M. de Montesquieu's special interest in the (Encyclopedic) as one of the most honorable rewards for our efforts. Maybe the resistance the work faced, echoing his own experiences, made him even more supportive of us. Perhaps he subconsciously recognized the fairness we showed him in the first volume of the 'Encyclopedic,' at a time when no one else had dared to defend him. He prepared an article for us on 'Taste,' which was found unfinished among his papers. We will publish it as it is and treat it with the same respect that ancient times paid to Seneca's last words. His death stopped him from providing us with any more signs of approval; and sharing in our sorrow with all of Europe, we might write on his tomb:--
"Finis vita ejus nobis luctuosus, patriae tristis, extraneis etiam
ignotisque non sine cura fuit."
"The end of his life was mournful for us, sorrowful for his homeland, and even to strangers and unknown people, it was not without concern."
VITTORIO ALFIERI
(1749-1803)
BY L. OSCAR KUHNS
talian literature during the eighteenth century, although it could boast of no names in any way comparable with those of Dante, Petrarch, Ariosto, and Tasso, showed still a vast improvement on the degradation of the preceding century. Among the most famous writers of the times--Goldoni, Parini, Metastasio--none is so great or so famous as Vittorio Alfieri, the founder of Italian tragedy. The story of his life and of his literary activity, as told by himself in his memoirs, is one of extreme interest. Born at Asti, on January 17th, 1749, of a wealthy and noble family, he grew up to manhood singularly deficient in knowledge and culture, and without the slightest interest in literature. He was "uneducated," to use his own phrase, in the Academy of Turin. It was only after a long tour in Italy, France, Holland, and England, that, recognizing his own ignorance, he went to Florence to begin serious work.
Italian literature in the eighteenth century, while lacking figures comparable to Dante, Petrarch, Ariosto, and Tasso, still showed significant improvement over the decline of the previous century. Among the most notable writers of the time—Goldoni, Parini, Metastasio—none is as great or as well-known as Vittorio Alfieri, the founder of Italian tragedy. The story of his life and literary career, as recounted in his memoirs, is incredibly interesting. Born in Asti on January 17th, 1749, into a wealthy and noble family, he grew up lacking knowledge and culture, and had no interest in literature whatsoever. He described himself as "uneducated" during his time at the Academy of Turin. It was only after a long journey through Italy, France, Holland, and England that he recognized his ignorance and moved to Florence to start serious work.
At the age of twenty-seven a sudden revelation of his dramatic power came to him, and with passionate energy he spent the rest of his life in laborious study and in efforts to make himself worthy of a place among the poets of his native land. Practically he had to learn everything; for he himself tells us that he had "an almost total ignorance of the rules of dramatic composition, and an unskillfulness almost total in the divine and most necessary art of writing well and handling his own language."
At the age of twenty-seven, he had a sudden realization of his dramatic talent, and with intense drive, he devoted the rest of his life to hard study and working to earn a spot among the poets of his home country. Essentially, he had to learn everything from scratch; he himself says that he had "an almost total ignorance of the rules of dramatic composition, and an unskillfulness almost total in the divine and most necessary art of writing well and handling his own language."
His private life was eventful, chiefly through his many sentimental attachments, its deepest experience being his profound love and friendship for the Countess of Albany,--Louise Stolberg, mistress and afterward wife of the "Young Pretender," who passed under the title of Count of Albany, and from whom she was finally divorced. The production of Alfieri's tragedies began with the sketch called 'Cleopatra,' in 1775, and lasted till 1789, when a complete edition, by Didot, appeared in Paris. His only important prose work is his 'Auto-biography' begun in 1790 and ended in the year of his death, 1803. Although he wrote several comedies and a number of sonnets and satires,--which do not often rise above mediocrity,--it is as a tragic poet that he is known to fame. Before him--though Goldoni had successfully imitated Molière in comedy, and Metastasio had become enormously popular as the poet of love and the opera--no tragedies had been written in Italy which deserved to be compared with the great dramas of France, Spain, and England. Indeed, it had been said that tragedy was not adapted to the Italian tongue or character. It remained for Alfieri to prove the falsity of this theory.
His private life was full of events, mainly due to his many romantic relationships. The most significant experience was his deep love and friendship for the Countess of Albany—Louise Stolberg, who was the mistress and later the wife of the "Young Pretender," known as the Count of Albany, from whom she was eventually divorced. Alfieri started writing his tragedies with a draft titled 'Cleopatra' in 1775, and this process continued until 1789, when a complete edition published by Didot was released in Paris. His only major prose work is his 'Autobiography,' which he began in 1790 and completed in the year of his death, 1803. While he did write several comedies and a number of sonnets and satires—most of which are just average—he is primarily recognized as a tragic poet. Before him, even though Goldoni had successfully mimicked Molière in comedy and Metastasio had gained immense popularity as a love poet and in opera, there had been no tragedies in Italy that could be compared to the great dramas of France, Spain, and England. In fact, it was said that tragedy was not suitable for the Italian language or culture. It was left to Alfieri to prove this belief wrong.
Always sensitive to the charge of plagiarism, Alfieri declared that whether his tragedies were good or bad, they were at least his own. This is true to a certain extent. And yet he was influenced more than he was willing to acknowledge by the French dramatists of the seventeenth century. In common with Corneille and Racine, he observed strictly the three unities of time, place, and action. But the courtliness of language, the grace and poetry of the French dramas, and especially the tender love of Racine, are altogether lacking with him.
Always aware of accusations of plagiarism, Alfieri claimed that, whether his tragedies were good or bad, they were at least his own. This is partly true. However, he was influenced more than he was willing to admit by the French playwrights of the seventeenth century. Like Corneille and Racine, he strictly followed the three unities of time, place, and action. But the elegance of language, the beauty and poetry of the French plays, and especially the soft love found in Racine's works, are completely absent in his.
Alfieri had a certain definite theory of tragedy which he followed with unswerving fidelity. He aimed at the simplicity and directness of the Greek drama. He sought to give one clear, definite action, which should advance in a straight line from beginning to end, without deviation, and carry along the characters--who are, for the most part, helplessly entangled in the toils of a relentless fate--to an inevitable destruction. For this reason the well-known confidantes of the French stage were discarded, no secondary action or episodes were admitted, and the whole play was shortened to a little more than two-thirds of the average French classic drama. Whatever originality Alfieri possessed did not show itself in the choice of subjects, which are nearly all well known and had often been used before. From Racine he took 'Polynice,' 'Merope' had been treated by Maffei and Voltaire, and Shakespeare had immortalized the story of Brutus. The situations and events are often conventional; the passions are those familiar to the stage,--jealousy, revenge, hatred, and unhappy love. And yet Alfieri has treated these subjects in a way which differs from all others, and which stamps them, in a certain sense, as his own. With him all is sombre and melancholy; the scene is utterly unrelieved by humor, by the flowers of poetry, or by that deep-hearted sympathy--the pity of it all--which softens the tragic effect of Shakespeare's plays.
Alfieri had a clear theory of tragedy that he followed with unwavering commitment. He aimed for the simplicity and straightforwardness of Greek drama. He focused on one clear, direct action that would progress in a straight line from start to finish, without deviation, driving the characters—who are mostly helplessly caught in the grip of an unyielding fate—toward inevitable destruction. For this reason, the well-known confidantes of French theatre were eliminated, no secondary actions or episodes were included, and the entire play was condensed to just over two-thirds of the length of an average French classic drama. Any originality Alfieri had didn't come from the choice of subjects, which are mostly familiar and had been used many times before. He took 'Polynice' from Racine, 'Merope' had been handled by Maffei and Voltaire, and Shakespeare had made the story of Brutus famous. The situations and events are often conventional; the passions are those common to the stage—jealousy, revenge, hatred, and unrequited love. Still, Alfieri approached these themes in a way that sets them apart, giving them a unique stamp of his own. With him, everything is dark and mournful; the scenes lack relief from humor, the beauty of poetry, or that deep-hearted sympathy—the tragedy of it all—that tempers the emotional impact of Shakespeare's plays.
Alfieri seemed to be attracted toward the most horrible phases of human life, and the most terrible events of history and tradition. The passions he describes are those of unnatural love, of jealousy between father and son, of fratricidal hatred, or those in which a sense of duty and love for liberty triumphs over the ties of filial and parental love. In treating the story of the second Brutus, it was not enough for his purpose to have Caesar murdered by his friend; but, availing himself of an unproven tradition, he makes Brutus the son of Caesar, and thus a parricide.
Alfieri seemed drawn to the darkest aspects of human life and the most horrific events in history and tradition. The emotions he portrays include unnatural love, jealousy between father and son, fratricidal hatred, and situations where a sense of duty and love for freedom overcomes familial bonds. In telling the story of the second Brutus, it wasn’t enough for him to have Caesar killed by his friend; instead, tapping into an unverified tradition, he makes Brutus the son of Caesar, thereby making him a parricide.
It is interesting to notice his vocabulary; to see how constantly he uses such words as "atrocious," "horror," "terrible," "incest," "rivers," "streams," "lakes," and "seas" of blood. The exclamation, "Oh, rage" occurs on almost every page. Death, murder, suicide, is the outcome of every tragedy.
It’s interesting to observe his vocabulary; to see how frequently he uses words like "atrocious," "horror," "terrible," "incest," "rivers," "streams," "lakes," and "seas" of blood. The exclamation, "Oh, rage" appears on almost every page. Death, murder, and suicide result from every tragedy.
The actors are few,--in many plays only four,--and each represents a certain passion. They never change, but remain true to their characters from beginning to end. The villains are monsters of cruelty and vice, and the innocent and virtuous are invariably their victims, and succumb at last.
The cast is small—often just four actors—and each one embodies a specific emotion. They never change, staying consistent with their roles from start to finish. The villains are cruel and immoral, while the innocent and virtuous are always their targets, ultimately falling victim to them.
Alfieri's purpose in producing these plays was not to amuse an idle public, but to promulgate throughout his native land--then under Spanish domination--the great and lofty principle of liberty which inspired his whole life. A deep, uncompromising hatred of kings is seen in every drama, where invariably a tyrant figures as the villain. There is a constant declamation against tyranny and slavery. Liberty is portrayed as something dearer than life itself. The struggle for freedom forms the subjects of five of his plays,--'Virginia,' 'The Conspiracy of the Pazzi,' 'Timoleon,' the 'First Brutus,' and the 'Second Brutus.' One of these is dedicated to George Washington--'Liberator dell' America.' The warmth of feeling with which, in the 'Conspiracy of the Pazzi,' the degradation and slavery of Florence under the Medici is depicted, betrays clearly Alfieri's sense of the political state of Italy in his own day. And the poet undoubtedly has gained the gratitude of his countrymen for his voicing of that love for liberty which has always existed in their hearts.
Alfieri's goal in writing these plays wasn't to entertain an idle audience but to spread the powerful idea of liberty throughout his homeland, which was then under Spanish rule. A deep, unwavering hatred of kings is evident in every drama, where a tyrant consistently plays the role of the villain. There’s a continual outcry against tyranny and oppression. Liberty is depicted as something more precious than life itself. The fight for freedom is the theme of five of his plays—'Virginia,' 'The Conspiracy of the Pazzi,' 'Timoleon,' 'First Brutus,' and 'Second Brutus.' One of these is dedicated to George Washington—'Liberator dell' America.' The passionate way in which the 'Conspiracy of the Pazzi' portrays the degradation and subjugation of Florence under the Medici clearly reveals Alfieri's awareness of Italy's political situation during his time. The poet has undoubtedly earned the gratitude of his fellow countrymen for expressing their long-held love for freedom.
Just as Alfieri sought to condense the action of his plays, so he strove for brevity and condensation in language. His method of composing was peculiar. He first sketched his play in prose, then worked it over in poetry, often spending years in the process of rewriting and polishing. In his indomitable energy, his persistence in labor, and his determination to acquire a fitting style, he reminds us of Balzac. His brevity of language--which shows itself most strikingly in the omission of articles, and in the number of broken exclamations--gives his pages a certain sententiousness, almost like proverbs. He purposely renounced all attempts at the graces and flowers of poetry.
Just like Alfieri aimed to streamline the action in his plays, he also focused on being concise and clear in his language. His writing process was unique. He would first outline his play in prose, then rewrite it in poetry, often spending years revising and refining it. His unwavering energy, relentless work ethic, and commitment to finding the right style remind us of Balzac. His concise language—clearly seen in how he drops articles and uses many fragmented exclamations—gives his writing a certain weightiness, almost like proverbs. He intentionally avoided any attempts at the embellishments and flourishes of poetry.
It is hard for the lover of Shakespearean tragedy to be just to the merits of Alfieri. There is a uniformity, or even a monotony, in these nineteen plays, whose characters are more or less alike, whose method of procedure is the same, whose sentiments are analogous, and in which an activity devoid of incident hurries the reader to an inevitable conclusion, foreseen from the first act.
It’s tough for someone who loves Shakespearean tragedy to be fair to Alfieri’s work. There’s a sameness, or even a dullness, in these nineteen plays, where the characters are pretty much the same, the approach is consistent, the feelings are similar, and a lack of event pushes the reader toward a conclusion that’s obvious from the first act.
And yet the student cannot fail to detect great tragic power, sombre and often unnatural, but never producing that sense of the ridiculous which sometimes mars the effect of Victor Hugo's dramas. The plots are never obscure, the language is never trivial, and the play ends with a climax which leaves a profound impression.
And yet the student can't help but notice a strong sense of tragedy, dark and often unnatural, but it never crosses into being ridiculous like some of Victor Hugo's plays. The plots are always clear, the language is never simplistic, and the play concludes with a climax that leaves a lasting impact.
The very nature of Alfieri's tragedies makes it difficult to represent him without giving a complete play. The following extracts, however, illustrate admirably the horror and power of his climaxes.
The very nature of Alfieri's tragedies makes it hard to represent him without presenting a whole play. The following excerpts, however, effectively showcase the horror and intensity of his climaxes.
AGAMEMNON
[During the absence of Agamemnon at the siege of Troy, Aegisthus, son of Thyestes and the relentless enemy of the House of Atreus, wins the love of Clytemnestra, and with devilish ingenuity persuades her that the only way to save her life and his is to slay her husband.]
[While Agamemnon is away at the siege of Troy, Aegisthus, the son of Thyestes and a bitter enemy of the House of Atreus, wins Clytemnestra's love and, with cunning deceit, convinces her that the only way to save their lives is to kill her husband.]
ACT IV--SCENE I
AEGISTHUS--CLYTEMNESTRA
Aegisthus--To be a banished man, ... to fly, ... to die:
... These are the only means that I have left.
Thou, far from me, deprived of every hope
Of seeing me again, wilt from thy heart
Have quickly chased my image: great Atrides
Will wake a far superior passion there;
Thou, in his presence, many happy days
Wilt thou enjoy--These auspices may Heaven
Confirm--I cannot now evince to thee
A surer proof of love than by my flight; ...
A dreadful, hard, irrevocable proof.
Clytemnestra--If there be need of death, we both will die!--
But is there nothing left to try ere this?
Aegis.--Another plan, perchance, e'en now remains; ...
But little worthy ...
Cly.--And it is--
Aegis.--Too cruel.
Cly.--But certain?
Aegis. Certain, ah, too much so!
Cly.--How
Canst thou hide it from me?
Aegis.--How canst thou
Of me demand it?
Cly.--What then may it be? ...
I know not ... Speak: I am too far advanced;
I cannot now retract: perchance already
I am suspected by Atrides; maybe
He has the right already to despise me:
Hence do I feel constrained, e'en now, to hate him;
I cannot longer in his presence live;
I neither will, nor dare.--Do thou, Aegisthus,
Teach me a means, whatever it may be,
A means by which I may withdraw myself
From him forever.
Aegis.--Thou withdraw thyself
From him? I have already said to thee
That now 'tis utterly impossible.
Cly.--What other step remains for me to take? ...
Aegis.--None.
Cly.--Now I understand thee.--What a flash.
Oh, what a deadly, instantaneous flash
Of criminal conviction rushes through
My obtuse mind! What throbbing turbulence
In ev'ry vein I feel!--I understand thee:
The cruel remedy ... the only one ...
Is Agamemnon's life-blood.
Aegis.--I am silent ...
Cly.--Yet, by thy silence, thou dost ask that blood.
Aegis.--Nay, rather I forbid it.--To our love
And to thy life (of mine I do not speak)
His living is the only obstacle;
But yet, thou knowest that his life is sacred:
To love, respect, defend it, thou art bound;
And I to tremble at it.--Let us cease:
The hour advances now; my long discourse
Might give occasion to suspicious thoughts.--
At length receive ... Aegisthus's last farewell.
Cly.--Ah! hear me ... Agamemnon to our love ...
And to thy life? ... Ah, yes; there are, besides him,
No other obstacles: too certainly
His life is death to us!
Aegis.--Ah! do not heed
My words: they spring from too much love.
Cly.--And love
Revealed to me their meaning.
Aegis.--Hast thou not
Thy mind o'erwhelmed with horror?
Cly.--Horror? ... yes; ...
But then to part from thee! ...
Aegis.--Wouldst have the courage? ...
Cly.--So vast my love, it puts an end to fear.
Aegis.--But the king lives surrounded by his friends:
What sword would find a passage to his heart?
Cly.--What sword?
Aegis.--Here open violence were vain.
Cly.--Yet, ... treachery! ...
Aegis.--'Tis true, he merits not
To be betrayed, Atrides: he who loves
His wife so well; he who, enchained from Troy,
In semblance of a slave in fetters, brought
Cassandra, whom he loves, to whom he is
Himself a slave ...
Cly.--What do I hear!
Aegis.--Meanwhile
Expect that when of thee his love is wearied,
He will divide with her his throne and bed;
Expect that, to thy many other wrongs,
Shame will be added: and do thou alone
Not be exasperated at a deed
That rouses every Argive.
Cly.--What said'st thou? ...
Cassandra chosen as my rival? ...
Aegis.--So
Atrides wills.
Cly.--Then let Atrides perish.
Aegis.--How? By what hand?
Cly.--By mine, this very night,
Within that bed which he expects to share
With this abhorred slave.
Aegis.--O Heavens! but think ...
Cly.--I am resolved ...
Aegis.--Shouldst thou repent? ...
Cly.--I do
That I so long delayed.
Aegis.--And yet ...
Cly.--I'll do it;
I, e'en if thou wilt not. Shall I let thee,
Who only dost deserve my love, be dragged
To cruel death? And shall I let him live
Who cares not for my love? I swear to thee,
To-morrow thou shalt be the king in Argos.
Nor shall my hand, nor shall my bosom tremble ...
But who approaches?
Aegis.--'Tis Electra ...
Cly.--Heavens!
Let us avoid her. Do thou trust in me.
SCENE II
ELECTRA
Electra--Aegisthus flies from me, and he does well;
But I behold that likewise from my sight
My mother seeks to fly. Infatuated
And wretched mother! She could not resist
The guilty eagerness for the last time
To see Aegisthus.--They have here, at length,
Conferred together ... But Aegisthus seems
Too much elated, and too confident,
For one condemned to exile ... She appeared
Like one disturbed in thought, but more possessed
With anger and resentment than with grief ...
O Heavens! who knows to what that miscreant base,
With his infernal arts, may have impelled her!
To what extremities have wrought her up!...
Now, now, indeed, I tremble: what misdeeds,
How black in kind, how manifold in number,
Do I behold! ... Yet, if I speak, I kill
My mother: ... If I'm silent--? ...
ACT V--SCENE II
AEGISTHUS--CLYTEMNESTRA
Aegis.--Hast thou performed the deed?
Cly.--Aegisthus ...
Aegis.--What do I behold? O woman,
What dost thou here, dissolved in useless tears?
Tears are unprofitable, late, and vain;
And they may cost us dear.
Cly.--Thou here? ... but how? ...
Wretch that I am! what have I promised thee?
What impious counsel? ...
Aegis.--Was not thine the counsel?
Love gave it thee, and fear recants it.--Now,
Since thou'rt repentant, I am satisfied;
Soothed by reflecting that thou art not guilty,
I shall at least expire. To thee I said
How difficult the enterprise would be;
But thou, depending more than it became thee
On that which is not in thee, virile courage,
Daredst thyself thy own unwarlike hand
For such a blow select. May Heaven permit
That the mere project of a deed like this
May not be fatal to thee! I by stealth,
Protected by the darkness, hither came,
And unobserved, I hope. I was constrained
To bring the news myself, that now my life
Is irrecoverably forfeited
To the king's vengeance...
Cly.--What is this I hear?
Whence didst thou learn it?
Aegis.--More than he would wish
Atrides hath discovered of our love;
And I already from him have received
A strict command not to depart from Argos.
And further, I am summoned to his presence
Soon as to-morrow dawns: thou seest well
That such a conference to me is death.
But fear not; for I will all means employ
To bear myself the undivided blame.
Cly.--What do I hear? Atrides knows it all?
Aegis.--He knows too much: I have but one choice left:
It will be best for me to 'scape by death,
By self-inflicted death, this dangerous inquest.
I save my honor thus; and free myself
From an opprobrious end. I hither came
To give thee my last warning: and to take
My last farewell... Oh, live; and may thy fame
Live with thee, unimpeached! All thoughts of pity
For me now lay aside; if I'm allowed
By my own hand, for thy sake, to expire,
I am supremely blest.
Cly.--Alas!... Aegisthus...
What a tumultuous passion rages now
Within my bosom, when I hear thee speak!...
And is it true?... Thy death...
Aegis.--Is more than certain....
Cly.--And I'm thy murderer!...
Aegis.--I seek thy safety.
Cly.--What wicked fury from Avernus' shore,
Aegisthus, guides thy steps? Oh, I had died
Of grief, if I had never seen thee more;
But guiltless I had died: spite of myself,
Now, by thy presence, I already am
Again impelled to this tremendous crime...
An anguish, an unutterable anguish,
Invades my bones, invades my every fibre...
And can it be that this alone can save thee?...
But who revealed our love?
Aegis.--To speak of thee,
Who but Electra to her father dare?
Who to the monarch breathe thy name but she?
Thy impious daughter in thy bosom thrusts
The fatal sword; and ere she takes thy life,
Would rob thee of thy honor.
Cly.--And ought I
This to believe?... Alas!...
Aegis.--Believe it, then,
On the authority of this my sword,
If thou believ'st it not on mine. At least
I'll die in time...
Cly.--O Heavens! what wouldst thou do?
Sheathe, I command thee, sheathe that fatal sword.--Oh,
night of horrors!... hear me... Perhaps Atrides
Has not resolved...
Aegis.--What boots this hesitation?...
Atrides injured, and Atrides king,
Meditates nothing in his haughty mind
But blood and vengeance. Certain is my death,
Thine is uncertain: but reflect, O queen,
To what thou'rt destined, if he spare thy life.
And were I seen to enter here alone,
And at so late an hour... Alas, what fears
Harrow my bosom when I think of thee!
Soon will the dawn of day deliver thee
From racking doubt; that dawn I ne'er shall see:
I am resolved to die:...--Farewell... forever!
Cly.--Stay, stay... Thou shalt not die.
Aegis.--By no man's hand
Assuredly, except my own:--or thine,
If so thou wilt. Ah, perpetrate the deed;
Kill me; and drag me, palpitating yet,
Before thy judge austere: my blood will be
A proud acquittance for thee.
Cly.--Madd'ning thought!...
Wretch that I am!... Shall I be thy assassin?...
Aegis.--Shame on thy hand, that cannot either kill
Who most adores thee, or who most detests thee!
Mine then must serve....
Cly.--Ah!... no....
Aegis.--Dost thou desire
Me, or Atrides, dead?
Cly.--Ah! what a choice!...
Aegis.--Thou art compelled to choose.
Cly.--I death inflict ...
Aegis.--Or death receive; when thou hast witnessed mine.
Cly.--Ah, then the crime is too inevitable!
Aegis.--The time now presses.
Cly.--But ... the courage ... strength? ...
Aegis.--Strength, courage, all, will love impart to thee.
Cly.--Must I then with this trembling hand of mine
Plunge ... in my husband's heart ... the sword? ...
Aegis.--The blows
Thou wilt redouble with a steady hand
In the hard heart of him who slew thy daughter.
Cly.--Far from my hand I hurled the sword in anguish.
Aegis.--Behold a steel, and of another temper:
The clotted blood-drops of Thyestes's sons
Still stiffen on its frame: do not delay
To furbish it once more in the vile blood
Of Atreus; go, be quick: there now remain
But a few moments; go. If awkwardly
The blow thou aimest, or if thou shouldst be
Again repentant, lady, ere 'tis struck,
Do not thou any more tow'rd these apartments
Thy footsteps turn: by my own hands destroyed,
Here wouldst thou find me in a sea of blood
Immersed. Now go, and tremble not; be bold.
Enter and save us by his death.--
SCENE III
AEGISTHUS
Aegis. Come forth,
Thyestes, from profound Avernus; come,
Now is the time; within this palace now
Display thy dreadful shade. A copious banquet
Of blood is now prepared for thee, enjoy it;
Already o'er the heart of thy foe's son
Hangs the suspended sword; now, now, he feels it:
An impious consort grasps it; it was fitting
That she, not I, did this: so much more sweet
To thee will be the vengeance, as the crime
Is more atrocious.... An attentive ear
Lend to the dire catastrophe with me;
Doubt not she will accomplish it: disdain,
Love, terror, to the necessary crime
Compel the impious woman.--
AGAMEMNON (within)
Aga.--Treason! Ah! ...
My wife?.. O Heavens!.. I die... O traitorous deed!
Aegis.--Die, thou--yes, die! And thou redouble, woman.
The blows redouble; all the weapon hide
Within his heart; shed, to the latest drop,
The blood of that fell miscreant: in our blood
He would have bathed his hands.
SCENE IV
CLYTEMNESTRA--AESGISTHUS
Cly.--What have I done?
Where am I?...
Aegis.--Thou hast slain the tyrant: now
At length thou'rt worthy of me.
Cly.--See, with blood
The dagger drips;... my hands, my face, my garments,
All, all are blood... Oh, for a deed like this,
What vengeance will be wreaked!... I see already
Already to my breast that very steel
I see hurled back, and by what hand! I freeze,
I faint, I shudder, I dissolve with horror.
My strength, my utterance, fail me. Where am I?
What have I done?... Alas!...
Aegis.--Tremendous cries
Resound on every side throughout the palace:
'Tis time to show the Argives what I am,
And reap the harvest of my long endurance.
SCENE V
ELECTRA--AEGISTHUS
Elec.--It still remains for thee to murder me,
Thou impious, vile assassin of my father ...
But what do I behold? O Heavens! ... my mother? ...
Flagitious woman, dost thou grasp the sword?
Didst thou commit the murder?
Aegis.--Hold thy peace.
Stop not my path thus; quickly I return;
Tremble: for now that I am king of Argos,
Far more important is it that I kill
Orestes than Electra.
SCENE VI
CLYTEMNESTRA--ELECTRA
Cly.--Heavens! ... Orestes? ...
Aegisthus, now I know thee....
Elec.--Give it me:
Give me that steel.
Cly.--Aegisthus! ... Stop! ... Wilt thou
Murder my son? Thou first shalt murder me.
SCENE VII
ELECTRA
Elec.--O night! ... O father! ... Ah, it was your deed,
Ye gods, this thought of mine to place Orestes
In safety first.--Thou wilt not find him, traitor.--
Ah live, Orestes, live: and I will keep
This impious steel for thy adult right hand.
The day, I hope, will come, when I in Argos
Shall see thee the avenger of thy father.
Translation of Edgar Alfred Bowring, Bohn's Library.
ACT IV--SCENE I
AEGISTHUS--CLYTEMNESTRA
Aegisthus--To be a fugitive, to run away, to die:
... These are the only options left for me.
You, far from me, stripped of all hope
Of seeing me again, will quickly erase my image from your heart:
Great Atrides will ignite a much deeper passion in you;
With him, you will enjoy many happy days—
May Heaven confirm these signs.
I can no longer show you a clearer proof of love than my departure; ...
A dreadful, hard, irreversible proof.
Clytemnestra--If death is necessary, we both will die!—
But is there nothing left to try before this?
Aegis.--Maybe there is one more plan, ...
But it’s not very noble ...
Cly.--And what is it?—
Aegis.--Too cruel.
Cly.--But is it certain?
Aegis.—It’s certain, oh, too certain!
Cly.—How
Can you keep this from me?
Aegis.—How can you
Demand it from me?
Cly.—What is it then? ...
I don’t know ... Speak: I'm too far gone;
I can’t take it back now: perhaps already
Atrides suspects me; maybe
He has the right to despise me:
Thus, I feel compelled, even now, to hate him;
I can no longer live in his presence;
I won’t, nor dare I.—Do you, Aegisthus,
Teach me a way, whatever it may be,
A way for me to free myself
From him forever.
Aegis.—To free yourself
From him? I’ve already told you
That it’s totally impossible now.
Cly.—What other step do I have left to take? ...
Aegis.—None.
Cly.—Now I understand you.—What a flash.
Oh, what a deadly, sudden rush
Of criminal conviction floods my dull mind!
What throbbing turbulence
In every vein I feel!—I understand you:
The cruel remedy ... the only one ...
Is Agamemnon's blood.
Aegis.—I am silent ...
Cly.—Yet, by your silence, you call for that blood.
Aegis.—No, rather I forbid it.—To our love
And to your life (I do not speak of mine)
His life is the only obstacle;
But still, you know that his life is sacred:
To love, respect, and defend it, you are bound;
And I must tremble at it.—Let’s stop:
Time is running out; my lengthy talk
Might raise suspicious thoughts.—
At last receive ... Aegisthus's last farewell.
Cly.—Ah! hear me ... Agamemnon to our love ...
And to your life? ... Ah, yes; besides him,
There are no other obstacles: too surely
His life is death to us!
Aegis.—Ah! do not heed
My words: they come from too much love.
Cly.—And love
Revealed to me their meaning.
Aegis.—Have you not
Your thoughts overwhelmed with horror?
Cly.—Horror? ... yes; ...
But then to part from you! ...
Aegis.—Would you have the courage? ...
Cly.—My love is so immense, it eliminates fear.
Aegis.—But the king lives surrounded by his friends:
What sword would find its way to his heart?
Cly.—What sword?
Aegis.—Here open violence would be futile.
Cly.—Yet, ... treachery! ...
Aegis.—It’s true, he does not deserve
To be betrayed, Atrides: he who loves
His wife so dearly; he who, chained from Troy,
In the guise of a slave brought
Cassandra, whom he loves, to whom he is
Himself a slave ...
Cly.—What do I hear!
Aegis.—Meanwhile,
Expect that when his love for you wears thin,
He will share his throne and bed with her;
Expect that, to your many other wrongs,
Shame will be added: and do not be
Angered at a deed
That stirs every Argive.
Cly.—What did you say? ...
Cassandra chosen as my rival? ...
Aegis.—So
Atrides wants.
Cly.—Then let Atrides perish.
Aegis.—How? By what hand?
Cly.—By mine, this very night,
Within that bed that he expects to share
With this loathsome slave.
Aegis.—Oh Heavens! but think ...
Cly.—I am resolved ...
Aegis.—If you should repent? ...
Cly.—I regret
That I delayed for so long.
Aegis.—And yet ...
Cly.—I’ll do it;
I, even if you do not. Should I allow you,
Who only deserve my love, to be dragged
To a cruel death? And shall I let him live
Who does not care for my love? I swear to you,
Tomorrow you shall be the king in Argos.
Nor shall my hand, nor shall my heart tremble ...
But who approaches?
Aegis.—It’s Electra ...
Cly.—Heavens!
Let’s avoid her. Trust in me.
SCENE II
ELECTRA
Electra—Aegisthus runs from me, and he’s right to do so;
But I see that my mother seeks to escape my sight as well.
Infatuated and wretched mother! She could not resist
The guilty eagerness for one last look
At Aegisthus.—They have finally conferred together ...
But Aegisthus seems
Too elated and too confident,
For one condemned to exile ... She appeared
Disturbed in thought, but more filled
With anger and resentment than with grief ...
Oh Heavens! who knows what that despicable guy,
With his infernal tricks, might have pushed her to!
What extremes has he stirred her up to!...
Now, indeed, I tremble: what misdeeds,
How wicked and numerous,
Do I now see! ... Yet, if I speak, I would kill
My mother: ... If I remain silent—? ...
ACT V--SCENE II
AEGISTHUS--CLYTEMNESTRA
Aegis.—Have you done the deed?
Cly.—Aegisthus ...
Aegis.—What do I see? Oh woman,
What are you doing here, soaked in useless tears?
Tears are unhelpful, too late, and in vain;
And they might cost us dearly.
Cly.—You here? ... but how? ...
Wretch that I am! What have I promised you?
What wicked counsel? ...
Aegis.—Wasn't it your counsel?
Love gave it to you, and fear takes it back.—Now,
Since you’re regretting it, I am satisfied;
Relieved to think that you are not guilty,
I will at least die in peace. I told you
How difficult this task would be;
But you, depending more than was wise
On what is lacking in you, masculine courage,
Dared to trust your own unwarrior-like hand
For such a strike. May Heaven allow
That the mere thought of a deed like this
May not be fatal for you! I came here stealthily,
Protected by the darkness, and hope I went unnoticed.
I had to bring the news myself, that now my life
Is irretrievably forfeited
To the king’s vengeance...
Cly.—What is this I hear?
Where did you learn this?
Aegis.—More than he would like,
Atrides knows about our love;
And I’ve already received from him
A strict command not to leave Argos.
And I am also summoned to see him
As soon as tomorrow dawns: you can see well
That such a meeting is death for me.
But do not worry; I will do everything I can
To take the blame entirely on myself.
Cly.—What do I hear? Atrides knows it all?
Aegis.—He knows too much: I have but one choice left:
It will be best for me to escape by death,
By self-inflicted death, from this dangerous investigation.
This way I save my honor; and free myself
From a disgraceful end. I came here
To give you my last warning: and to bid
My final farewell... Oh, live, and may your reputation
Live with you, untainted! All thoughts of pity
For me now put aside; if I am allowed
By my own hand, for your sake, to die,
I am supremely blessed.
Cly.—Alas!... Aegisthus...
What a tumultuous passion rages now
Within my chest, when I hear you speak!...
And is it true?... Your death...
Aegis.—Is more than certain....
Cly.—And I’m your murderer!...
Aegis.—I seek your safety.
Cly.—What wicked fury from the shores of Avernus,
Aegisthus, guides your steps? Oh, I would have died
Of grief if I had never seen you again;
But guiltlessly I would have died: despite myself,
Now, with your presence, I am again
Driven to this awful crime...
An anguish, an unutterable anguish,
Invades my bones, invades my every fiber...
And can it be that this alone can save you?...
But who revealed our love?
Aegis.—To speak of you,
Who but Electra would dare to her father?
Who would breathe your name to the monarch but she?
Your treacherous daughter thrusts
The fatal sword into your chest; and before she takes your life,
Would strip you of your honor.
Cly.—And should I
Believe this?... Alas!...
Aegis.—Believe it, then,
On the authority of this sword,
If you do not believe it on mine. At least
I’ll die in time...
Cly.—Oh Heavens! what would you do?
Sheathe, I command you, sheathe that fatal sword.—Oh,
night of horrors!... hear me... Perhaps Atrides
Has not made up his mind yet...
Aegis.—What good is this hesitation?...
Atrides wronged, and Atrides king,
Thinks of nothing in his proud mind
But blood and revenge. My death is certain,
Yours is uncertain: but think, oh queen,
What awaits you if he spares your life.
And if it were seen that I entered here alone,
And at such a late hour... Alas, what fears
Tear at my heart when I think of you!
Soon the break of day will free you
From tormenting doubt; that dawn I’ll never see:
I am resolved to die:...—Farewell... forever!
Cly.—Stay, stay... You shall not die.
Aegis.—By no man's hand
Except my own:—or yours,
If you so desire. Ah, carry out the deed;
Kill me; and drag me, still pounding,
Before your austere judge: my blood will be
A proud acquittal for you.
Cly.—Maddening thought!...
Wretch that I am!... Shall I be your assassin?...
Aegis.—Shame on your hand, that cannot kill
Who most adores you, or who most detests you!
Mine then must serve....
Cly.—Ah!... no....
Aegis.—Do you desire
Me, or Atrides, dead?
Cly.—Ah! what a choice!...
Aegis.—You are forced to choose.
Cly.—I will inflict death ...
Aegis.—Or receive death; once you witness mine.
Cly.—Ah, then the crime is too inevitable!
Aegis.—Time is running out.
Cly.—But ... the courage ... strength? ...
Aegis.—Strength, courage, everything, love will give you.
Cly.—Must I then with this trembling hand of mine
Plunge ... in my husband's heart ... the sword? ...
Aegis.—You will strike
With a steady hand in the hard heart of him who killed your daughter.
Cly.—I threw the sword from my hand in anguish.
Aegis.—Behold a steel, of another kind:
The clotted blood-drops of Thyestes's sons
Still cling to it: don’t delay
To sharpen it once more with the vile blood
Of Atreus; hurry now: a few moments remain; go. If awkwardly
The blow you aim, or if you should be
Again hesitant, lady, before it’s struck,
Turn your footsteps away from these quarters:
By my own hand destroyed,
Here will you find me immersed in blood.
Now go, and do not tremble; be brave.
Enter and save us by his death.—
SCENE III
AEGISTHUS
Aegis. Come forth,
Thyestes, from deep Avernus; come,
Now is the time; within this palace now
Show your dreadful shade. A copious banquet
Of blood is now prepared for you, enjoy it;
Already over the heart of your foe's son
Hangs the suspended sword; now, now, he feels it:
An impious partner grasps it; it was fitting
That she, not I, did this: so much more sweet
To you will be the vengeance, as the crime
Is more heinous.... Lend an attentive ear
To the dire catastrophe with me;
Do not doubt she will carry it out: disdain,
Love, terror, compel the wicked woman to the necessary crime.--
AGAMEMNON (within)
Aga.—Treason! Ah!...
My wife?.. Oh Heavens!.. I die... Oh treacherous deed!
Aegis.—Die, yes, die! And you, woman, strike again.
Strike again; drive all the weapon
Into his heart; shed, to the last drop,
The blood of that vile miscreant: in our blood
He would have bathed his hands.
SCENE IV
CLYTEMNESTRA--AEGISTHUS
Cly.—What have I done?
Where am I?...
Aegis.—You have slain the tyrant: now
At last you’re worthy of me.
Cly.—Look, the dagger drips with blood;... my hands, my face, my clothes,
All are blood... Oh, for a deed like this,
What vengeance will come!... I can already see
That very steel hurled back to my breast,
And by whom! I freeze, I faint, I shudder, I dissolve with horror.
My strength, my speech, fail me. Where am I?
What have I done?... Alas!...
Aegis.—Terrible cries
Resound on all sides throughout the palace:
It's time to show the Argives what I am,
And reap the rewards of my long endurance.
SCENE V
ELECTRA--AEGISTHUS
Elec.—There remains for you to kill me,
You impious, vile assassin of my father ...
But what do I see? Oh Heavens! ... my mother? ...
Flagitious woman, do you hold the sword?
Did you commit the murder?
Aegis.—Be quiet.
Do not block my way; I must hurry back;
Tremble: for now that I am king of Argos,
It’s far more important that I kill
Orestes than Electra.
SCENE VI
CLYTEMNESTRA--ELECTRA
Cly.—Heavens! ... Orestes? ...
Aegisthus, now I understand you....
Elec.—Give it to me:
Give me that steel.
Cly.—Aegisthus! ... Stop! ... Will you
Murder my son? You first shall murder me.
SCENE VII
ELECTRA
Elec.—Oh night! ... Oh father! ... Ah, it was your doing,
You gods, for this thought of mine to keep Orestes
In safety first.—You will not find him, traitor.—
Ah live, Orestes, live: and I will keep
This wicked steel for your adult right hand.
May the day come when I in Argos
Shall see you avenging your father.
Translation of Edgar Alfred Bowring, Bohn's Library.
ALFONSO THE WISE
(1221-1284)
ing Alfonso," records the Jesuit historian, Mariana, "was a man of great sense, but more fit to be a scholar than a king; for whilst he studied the heavens and the stars, he lost the earth and his kingdom." Certainly it is for his services to letters, and not for political or military successes, that the meditative son of the valorous Ferdinand the Saint and the beautiful Beatrice of Swabia will be remembered. The father conquered Seville, and displaced the enterprising and infidel Moors with orthodox and indolent Christians. The son could not keep what his sire had grasped. Born in 1226, the fortunate young prince, at the age of twenty-five, was proclaimed king of the newly conquered and united Castile and Leon. He was very young: he was everywhere admired and honored for skill in war, for learning, and for piety; he was everywhere loved for his heritage of a great name and his kindly and gracious manners.
"Alfonso," records the Jesuit historian, Mariana, "was a man of great intellect, but better suited to be a scholar than a king; while he studied the heavens and the stars, he neglected the earth and his kingdom." It is certainly for his contributions to literature, not for any political or military achievements, that the reflective son of the brave Ferdinand the Saint and the beautiful Beatrice of Swabia will be remembered. The father conquered Seville and replaced the ambitious and unfaithful Moors with compliant and passive Christians. The son could not hold onto what his father had seized. Born in 1226, the fortunate young prince was declared king of the newly conquered and united Castile and León at the age of twenty-five. He was very young: he was celebrated and respected for his military prowess, knowledge, and piety; he was loved everywhere for his great name and his kind and gracious demeanor.
In the first year of his reign, however, he began debasing the coinage,--a favorite device of needy monarchs in his day,--and his people never forgave the injury. He coveted, naturally enough, the throne of the Empire, for which he was long a favorite candidate; and for twenty years he wasted time, money, and purpose, heart and hope, in pursuit of the vain bauble. His kingdom fell into confusion, his eldest son died, his second son Sancho rebelled against him and finally deposed him. Courageous and determined to the last, defying the league of Church and State against him, he appealed to the king of Morocco for men and money to reinstate his fortunes.
In the first year of his reign, he started to lower the value of the currency—a common tactic among broke kings at the time—and his people never forgave him for it. Naturally, he wanted the throne of the Empire, where he had been a top contender for a long time; and for twenty years, he squandered time, money, purpose, heart, and hope chasing after that pointless prize. His kingdom descended into chaos, his oldest son died, his second son Sancho rebelled against him, and eventually overthrew him. Brave and determined to the end, standing up against the combined forces of the Church and State, he reached out to the king of Morocco for support in men and money to get his fortunes back.
In Ticknor's 'History of Spanish Literature' may be found his touching letter to De Guzman at the Moorish court. He is, like Lear, poor and discrowned, but not like him, weak. His prelates have stirred up strife, his nobles have betrayed him. If Heaven wills, he is ready to pay generously for help. If not, says the royal philosopher, still, generosity and loyalty exalt the soul that cherishes them.
In Ticknor's 'History of Spanish Literature,' you can find his heartfelt letter to De Guzman at the Moorish court. He is, like Lear, poor and stripped of his crown, but unlike Lear, he is not weak. His church leaders have incited conflict, and his nobles have betrayed him. If Heaven permits, he is willing to pay well for assistance. If not, says the royal philosopher, even still, generosity and loyalty uplift the spirit of those who value them.
"Therefore, my cousin, Alonzo Perez de Guzman, so treat with your master and my friend [the king of Morocco] that he may lend me, on my richest crown and on the jewels in it, as much as shall seem good to him: and if you should be able to obtain his help for me, do not deprive me of it, which I think you will not do; rather I hold that all the good offices which my master may do me, by your hand they will come, and may the hand of God be with you.
"Given in my only loyal city of Seville, the thirtieth year of my reign and the first of my misfortunes.
"THE KING."
"Therefore, my cousin, Alonzo Perez de Guzman, please discuss with your master and my friend [the king of Morocco] so that he may lend me, against my richest crown and the jewels it holds, whatever amount he deems appropriate: and if you are able to get his support for me, please don't withhold it; I believe you won't do that. I think that all the good things my master may do for me will come through you, and may God’s hand be with you.
"Given in my only loyal city of Seville, in the thirtieth year of my reign and the first of my troubles.
"THE KING."
In his "only loyal city" the broken man remained, until the Pope excommunicated Sancho, and till neighboring towns began to capitulate. But he had been wounded past healing. There was no medicine for a mind diseased, no charm to raze out the written troubles of the brain. "He fell ill in Seville, so that he drew nigh unto death.... And when the sickness had run its course, he said before them all: that he pardoned the Infante Don Sancho, his heir, all that out of malice he had done against him, and to his subjects the wrong they had wrought towards him, ordering that letters confirming the same should be written--sealed with his golden seal, so that all his subjects should be certain that he had put away his quarrel with them, and desired that no blame whatever should rest upon them. And when he had said this, he received the body of God with great devotion, and in a little while gave up his soul to God."
In his "only loyal city," the broken man stayed until the Pope excommunicated Sancho and neighboring towns started to surrender. But he had been hurt beyond repair. There was no cure for a troubled mind, no spell to erase the worries written in his brain. "He fell ill in Seville, nearing death.... And when the illness ran its course, he said in front of everyone that he forgave Infante Don Sancho, his heir, for all the wrongs he had done to him out of spite, and the wrongs done to his subjects, ordering that letters confirming this be written—sealed with his golden seal, so that all his subjects would know he had let go of his grievances with them and wished for no blame to fall upon them. And after he said this, he received the body of God with great devotion, and shortly after, he gave up his soul to God."
This was in 1284, when he was fifty-eight years old. At this age, had a private lot been his,--that of a statesman, jurist, man of science, annalist, philosopher, troubadour, mathematician, historian, poet,--he would but have entered his golden prime, rich in promise, fruitful in performance. Yet Alfonso, uniting in himself all these vocations, seemed at his death to have left behind him a wide waste of opportunities, a dreary dearth of accomplishment. Looking back, however, it is seen that the balance swings even. While his kingdom was slipping away, he was conquering a wider domain. He was creating Spanish Law, protecting the followers of learning, cherishing the universities, restricting privilege, breaking up time-honored abuses. He prohibited the use of Latin in public acts. He adopted the native tongue in all his own works, and thus gave to Spanish an honorable eminence, while French and German struggled long for a learning from scholars, and English was to wait a hundred years for the advent of Dan Chaucer.
This was in 1284, when he was fifty-eight years old. At this age, if he had just been a statesman, jurist, scientist, historian, philosopher, troubadour, mathematician, or poet, he would have just entered his prime, full of promise and accomplishments. Yet Alfonso, embodying all these roles, seemed at his death to have left behind a vast wasteland of missed opportunities and a disappointing lack of achievements. However, looking back, it becomes clear that the scales balance out. While his kingdom was fading away, he was conquering a much larger realm. He was establishing Spanish Law, supporting scholars, nurturing universities, limiting privileges, and dismantling long-standing abuses. He banned the use of Latin in public documents. He used the native language in all of his works, thereby elevating Spanish to a respected status, while French and German struggled for scholarly recognition, and English would have to wait another hundred years for the emergence of Chaucer.
Greatest achievement of all, he codified the common law of Spain in 'Las Siete Partidas' (The Seven Parts). Still accepted as a legal authority in the kingdom, the work is much more valuable as a compendium of general knowledge than as an exposition of law. The studious king with astonishing catholicity examined alike both Christian and Arabic traditions, customs, and codes, paying a scholarly respect to the greatness of a hostile language and literature. This meditative monarch recognized that public office is a public trust, and wrote:--
Greatest achievement of all, he put together the common law of Spain in 'Las Siete Partidas' (The Seven Parts). Still recognized as a legal authority in the kingdom, the work is far more valuable as a collection of general knowledge than as a detailed explanation of law. The thoughtful king with remarkable openness explored both Christian and Arabic traditions, customs, and codes, showing scholarly respect for the richness of a rival language and literature. This reflective monarch understood that public office is a public trust, and wrote:--
"Vicars of God are the kings, each one in his kingdom, placed over the people to maintain them in justice and in truth. They have been called the heart and soul of the people. For as the soul lies in the heart of men, and by it the body lives and is maintained, so in the king lies justice, which is the life and maintenance of the people of his lordship....
"And let the king guard the thoughts of his heart in three manners: firstly let him not desire nor greatly care to have superfluous and worthless honors. Superfluous and worthless honors the king ought not to desire. For that which is beyond necessity cannot last, and being lost, and come short of, turns to dishonor. Moreover, the wise men have said that it is no less a virtue for a man to keep that which he has than to gain that which he has not; because keeping comes of judgment, but gain of good fortune. And the king who keeps his honor in such a manner that every day and by all means it is increased, lacking nothing, and does not lose that which he has for that which he desires to have,--he is held for a man of right judgment, who loves his own people, and desires to lead them to all good. And God will keep him in this world from the dishonoring of men, and in the next from the dishonor of the wicked in hell."
"God's representatives are the kings, each one ruling over his kingdom, tasked with upholding justice and truth for the people. They have been referred to as the heart and soul of the nation. Just as the soul resides in the heart of a person and sustains the body, so the king embodies justice, which is essential for the life and well-being of his subjects....
"And the king should guard his heart's thoughts in three ways: first, he should neither desire nor overly value unnecessary and trivial honors. The king should not seek out these honors, as anything beyond what is needed cannot endure, and losing it can lead to disgrace. Furthermore, wise individuals say it is just as virtuous for a man to maintain what he has as it is to seek what he does not have; preservation comes from sound judgment, while acquisition comes from luck. A king who protects his honor in a way that it is continually enhanced, not lacking anything, and does not sacrifice what he has for what he wishes to attain—he is considered a man of good judgment, who cares for his people and aims to guide them towards all that is good. And God will protect him in this world from the disgrace of others, and in the afterlife from the shame of the wicked in hell."
Besides the 'Siete Partidas,' the royal philosopher was the author, or compiler, of a 'Book of Hunting'; a treatise on Chess; a system of law, the 'Fuero Castellano' (Spanish Code),--an attempt to check the monstrous irregularities of municipal privilege; 'La Gran Conquista d'Ultramar (The Great Conquest Beyond the Sea), an account of the wars of the Crusades, which is the earliest known specimen of Castilian prose; and several smaller works, now collected under the general title of 'Opuscules Legales' (Minor Legal Writings). It was long supposed that he wrote the 'Tesoro' (Thesaurus), a curious medley of ignorance and superstition, much of it silly, and all of it curiously inconsistent with the acknowledged character of the enlightened King. Modern scholarship, however, discards this petty treatise from the list of his productions.
Besides the 'Siete Partidas,' the royal philosopher was the author or compiler of a 'Book of Hunting'; a treatise on Chess; a legal system, the 'Fuero Castellano' (Spanish Code), an attempt to rein in the crazy irregularities of municipal privileges; 'La Gran Conquista d'Ultramar' (The Great Conquest Beyond the Sea), which recounts the wars of the Crusades and is the earliest known example of Castilian prose; and several smaller works now gathered under the general title 'Opuscules Legales' (Minor Legal Writings). It was long believed that he wrote the 'Tesoro' (Thesaurus), a strange mix of ignorance and superstition, much of it silly, and all of it oddly inconsistent with the well-known character of the enlightened King. However, modern scholarship has ruled this minor treatise out from the list of his works.
His 'Tablas Alfonsinas' (Alfonsine Tables), to which Chaucer refers in the 'Frankeleine's Tale,' though curiously mystical, yet were really scientific, and rank among the most famous of mediaeval books. Alfonso had the courage and the wisdom to recall to Toledo the heirs and successors of the great Arabian philosophers and the learned Rabbis, who had been banished by religious fanaticism, and there to establish a permanent council--a mediaeval Academy of Sciences--which devoted itself to the study of the heavens and the making of astronomical calculations. "This was the first time," says the Spanish historian, "that in barbarous times the Republic of Letters was invited to contemplate a great school of learning,--men occupied through many years in rectifying the old planetary observations, in disputing about the most abstruse details of this science, in constructing new instruments, and observing, by means of them, the courses of the stars, their declensions, their ascensions, eclipses, longitudes, and latitudes." It was the vision of Roger Bacon fulfilled.
His 'Tablas Alfonsinas' (Alfonsine Tables), which Chaucer mentions in the 'Frankeleine's Tale,' were intriguingly mystical, yet fundamentally scientific, and are considered some of the most notable medieval texts. Alfonso had the courage and wisdom to bring back to Toledo the heirs and successors of the great Arabian philosophers and the learned Rabbis, who had been exiled due to religious fanaticism, and there to establish a permanent council—a medieval Academy of Sciences—that focused on studying the heavens and making astronomical calculations. "This was the first time," says the Spanish historian, "that in barbarous times the Republic of Letters was invited to witness a great school of learning—men dedicated over many years to correcting old planetary observations, debating the most complex aspects of this science, constructing new instruments, and using them to observe the paths of the stars, their declinations, their ascensions, eclipses, longitudes, and latitudes." It was the realization of Roger Bacon's vision.
At his own expense, for years together, the King entertained in his palace at Burgos, that their knowledge might enrich the nation, not only certain free-thinking followers of Averroës and Avicebron, but infidel disciples of the Koran, and learned Rabbis who denied the true faith. That creed must not interfere with deed, was an astonishing mental attitude for the thirteenth century, and invited a general suspicion of the King's orthodoxy. His religious sense was really strong, however, and appears most impressively in the 'Cantigas à la Vergen Maria' (Songs to the Virgin), which were sung over his grave by priests and acolytes for hundreds of years. They are sometimes melancholy and sometimes joyous, always simple and genuine, and, written in Galician, reflect the trustful piety and happiness of his youth in remote hill provinces where the thought of empire had not penetrated. It was his keen intelligence that expressed itself in the saying popularly attributed to him, "Had I been present at the creation, I might have offered some useful suggestions." It was his reverent spirit that made mention in his will of the sacred songs as the testimony to his faith. So lived and died Alfonso the Tenth, the father of Spanish literature, and the reviver of Spanish learning.
At his own expense, for years, the King hosted gatherings in his palace in Burgos, aiming to enrich the nation with knowledge. He welcomed not only free-thinking followers of Averroës and Avicebron but also non-believers from the Koran and learned Rabbis who rejected the true faith. The idea that belief shouldn’t interfere with action was quite remarkable for the thirteenth century and led to widespread doubts about the King's religious fidelity. However, his faith was genuinely strong and is most notably reflected in the 'Cantigas à la Vergen Maria' (Songs to the Virgin), which were sung over his grave by priests and acolytes for hundreds of years. They range from melancholy to joyful, always maintaining a sense of simplicity and authenticity, and were written in Galician, capturing the trusting piety and happiness of his youth in remote hill provinces where thoughts of empire hadn't reached. His sharp intellect is captured in the saying often attributed to him, "If I had been there at the creation, I might have offered some useful suggestions." His reverent nature was evident in his will, where he mentioned the sacred songs as a testament to his faith. Thus lived and died Alfonso the Tenth, the father of Spanish literature and the reviver of Spanish learning.
"WHAT MEANETH A TYRANT, AND HOW HE USETH HIS POWER IN A KINGDOM WHEN HE HATH OBTAINED IT"
"A tyrant," says this law, "doth signify a cruel lord, who, by force or by craft, or by treachery, hath obtained power over any realm or country; and such men be of such nature, that when once they have grown strong in the land, they love rather to work their own profit, though it be in harm of the land, than the common profit of all, for they always live in an ill fear of losing it. And that they may be able to fulfill this their purpose unincumbered, the wise of old have said that they use their power against the people in three manners. The first is, that they strive that those under their mastery be ever ignorant and timorous, because, when they be such, they may not be bold to rise against them, nor to resist their wills; and the second is, that they be not kindly and united among themselves, in such wise that they trust not one another, for while they live in disagreement, they shall not dare to make any discourse against their lord, for fear faith and secrecy should not be kept among themselves; and the third way is, that they strive to make them poor, and to put them upon great undertakings, which they never can finish, whereby they may have so much harm that it may never come into their hearts to devise anything against their ruler. And above all this, have tyrants ever striven to make spoil of the strong and to destroy the wise; and have forbidden fellowship and assemblies of men in their land, and striven always to know what men said or did; and do trust their counsel and the guard of their person rather to foreigners, who will serve at their will, than to them of the land, who serve from oppression. And moreover, we say that though any man may have gained mastery of a kingdom by any of the lawful means whereof we have spoken in the laws going before this, yet, if he use his power ill, in the ways whereof we speak in this law, him may the people still call tyrant; for he turneth his mastery which was rightful into wrongful, as Aristotle hath said in the book which treateth of the rule and government of kingdoms."
"A tyrant," this law says, "is a cruel lord who, through force, trickery, or betrayal, has taken control over a realm or country. Such people are inherently selfish, and once they gain power, they prefer to serve their own interests, even at the expense of the land, rather than the common good, as they live in constant fear of losing their authority. To achieve their goals without obstacles, the wise have noted that tyrants operate against the people in three ways. The first is by ensuring that those under their control remain ignorant and fearful, as this prevents them from bravely rising up or resisting the tyrant's wishes. The second is by fostering distrust among the populace, causing them to be divided and afraid to speak out against their lord for fear of betrayal. The third way is by keeping them poor and burdened with overwhelming tasks that they can never complete, preventing them from even thinking about opposing their ruler. Above all, tyrants have always aimed to exploit the strong and eliminate the wise; they have banned gatherings and communities within their territories and constantly seek to know what people are saying or doing. They tend to rely on foreign advisors and guards who serve their interests instead of those from their own land, who serve out of oppression. Furthermore, we assert that even if someone gains control of a kingdom through any lawful means mentioned in previous laws, if they misuse their power as described here, the people can still call them a tyrant; for they turn what was rightful authority into wrongful rule, as Aristotle stated in his book on governance."
From 'Las Siete Partidas,' quoted in Ticknor's 'Spanish Literature.'
From 'Las Siete Partidas,' quoted in Ticknor's 'Spanish Literature.'
ON THE TURKS, AND WHY THEY ARE SO CALLED
The ancient histories which describe the early inhabitants of the East and their various languages show the origin of each tribe or nation, or whence they came, and for what reason they waged war, and how they were enabled to conquer the former lords of the land. Now in these histories it is told that the Turks, and also the allied race called Turcomans, were all of one land originally, and that these names were taken from two rivers which flow through the territory whence these people came, which lies in the direction of the rising of the sun, a little toward the north; and that one of these rivers bore the name of Turco, and the other Mani: and finally that for this reason the two tribes which dwelt on the banks of these two rivers came to be commonly known as Turcomanos or Turcomans. On the other hand, there are those who assert that because a portion of the Turks lived among the Comanos (Comans) they accordingly, in course of time, received the name of Turcomanos; but the majority adhere to the reason already given. However this may be, the Turks and the Turcomans belong both to the same family, and follow no other life than that of wandering over the country, driving their herds from one good pasture to another, and taking with them their wives and their children and all their property, including money as well as flocks.
The ancient histories that describe the early inhabitants of the East and their various languages reveal the origins of each tribe or nation, where they came from, the reasons for their wars, and how they managed to conquer the previous rulers of the land. These histories state that the Turks and their allied group, the Turcomans, originally came from the same area, and that their names were derived from two rivers flowing through their homeland, which is located in the direction of the sunrise, slightly to the north. One of these rivers was called Turco, and the other Mani; as a result, the two tribes living along these rivers became commonly known as Turcomanos or Turcomans. On the other hand, some argue that because a portion of the Turks lived among the Comanos, they gradually adopted the name Turcomanos. However, most people support the explanation already provided. Regardless of the explanation, both the Turks and Turcomans belong to the same family and lead a lifestyle of wandering across the land, moving their herds from one good pasture to another, along with their wives, children, and all their belongings, including money and livestock.
The Turks did not dwell then in houses, but in tents made of skins, as do in these days the Comanos and Tartars; and when they had to move from one place to another, they divided themselves into companies according to their different dialects, and chose a cabdillo (judge), who settled their disputes, and rendered justice to those who deserved it. And this nomadic race cultivated no fields, nor vineyards, nor orchards, nor arable lands of any kind; neither did they buy or sell for money: but traded their flocks among one another, and also their milk and cheese, and pitched their tents in the places where they found the best pasturage; and when the grass was exhausted, they sought fresh herbage elsewhere. And whenever they reached the border of a strange land, they sent before them special envoys, the most worthy and honorable of their men, to the kings or lords of such countries, to ask of them the privilege of pasturage on their lands for a space; for which they were willing to pay such rent or tax as might be agreed upon. After this manner they lived among each nation in whose territory they happened to be.
The Turks didn’t live in houses back then but in tents made of animal skins, similar to how the Comanos and Tartars do today. When they needed to move from one place to another, they split into groups based on their different dialects and chose a cabdillo (judge) who would resolve their disputes and deliver justice to those who deserved it. This nomadic group didn’t farm, cultivate vineyards, or have orchards or any arable land; they didn’t buy or sell for money either. Instead, they traded their livestock, milk, and cheese with one another and set up their tents in places with the best pastures. Once the grass was depleted, they looked for greener pastures elsewhere. When they reached the border of a foreign land, they sent ahead special envoys, the most respected and honorable of their people, to the kings or lords of those countries to request permission to graze their animals on their land for a while, offering to pay any agreed-upon rent or tax. In this way, they coexisted with any nation whose territory they were in.
From 'La Gran Conquista de Ultramar,' Chapter xiii.
From 'La Gran Conquista de Ultramar,' Chapter xiii.
From the 'Cantigas'
From the 'Cantigas'
So alway praise we her, the Holy Mother,
Who prays to God that he shall aid us ever
Against our foes, and to us ever listen.
Welcome, O May! loyally art thou welcome!
So alway praise we her, the Mother of kindness,
Mother who alway on us taketh pity,
Mother who guardeth us from woes unnumbered.
Welcome, O May! welcome, O month well favored!
So let us ever pray and offer praises
To her who ceases not for us, for sinners,
To pray to God that we from woes be guarded.
Welcome, O May! O joyous month and stainless!
So will we ever pray to her who gaineth
Grace from her Son for us, and gives each morning
Force that by us the Moors from Spain are driven.
Welcome, O May, of bread and wine the giver!
Pray then to her, for in her arms, an infant
She bore the Lord! she points us on our journey,
The journey that to her will bear us quickly!
ALFRED THE GREAT
(849-901)
n the Ashmolean Museum at Oxford may be seen an antique jewel, consisting of an enameled figure in red, blue, and green, enshrined in a golden frame, and bearing the legend "Alfred mec heht gewyrcean" (Alfred ordered me made). This was discovered in 1693 in Newton Park, near Athelney, and through it one is enabled to touch the far-away life of a thousand years ago. But greater and more imperishable than this archaic gem is the gift that the noble King left to the English nation--a gift that affects the entire race of English-speaking people. For it was Alfred who laid the foundations for a national literature.
In the Ashmolean Museum at Oxford, you can see an ancient jewel featuring an enameled figure in red, blue, and green, set in a golden frame, with the inscription "Alfred mec heht gewyrcean" (Alfred ordered me made). This was found in 1693 in Newton Park, near Athelney, and it allows us to connect with life a thousand years ago. But more significant and lasting than this old gem is the gift that the noble King left to the English nation—a gift that impacts the entire English-speaking population. For it was Alfred who laid the foundations for a national literature.
Alfred, the younger son of Ethelwulf, king of the West Saxons, and Osberga, daughter of his cup-bearer, was born in the palace at Wantage in the year 849. He grew up at his father's court, a migratory one, that moved from Kent to Devonshire and from Wales to the Isle of Wight whenever events, raids, or the Witan (Parliament) demanded. At an early age Alfred was sent to pay homage to the Pope in Rome, taking such gifts as rich vessels of gold and silver, silks, and hangings, which show that Saxons lacked nothing in treasure. In 855 Ethelwulf visited Rome with his young son, bearing more costly presents, as well as munificent sums for the shrine of St. Peter's; and returning by way of France, they stopped at the court of Charles the Bold. Once again in his home, young Alfred applied himself to his education. He became a marvel of courage at the chase, proficient in the use of arms, excelled in athletic sports, was zealous in his religious duties, and athirst for knowledge. His accomplishments were many; and when the guests assembled in the great hall to make the walls ring with their laughter over cups of mead and ale, he could take his turn with the harpers and minstrels to improvise one of those sturdy bold ballads that stir the blood to-day with their stately rhythms and noble themes.
Alfred, the younger son of Ethelwulf, king of the West Saxons, and Osberga, the daughter of his cup-bearer, was born in the palace at Wantage in the year 849. He grew up at his father's court, which moved around from Kent to Devonshire and from Wales to the Isle of Wight whenever situations like events, raids, or the Witan (Parliament) required it. At a young age, Alfred was sent to pay respects to the Pope in Rome, bringing gifts such as luxurious gold and silver vessels, silks, and hangings, showing that the Saxons had plenty of treasure. In 855, Ethelwulf visited Rome with his young son, taking even more valuable presents and generous donations for the shrine of St. Peter's; on their way back, they stopped at the court of Charles the Bold in France. Once back home, young Alfred dedicated himself to his education. He became known for his bravery in hunting, was skilled with weapons, excelled in sports, was devoted in his religious practices, and had a strong desire for knowledge. He had many talents; and when guests gathered in the great hall, their laughter echoing as they enjoyed mead and ale, he could join in with the harpers and musicians to create one of those strong ballads that still resonate today with their grand rhythms and noble themes.
Ethelwulf died in 858, and eight years later only two sons, Ethelred and Alfred, were left to cope with the Danish invaders. They won victory after victory, upon which the old chroniclers love to dwell, pausing to describe wild frays among the chalk-hills and dense forests, which afforded convenient places to hide men and to bury spoils.
Ethelwulf died in 858, and eight years later, only two sons, Ethelred and Alfred, were left to deal with the Danish invaders. They achieved victory after victory, which the old historians love to emphasize, taking time to describe fierce battles among the chalk hills and dense forests, which provided good spots to hide men and stash loot.
Ethelred died in 871, and the throne descended to Alfred. His kingdom was in a terrible condition, for Wessex, Kent, Mercia, Sussex, and Surrey lay at the mercy of the marauding enemy. "The land," says an old writer, "was as the Garden of Eden before them, and behind them a desolate wilderness." London was in ruins; the Danish standard, with its black Raven, fluttered everywhere; and the forests were filled with outposts and spies of the "pagan army." There was nothing for the King to do but gather his men and dash into the fray to "let the hard steel ring upon the high helmet." Time after time the Danes are overthrown, but, like the heads of the fabled Hydra, they grow and flourish after each attack. They have one advantage: they know how to command the sea, and numerous as the waves that their vessels ride so proudly and well, the invaders arrive and quickly land to plunder and slay.
Ethelred died in 871, and the throne passed to Alfred. His kingdom was in a terrible state, as Wessex, Kent, Mercia, Sussex, and Surrey were at the mercy of the attacking enemy. "The land," says an old writer, "was like the Garden of Eden before them, and behind them a desolate wasteland." London was in ruins; the Danish banner, with its black Raven, flew everywhere; and the forests were filled with outposts and spies from the "pagan army." The King had no choice but to gather his men and charge into battle to "let the hard steel ring upon the high helmet." Time and again, the Danes were defeated, but like the heads of the mythical Hydra, they grew back and thrived after each battle. They have one advantage: they know how to control the sea, and as numerous as the waves that their ships ride so proudly and effectively, the invaders arrive and quickly land to plunder and kill.
Alfred, although but twenty-five, sees the need for a navy, and in 875 gathers a small fleet to meet the ships of the enemy, wins one prize, and puts the rest to flight. The chroniclers now relate that he fell into disaster and became a fugitive in Selwood Forest, while Guthrum and his host were left free to ravage. From this period date the legends of the King's visit in disguise to the hut of the neat-herd, and his burning the bread he was set to watch; his penetrating into the camp of the Danes and entertaining Guthrum by his minstrelsy while discovering his plans and force; the vision of St. Cuthbert; and the fable of his calling five hundred men by the winding of his horn.
Alfred, though only twenty-five, recognizes the need for a navy and in 875 assembles a small fleet to confront the enemy's ships. He captures one ship and sends the rest fleeing. The chroniclers then recount how he fell into misfortune and became a fugitive in Selwood Forest, while Guthrum and his army were free to raid. This period gives rise to legends about the King visiting the hut of a herdsman in disguise, burning the bread he was supposed to watch; sneaking into the Danish camp and entertaining Guthrum with music while gathering intel on his plans and forces; the vision of St. Cuthbert; and the tale of him summoning five hundred men with the sound of his horn.
Not long after he was enabled to emerge from the trials of exile in Athelney; and according to Asser, "In the seventh week after Easter, he rode to Egbert's Stone in the eastern part of Selwood or the Great Wood, called in the old British language Coit-mawr. Here he was met by all the neighboring folk of Somersetshire, Wiltshire, and Hampshire, who had not for fear of the Pagans fled beyond the sea; and when they saw the king alive after such great tribulation, they received him, as he deserved, with joy and acclamations and all encamped there for the night." Soon afterward he made a treaty with the Danes, and became king of the whole of England south of the Thames.
Not long after he was able to come out of the challenges of exile in Athelney; and according to Asser, "In the seventh week after Easter, he rode to Egbert's Stone in the eastern part of Selwood, or the Great Wood, which is called Coit-mawr in the old British language. Here, he was met by all the local people from Somerset, Wiltshire, and Hampshire, who had not fled beyond the sea out of fear of the Pagans; and when they saw the king alive after such great hardship, they welcomed him with joy and cheers, camping there for the night." Soon after that, he made a treaty with the Danes and became king of all of England south of the Thames.
It was now Alfred's work to reorganize his kingdom, to strengthen the coast defenses, to rebuild London, to arrange for a standing army, and to make wise laws for the preservation of order and peace; and when all this was accomplished, he turned his attention to the establishment of monasteries and colleges. "In the mean-time," says old Asser, "the King, during the frequent wars and other trammels of this present life, the invasions of the Pagans, and his own daily infirmities of body, continued to carry on the government, and to exercise hunting in all its branches; to teach his workers in gold and artificers of all kinds, his falconers, hawkers, and dog-keepers, to build houses majestic and good, beyond all the precedents of his ancestors, by his new mechanical inventions, to recite the Saxon books, and more especially to learn by heart the Saxon poems, and to make others learn them also; for he alone never desisted from studying, most diligently, to the best of his ability; he attended the mass and other daily services of religion: he was frequent in psalm-singing and prayer, at the proper hours, both of the night and of the day. He also went to the churches, as we have already said, in the night-time, to pray, secretly and unknown to his courtiers; he bestowed alms and largesses both on his own people and on foreigners of all countries; he was affable and pleasant to all, and curious to investigate things unknown."
It was now Alfred's job to reorganize his kingdom, strengthen the coastal defenses, rebuild London, set up a standing army, and create fair laws to maintain order and peace. Once he accomplished all of this, he shifted his focus to establishing monasteries and colleges. "In the meantime," says old Asser, "the King, despite the ongoing wars and other challenges of life, including attacks from the Pagans and his own daily health issues, continued to govern and engaged in hunting in all its forms. He taught his gold workers and craftsmen, along with his falconers, hawkers, and dog-keepers, to build impressive and high-quality houses, surpassing anything his ancestors had done with his new mechanical inventions. He recited Saxon texts and especially memorized Saxon poems, encouraging others to do the same, as he was dedicated to studying diligently to the best of his ability. He attended mass and other daily religious services regularly and was devoted to singing psalms and praying at the right times, both day and night. He went to the churches at night, as we mentioned earlier, to pray quietly and without his courtiers knowing. He gave alms and gifts to both his people and foreigners from all over. He was friendly and pleasant to everyone and had a curiosity for discovering the unknown."
As regards Alfred's personal contribution to literature, it may be said that over and above all disputed matters and certain lost works, they represent a most valuable and voluminous assortment due directly to his own royal and scholarly pen. History, secular and churchly, laws and didactic literature, were his field; and though it would seem that his actual period of composition did not much exceed ten years, yet he accomplished a vast deal for any man, especially any busy sovereign and soldier.
As for Alfred's personal contribution to literature, it's clear that, aside from all the disputes and some lost works, what remains is a significant and extensive collection that comes directly from his own royal and scholarly writing. His focus was on history, both secular and religious, as well as laws and educational literature. Although his actual period of writing didn't last much longer than ten years, he achieved a tremendous amount for anyone, especially for a busy king and soldier.
An ancient writer, Ethelwerd, says that he translated many books from Latin into Saxon, and William of Malmesbury goes so far as to say that he translated into Anglo-Saxon almost all the literature of Rome. Undoubtedly the general condition of education was deplorable, and Alfred felt this deeply. "Formerly," he writes, "men came hither from foreign lands to seek instruction, and now when we desire it, we can only obtain it from abroad." Like Charlemagne he drew to his court famous scholars, and set many of them to work writing chronicles and translating important Latin books into Anglo-Saxon. Among these was the 'Pastoral Care of Pope Gregory,' to which he wrote the Preface; but with his own hand he translated the 'Consolations of Philosophy,' by Boethius, two manuscripts of which still exist. In this he frequently stops to introduce observations and comments of his own. Of greater value was his translation of the 'History of the World,' by Orosius, which he abridged, and to which he added new chapters giving the record of coasting voyages in the north of Europe. This is preserved in the Cotton MSS. in the British Museum. His fourth translation was the 'Ecclesiastical History of the English Nation,' by Bede. To this last may be added the 'Blossom Gatherings from St. Augustine,' and many minor compositions in prose and verse, translations from the Latin fables and poems, and his own note-book, in which he jots, with what may be termed a journalistic instinct, scenes that he had witnessed, such as Aldhelm standing on the bridge instructing the people on Sunday afternoons; bits of philosophy; and such reflections as the following, which remind one of Marcus Aurelius:--"Desirest thou power? But thou shalt never obtain it without sorrows--sorrows from strange folk, and yet keener sorrows from thine own kindred." and "Hardship and sorrow! Not a king but would wish to be without these if he could. But I know that he cannot." Alfred's value to literature is this: he placed by the side of Anglo-Saxon poetry,--consisting of two great poems, Caedmon's great song of the 'Creation' and Cynewulf's 'Nativity and Life of Christ,' and the unwritten ballads passed from lip to lip,--four immense translations from Latin into Anglo-Saxon prose, which raised English from a mere spoken dialect to a true language. From his reign date also the famous Anglo-Saxon Chronicle and the Anglo-Saxon Gospels; and a few scholars are tempted to class the magnificent 'Beowulf' among the works of this period. At any rate, the great literary movement that he inaugurated lasted until the Norman Conquest.
An ancient writer, Ethelwerd, mentions that he translated many books from Latin into Saxon, and William of Malmesbury even claims that he translated almost all of Roman literature into Anglo-Saxon. Clearly, the overall state of education was poor, and Alfred was acutely aware of this. "In the past," he writes, "people came here from foreign lands to seek knowledge, and now, when we desire it, we can only find it abroad." Like Charlemagne, he brought in renowned scholars to his court and got many of them to work on writing chronicles and translating important Latin texts into Anglo-Saxon. Among these was the 'Pastoral Care of Pope Gregory,' for which he wrote the Preface; however, he personally translated the 'Consolations of Philosophy' by Boethius, of which two manuscripts still exist. In this work, he often pauses to add his own observations and comments. More significantly, he translated and abridged the 'History of the World' by Orosius, to which he added new chapters detailing coastal journeys in northern Europe. This is preserved in the Cotton MSS. in the British Museum. His fourth translation was the 'Ecclesiastical History of the English Nation' by Bede. Additionally, there were the 'Blossom Gatherings from St. Augustine,' along with numerous smaller works in prose and verse, translations of Latin fables and poems, and his own notebook, where he jotted down observations with what could be called a journalistic instinct, such as Aldhelm standing on the bridge teaching the people on Sunday afternoons; snippets of philosophy; and reflections like these, which echo Marcus Aurelius: "Do you desire power? But you will never achieve it without sorrow—sorrow from strangers, and even greater sorrow from your own kin." and "Hardship and sorrow! Every king would wish to be free of these if he could. But I know that he cannot." Alfred's contribution to literature is this: he placed alongside Anglo-Saxon poetry—which consists of two great poems, Caedmon's magnificent song of the 'Creation' and Cynewulf's 'Nativity and Life of Christ,' along with unwritten ballads that were passed orally—four significant translations from Latin into Anglo-Saxon prose, which elevated English from a simple spoken dialect to a genuine language. His reign also marks the beginning of the renowned Anglo-Saxon Chronicle and the Anglo-Saxon Gospels; some scholars even consider the magnificent 'Beowulf' to be part of this period. In any case, the major literary movement he initiated continued until the Norman Conquest.
In 893 the Danes once more disturbed King Alfred, but he foiled them at all points, and they left in 897 to harry England no more for several generations. In 901 he died, having reigned for thirty years in the honor and affection of his subjects. Freeman in his 'Norman Conquest' says that "no other man on record has ever so thoroughly united all the virtues both of the ruler and of the private man." Bishop Asser, his contemporary, has left a half-mythical eulogy, and William of Malmesbury, Roger of Wendover, Matthew of Westminster, and John Brompton talk of him fully and freely. Sir John Spellman published a quaint biography in Oxford in 1678, followed by Powell's in 1634, and Bicknell's in 1777. The modern lives are by Giles, Pauli, and Hughes.
In 893, the Danes once again troubled King Alfred, but he defeated them at every turn, and they left in 897, not returning to raid England for several generations. He died in 901, having ruled for thirty years with the respect and love of his people. Freeman, in his 'Norman Conquest,' states that "no other man on record has ever so thoroughly united all the virtues of both a ruler and a private individual." Bishop Asser, who was his contemporary, has written a somewhat legendary tribute, and William of Malmesbury, Roger of Wendover, Matthew of Westminster, and John Brompton all speak of him in detail. Sir John Spellman published a unique biography in Oxford in 1678, followed by Powell's in 1634 and Bicknell's in 1777. The modern biographies are by Giles, Pauli, and Hughes.
KING ALFRED ON KING-CRAFT
The mind then answered and thus said: O Reason, indeed thou knowest that covetousness and the greatness of this earthly power never well pleased me, nor did I altogether very much yearn after this earthly authority. But nevertheless I was desirous of materials for the work which I was commanded to perform; that was, that I might honorably and fitly guide and exercise the power which was committed to me. Moreover, thou knowest that no man can show any skill nor exercise or control any power, without tools and materials. There are of every craft the materials without which man cannot exercise the craft. These, then, are a king's materials and his tools to reign with: that he have his land well peopled; he must have prayer-men, and soldiers, and workmen. Thou knowest that without these tools no king can show his craft. This is also his materials which he must have besides the tools: provisions for the three classes. This is, then, their provision: land to inhabit, and gifts and weapons, and meat, and ale, and clothes, and whatsoever is necessary for the three classes. He cannot without these preserve the tools, nor without the tools accomplish any of those things which he is commanded to perform. Therefore, I was desirous of materials wherewith to exercise the power, that my talents and power should not be forgotten and concealed. For every craft and every power soon becomes old, and is passed over in silence, if it be without wisdom: for no man can accomplish any craft without wisdom. Because whatsoever is done through folly, no one can ever reckon for craft. This is now especially to be said: that I wished to live honorably whilst I lived, and after my life, to leave to the men who were after me, my memory in good works.
The mind then responded and said: O Reason, you know that greed and the desire for this earthly power have never truly appealed to me, nor have I yearned for this earthly authority. However, I did want the resources to carry out the task I was assigned; that is, to guide and use the power entrusted to me honorably and appropriately. Additionally, you know that no one can demonstrate skill or control any power without tools and materials. Every craft has its necessary materials, which are essential for practicing that craft. These are the materials and tools a king needs to rule: he must have a well-populated land; he needs prayer leaders, soldiers, and workers. You know that without these tools, no king can demonstrate his skill. He also needs resources beyond tools: provisions for the three classes. These are the provisions: land for living, gifts and weapons, food and drink, clothes, and everything else necessary for the three classes. Without these, he cannot maintain the tools, nor can he accomplish any of the tasks assigned to him. Therefore, I sought resources to exercise my power, so that my abilities and influence would not be forgotten and hidden. Every craft and power soon becomes outdated and is overlooked if it lacks wisdom: no one can succeed in any craft without wisdom. It must be emphasized that I wanted to live with honor during my life and, after my death, to leave a legacy of good deeds for those who come after me.
ALFRED'S PREFACE TO THE VERSION OF POPE GREGORY'S 'PASTORAL CARE'
King Alfred bids greet Bishop Waerferth with his words lovingly and with friendship; and I let it be known to thee that it has very often come into my mind, what wise men there formerly were throughout England, both of sacred and secular orders; and what happy times there were then throughout England; and how the kings who had power of the nation in those days obeyed God and his ministers; and they preserved peace, morality, and order at home, and at the same time enlarged their territory abroad; and how they prospered both with war and with wisdom; and also the sacred orders, how zealous they were, both in teaching and learning, and in all the services they owed to God; and how foreigners came to this land in search of wisdom and instruction, and how we should now have to get them from abroad if we would have them. So general was its decay in England that there were very few on this side of the Humber who could understand their rituals in English, or translate a letter from Latin into English; and I believe there were not many beyond the Humber. There were so few that I cannot remember a single one south of the Thames when I came to the throne. Thanks be to God Almighty that we have any teachers among us now. And therefore I command thee to do as I believe thou art willing, to disengage thyself from worldly matters as often as thou canst, that thou mayst apply the wisdom which God has given thee wherever thou canst. Consider what punishments would come upon us on account of this world if we neither loved it (wisdom) ourselves nor suffered other men to obtain it: we should love the name only of Christian, and very few of the virtues.
King Alfred sends warm and friendly greetings to Bishop Waerferth; and I want to let you know that I often think about the wise people who used to exist all over England, both in religious and secular roles; and how joyful those times were in England; and how the kings who ruled the nation back then followed God and his servants; they maintained peace, morals, and order at home while also expanding their lands abroad; and how they thrived through both warfare and wisdom; and how dedicated the religious leaders were, in both teaching and learning, and in all the services they owed to God; and how foreigners came to this land searching for knowledge and guidance, and now we'd have to seek it from abroad if we want it. The decline in England was so widespread that very few people this side of the Humber could understand their rituals in English or translate a letter from Latin to English; and I believe there were hardly any beyond the Humber. There were so few that I can’t recall a single one south of the Thames when I came to the throne. Thanks be to God Almighty that we now have some teachers among us. Therefore, I urge you, as I believe you would want to, to detach yourself from worldly matters as often as you can, so you can use the wisdom God has given you wherever you can. Reflect on the consequences we’d face in this world if we neither cherished wisdom ourselves nor allowed others to attain it: we would only love the title of Christian while holding very few of the virtues.
When I considered all this I remembered also how I saw, before it had been all ravaged and burnt, how the churches throughout the whole of England stood filled with treasures and books, and there was also a great multitude of God's servants; but they had very little knowledge of the books, for they could not understand anything of them, because they were not written in their own language. As if they had said, "Our forefathers, who formerly held these places, loved wisdom, and through it they obtained wealth and bequeathed it to us. In this we can still see their tracks, but we cannot follow them, and therefore we have lost both the wealth and the wisdom, because we would not incline our hearts after their example."
When I thought about all this, I remembered how I once saw, before everything was destroyed and burned, how the churches all across England were filled with treasures and books. There was also a large number of God's servants, but they knew very little about the books because they couldn't understand any of them since they weren't written in their own language. It was as if they were saying, "Our ancestors, who once occupied these places, valued wisdom, and through it, they gained wealth and passed it down to us. We can still see their footprints, but we can’t follow them, and because of that, we’ve lost both the wealth and the wisdom, simply because we didn’t open our hearts to follow their example."
When I remembered all this, I wondered extremely that the good and wise men, who were formerly all over England, and had perfectly learnt all the books, did not wish to translate them into their own language. But again, I soon answered myself and said, "They did not think that men would ever be so careless, and that learning would so decay; therefore they abstained from translating, and they trusted that the wisdom in this land might increase with our knowledge of languages."
When I thought about all this, I was really surprised that the good and wise people who used to be everywhere in England and had fully mastered all the books didn't want to translate them into their own language. But then I quickly reassured myself, saying, "They didn't believe people would ever become so careless, and that learning would decline like this; that's why they chose not to translate, hoping that the wisdom in this land would grow along with our understanding of languages."
Then I remember how the law was first known in Hebrew, and again, when the Greeks had learnt it, they translated the whole of it into their own language, and all other books besides. And again, the Romans, when they had learnt it, they translated the whole of it through learned interpreters into their own language. And also all other Christian nations translated a part of them into their own language. Therefore it seems better to me, if ye think so, for us also to translate some books which are most needful for all men to know, into the language which we can all understand, and for you to do as we very easily can if we have tranquillity enough; that is, that all the youth now in England of free men, who are rich enough to be able to devote themselves to it, be set to learn as long as they are not fit for any other occupation, until that they are well able to read English writing: and let those be afterward taught more in the Latin language who are to continue learning and be promoted to a higher rank. When I remember how the knowledge of Latin had formerly decayed throughout England, and yet many could read English writing, I began among other various and manifold troubles of this kingdom, to translate into English the book which is called in Latin 'Pastoralis,' and in English 'Shepherd's Book,' sometimes word by word and sometimes according to the sense, as I had learnt it from Plegmund, my archbishop, and Asser, my bishop, and Grimbold, my mass-priest, and John, my mass-priest. And when I had learnt it as I could best understand it, and as I could most clearly interpret it, I translated it into English; and I will send a copy to every bishopric in my kingdom; and on each there is a clasp worth fifty mancus. And I command, in God's name, that no man take the clasp from the book or the book from the minister: it is uncertain how long there may be such learned bishops as now, thanks be to God, there are nearly everywhere; therefore, I wish them always to remain in their place, unless the bishop wish to take them with him, or they be lent out anywhere, or any one make a copy from them.
Then I remember how the law was first known in Hebrew, and later, when the Greeks learned it, they translated the whole thing into their own language, along with all other books. Then the Romans, after understanding it, translated everything through knowledgeable interpreters into their own language as well. Other Christian nations also translated parts of it into their own languages. So, I think it would be a good idea, if you agree, for us to also translate some essential books into a language everyone can understand. We should encourage the youth of England, who can afford it and are not suitable for other occupations, to learn to read English. Once they can read well enough, those who want to continue their education and advance to higher levels can then be taught more Latin. When I recall how Latin knowledge had declined in England, yet many could read English, I started translating the book known in Latin as 'Pastoralis' and in English as 'Shepherd's Book,' sometimes word for word and sometimes by the meaning, just as I learned it from Plegmund, my archbishop, Asser, my bishop, Grimbold, my mass-priest, and John, my mass-priest. After understanding it as best I could, I translated it into English. I will send a copy to every bishopric in my kingdom, each with a clasp worth fifty mancus. I command, in God's name, that no one take the clasp from the book or the book from the minister: it’s uncertain how long there will be such learned bishops as there are now, thanks be to God, across most places; therefore, I want them to remain in their place unless the bishop chooses to take them with him, loans are made, or someone copies them.
BLOSSOM GATHERINGS FROM ST. AUGUSTINE
In every tree I saw something there which I needed at home, therefore I advise every one who is able and has many wains, that he trade to the same wood where I cut the stud shafts, and there fetch more for himself and load his wain with fair rods, that he may wind many a neat wall and set many a comely house and build many a fair town of them; and thereby may dwell merrily and softly, so as I now yet have not done. But He who taught me, to whom the wood was agreeable, He may make me to dwell more softly in this temporary cottage, the while that I am in this world, and also in the everlasting home which He has promised us through St. Augustine, and St. Gregory, and St. Jerome, and through other holy fathers; as I believe also that for the merits of all these He will make the way more convenient than it was before, and especially the carrying and the building: but every man wishes after he has built a cottage on his lord's lease by his help, that he may sometimes rest him therein and hunt, and fowl, and fish, and use it every way under the lease both on water and on land, until the time that he earn book-land and everlasting heritage through his lord's mercy. So do enlighten the eyes of my mind so that I may search out the right way to the everlasting home and the everlasting glory, and the everlasting rest which is promised us through those holy fathers. May it be so! ...
In every tree, I saw something I could use at home, so I suggest everyone who can and has many carts to head to the same woods where I cut the stud shafts and get more for themselves. Load their carts with nice rods so they can build neat walls, set up beautiful houses, and create lovely towns. This way, they can live happily and comfortably, unlike how I’m doing now. But the one who taught me, to whom the woods are pleasing, He may allow me to live more comfortably in this temporary place while I'm in this world, and also in the eternal home He promised us through St. Augustine, St. Gregory, St. Jerome, and other holy figures. I believe that because of the merits of all these saints, He will make the way easier than it was before, especially for the carrying and building. Every man hopes that after he builds a cottage on his lord's land with his help, he can sometimes relax in it, hunt, fish, and use it in every way allowed by the lease, until he earns book-land and everlasting heritage through his lord's mercy. So, enlighten my mind so I can find the right path to eternal home, eternal glory, and the eternal rest promised to us through those holy fathers. May it be so!
It is no wonder though men swink in timber working, and in the wealthy Giver who wields both these temporary cottages and eternal homes. May He who shaped both and wields both, grant me that I may be meet for each, both here to be profitable and thither to come.
It’s no surprise that people work hard in lumber jobs, and in the generous Giver who controls both these temporary shelters and everlasting homes. May He who created both and holds both grant me the ability to be suitable for each, both here to be useful and there to go.
From 'Boethius'
From 'Boethius'
Oh! It is a fault of weight,
Oh! It is a serious mistake,
Let him think it out who will,
Let whoever wants to figure it out.
And a danger passing great
And a great passing danger
Which can thus allure to ill
Which can therefore lead to harm
Careworn men from the rightway,
Careworn men from the right side,
Swiftly ever led astray.
Quickly led astray.
Will ye seek within the wood
Will you look inside the woods
Red gold on the green trees tall?
Red gold on the tall green trees?
None, I wot, is wise that could,
None, I know, is wise enough to do that.
For it grows not there at all:
For it doesn't grow there at all:
Neither in wine-gardens green
Neither in green vineyards
Seek they gems of glittering sheen.
Seek the gems that shine brightly.
Would ye on some hill-top set,
Would you sit on some hilltop,
When ye list to catch a trout,
When you want to catch a trout,
Or a carp, your fishing-net?
Or a carp, your net?
Men, methinks, have long found out
Men, I think, have long figured out
That it would be foolish fare,
That it would be foolish food,
For they know they are not there.
For they know they aren't there.
In the salt sea can ye find,
In the salty sea, you can find,
When ye list to start an hunt,
When you want to start a hunt,
With your hounds, the hart or hind?
With your dogs, the stag or doe?
It will sooner be your wont
It will probably be your habit
In the woods to look, I wot,
In the woods to look, I know,
Than in seas where they are not.
Than in seas where they are not.
Is it wonderful to know
Isn't it great to know
That for crystals red or white
That for red or white crystals
One must to the sea-beach go,
One must go to the beach,
Or for other colors bright,
Or for other bright colors,
Seeking by the river's side
Looking by the riverbank
Or the shore at ebb of tide?
Or the shore at low tide?
Likewise, men are well aware
Likewise, men know well
Where to look for river-fish;
Where to find river fish;
And all other worldly ware
And all other worldly goods
Where to seek them when they wish;
Where to look for them when they want;
Wisely careful men will know
Smart, cautious men will know
Year by year to find them so.
Year after year, to find them like this.
But of all things 'tis most sad
But of all things, it’s the saddest.
That they foolish are so blind,
That they're so foolish and blind,
So besotted and so mad,
So in love and so crazy,
That they cannot surely find
That they definitely can't find
Where the ever-good is nigh
Where goodness is near
And true pleasures hidden lie.
And true pleasures are hidden.
Therefore, never is their strife
So, there’s never their conflict
After those true joys to spur;
After those real joys to motivate;
In this lean and little life
In this thin and small life
They, half-witted, deeply err
They, foolish, make serious mistakes
Seeking here their bliss to gain,
Searching for their happiness here,
That is God Himself in vain.
That is God Himself for nothing.
Ah! I know not in my thought
Ah! I don't know in my thoughts
How enough to blame their sin,
How can we blame their sin,
None so clearly as I ought
None as clearly as I should
Can I show their fault within;
Can I point out their mistake inside;
For, more bad and vain are they
For, they are worse and more conceited.
And more sad than I can say.
And more sad than I can express.
All their hope is to acquire
All their hope is to acquire
Worship goods and worldly weal;
Adore possessions and earthly wealth;
When they have their mind's desire,
When they get what they want,
Then such witless Joy they feel,
Then they feel such foolish joy,
That in folly they believe
That they believe in folly
Those True Joys they then receive.
Those true joys they receive then.
Works of Alfred the Great, Jubilee Edition (Oxford and Cambridge, 1852).
Works of Alfred the Great, Jubilee Edition (Oxford and Cambridge, 1852).
From 'Boethius'
From 'Boethius'
Lo! I sting cheerily
Look! I sting happily
In my bright days,
In my good times,
But now all wearily
But now all tired
Chaunt I my lays;
I sing my songs;
Sorrowing tearfully,
Crying sorrowfully,
Saddest of men,
Saddest guy,
Can I sing cheerfully,
Can I sing happily,
As I could then?
As I could back then?
Many a verity
Many truths
In those glad times
In those happy times
Of my prosperity
Of my success
Taught I in rhymes;
I was taught in rhymes;
Now from forgetfulness
Now from memory loss
Wanders my tongue,
Wanders my tongue,
Wasting in fretfulness,
Wasting in worry,
Metres unsung.
Untold meters.
Worldliness brought me here
Experience brought me here
Foolishly blind,
Blindly foolish,
Riches have wrought me here
Wealth has brought me here
Sadness of mind;
Mental sadness;
When I rely on them,
When I depend on them,
Lo! they depart,--
Look! they're leaving,--
Bitterly, fie on them!
Shame on them!
Rend they my heart.
Rend my heart.
Why did your songs to me,
Why did you sing those songs to me,
World-loving men,
Worldly men,
Say joy belongs to me
Say joy is mine
Ever as then?
Still like then?
Why did ye lyingly
Why did you lie?
Think such a thing,
Consider such a thing,
Seeing how flyingly
Seeing how quickly
Wealth may take wing?
Wealth can fly away?
Works of Alfred the Great, Jubilee Edition (Oxford and Cambridge, 1852).
Works of Alfred the Great, Jubilee Edition (Oxford and Cambridge, 1852).
CHARLES GRANT ALLEN
(1848-)
he Irish-Canadian naturalist, Charles Grant Blairfindie Allen, who turns his industrious hand with equal facility to scientific writing, to essays, short stories, botanical treatises, biography, and novels, is known to literature as Grant Allen, as "Arbuthnot Wilson," and as "Cecil Power."
The Irish-Canadian naturalist, Charles Grant Blairfindie Allen, who skillfully applies his talents to scientific writing, essays, short stories, botanical studies, biographies, and novels, is recognized in literature as Grant Allen, as "Arbuthnot Wilson," and as "Cecil Power."
His work may be divided into two classes: fiction and popular essays. The first shows the author to be familiar with varied scenes and types, and exhibits much feeling for dramatic situations. His list of novels is long, and includes among others, 'Strange Stories,' 'Babylon,' 'This Mortal Coil,' 'The Tents of Shem,' 'The Great Taboo,' 'Recalled to Life,' 'The Woman Who Did,' and 'The British Barbarians.' In many of these books he has woven his plots around a psychological theme; a proof that science interests him more than invention. His essays are written for unscientific readers, and carefully avoid all technicalities and tedious discussions. Most persons, he says, "would much rather learn why birds have feathers than why they have a keeled sternum, and they think the origin of bright flowers far more attractive than the origin of monocotyledonous seeds or esogenous stems."
His work can be divided into two categories: fiction and popular essays. The first category shows that the author is familiar with a variety of settings and characters, and demonstrates a strong sense of dramatic situations. His list of novels is extensive, including titles like 'Strange Stories,' 'Babylon,' 'This Mortal Coil,' 'The Tents of Shem,' 'The Great Taboo,' 'Recalled to Life,' 'The Woman Who Did,' and 'The British Barbarians.' In many of these works, he weaves his plots around psychological themes, showing that science fascinates him more than mere invention. His essays are aimed at general readers and carefully steer clear of technical jargon and dry discussions. Most people, he says, "would much rather learn why birds have feathers than why they have a keeled sternum, and they find the origin of bright flowers far more appealing than the origins of monocotyledonous seeds or esogenous stems."
Grant Allen was born in Kingston, Canada, February 24th, 1848. After graduation at Merton College, Oxford, he occupied for four years the chair of logic and philosophy at Queen's College, Spanish Town, Jamaica, which he resigned to settle in England, where he now resides. Early in his career he became an enthusiastic follower of Darwin and Herbert Spencer, and published the attractive books entitled 'Science in Arcady,' 'Vignettes from Nature,' 'The Evolutionist at Large,' and 'Colin Clout's Calendar.' In his preface to 'Vignettes from Nature,' he says that the "essays are written from an easy-going, half-scientific half-aesthetic standpoint." In this spirit he rambles in the woods, in the meadows, at the seaside, or upon the heather-carpeted moor, finding in such expeditions material and suggestions for his lightly moving essays, which expound the problems of Nature according to the theories of his acknowledged masters. A fallow deer grazing in a forest, a wayside berry, a guelder rose, a sportive butterfly, a bed of nettles, a falling leaf, a mountain tarn, the hole of a hedgehog, a darting humming-bird, a ripening plum, a clover-blossom, a spray of sweet-briar, a handful of wild thyme, or a blaze of scarlet geranium before a cottage door, furnish him with a text for the discussion of "those biological and cosmical doctrines which have revolutionized the thought of the nineteenth century," as he says in substance.
Grant Allen was born in Kingston, Canada, on February 24th, 1848. After graduating from Merton College, Oxford, he spent four years as the chair of logic and philosophy at Queen's College in Spanish Town, Jamaica, which he eventually resigned to move to England, where he currently lives. Early in his career, he became a passionate supporter of Darwin and Herbert Spencer and published popular books like 'Science in Arcady,' 'Vignettes from Nature,' 'The Evolutionist at Large,' and 'Colin Clout's Calendar.' In his preface to 'Vignettes from Nature,' he mentions that the "essays are written from an easy-going, half-scientific, half-aesthetic standpoint." In this spirit, he wanders through the woods, meadows, along the seaside, or across the heather-covered moors, finding inspiration for his light essays, which explore the issues of Nature based on the theories of his influential mentors. A fallow deer grazing in a forest, a roadside berry, a guelder rose, a playful butterfly, a patch of nettles, a falling leaf, a mountain pond, a hedgehog's burrow, a darting hummingbird, a ripe plum, a clover blossom, a sprig of sweet briar, a handful of wild thyme, or a vibrant scarlet geranium in front of a cottage serve as prompts for discussing "those biological and cosmological doctrines that have transformed the thinking of the nineteenth century," as he essentially puts it.
Somewhat more scientific are 'Psychological Aesthetics,' 'The Color Sense,' 'The Color of Flowers,' and 'Flowers and their Pedigrees'; and still deeper is 'Force and Energy' (1888), a theory of dynamics in which he expresses original views. In 'Psychological Aesthetics' (1877), he first seeks to explain "such simple pleasures in bright color, sweet sound, or rude pictorial imitation as delight the child and the savage, proceeding from these elementary principles to the more and more complex gratifications of natural scenery, painting, and poetry." In 'The Color Sense' he defines all that we do not owe to the color sense, for example the rainbow, the sunset, the sky, the green or purple sea, the rocks, the foliage of trees and shrubs, hues of autumn, effects of iridescent light, or tints of minerals and precious stones; and all that we do owe, namely, "the beautiful flowers of the meadow and the garden-roses, lilies, cowslips, and daisies; the exquisite pink of the apple, the peach, the mango, and the cherry, with all the diverse artistic wealth of oranges, strawberries, plums, melons, brambleberries, and pomegranates; the yellow, blue, and melting green of tropical butterflies; the magnificent plumage of the toucan, the macaw, the cardinal-bird, the lory, and the honey-sucker; the red breast of our homely robin; the silver or ruddy fur of the ermine, the wolverene, the fox, the squirrel, and the chinchilla; the rosy cheeks and pink lips of the English maiden; the whole catalogue of dyes, paints, and pigments; and last of all, the colors of art in every age and nation, from the red cloth of the South Seas, the lively frescoes of the Egyptian and the subdued tones of Hellenic painters, to the stained windows of Poictiers and the Madonna of the Sistine Chapel." Besides these books, Mr. Allen has written for the series called 'English Worthies' a sympathetic 'Life of Charles Darwin' (1885).
Somewhat more scientific are 'Psychological Aesthetics,' 'The Color Sense,' 'The Color of Flowers,' and 'Flowers and their Pedigrees'; and even deeper is 'Force and Energy' (1888), a dynamics theory where he shares original ideas. In 'Psychological Aesthetics' (1877), he aims to explain "the simple pleasures found in bright colors, sweet sounds, or basic visual representations that delight children and primitive people, moving from these fundamental ideas to increasingly complex enjoyments of natural scenes, painting, and poetry." In 'The Color Sense,' he outlines what we don't owe to our color sense, like rainbows, sunsets, the sky, the green or purple sea, rocks, tree and shrub foliage, autumn hues, iridescent light effects, or mineral and gemstone colors; and what we do owe, such as "the beautiful flowers of the meadow and garden—roses, lilies, cowslips, and daisies; the delicate pink of apples, peaches, mangoes, and cherries, along with the artistic variety of oranges, strawberries, plums, melons, brambleberries, and pomegranates; the yellow, blue, and vibrant green of tropical butterflies; the stunning feathers of the toucan, macaw, cardinal bird, lory, and honey-sucker; the red breast of our common robin; the silver or reddish fur of the ermine, wolverine, fox, squirrel, and chinchilla; the rosy cheeks and pink lips of the English maiden; the entire range of dyes, paints, and pigments; and finally, the colors of art throughout history and across cultures, from the red cloth of the South Seas, the vibrant frescoes of the Egyptians, and the muted tones of Hellenic artists, to the stained glass of Poictiers and the Madonna of the Sistine Chapel." In addition to these books, Mr. Allen has written a sympathetic 'Life of Charles Darwin' (1885) for the series called 'English Worthies.'
THE COLORATION OF FLOWERS
The different hues assumed by petals are all thus, as it were, laid up beforehand in the tissues of the plant, ready to be brought out at a moment's notice. And all flowers, as we know, easily sport a little in color. But the question is, Do their changes tend to follow any regular and definite order? Is there any reason to believe that the modification runs from any one color toward any other? Apparently there is. The general conclusion to be set forth in this work is the statement of such a tendency. All flowers, it would seem, were in their earliest form yellow; then some of them became white; after that, a few of them grew to be red or purple; and finally, a comparatively small number acquired various shades of lilac, mauve, violet, or blue. So that if this principle be true, such a flower as the harebell will represent one of the most highly developed lines of descent; and its ancestors will have passed successively through all the intermediate stages. Let us see what grounds can be given for such a belief.
The different colors that petals can display are essentially stored in the plant's tissues, ready to be revealed at any moment. We know that all flowers can easily change a bit in color. But the question is, do these changes follow any certain or specific pattern? Is there any reason to think that the transformation moves from one color to another? It seems there is. The main point to be made in this work is the suggestion of such a tendency. It appears that all flowers, in their earliest form, were yellow; then some of them turned white; after that, a few became red or purple; and finally, a relatively small number developed various shades of lilac, mauve, violet, or blue. So, if this principle holds true, a flower like the harebell would represent one of the most advanced lines of evolution, and its ancestors would have gone through all the intermediate stages. Let's explore the reasons that support this belief.
Some hints of a progressive law in the direction of a color-change from yellow to blue are sometimes afforded to us even by the successive stages of a single flower. For example, one of our common little English forget-me-nots, Myosotis versicolor, is pale yellow when it first opens; but as it grows older, it becomes faintly pinkish, and ends by being blue, like the others of its race. Now, this sort of color-change is by no means uncommon; and in almost all known cases it is always in the same direction, from yellow or white, through pink, orange, or red, to purple or blue. For example, one of the wall-flowers, Cheiranthus chamoeleo, has at first a whitish flower, then a citron-yellow, and finally emerges into red or violet. The petals of Stytidium fructicosum are pale yellow to begin with, and afterward become light rose-colored. An evening primrose, Oenothera tetraptera, has white flowers in its first stage, and red ones at a later period of development. Cobea scandens goes from white to violet; Hibiscus mutabilis from white through flesh-colored to red. The common Virginia stock of our gardens (Malcolmia) often opens of a pale yellowish green, then becomes faintly pink; afterward deepens into bright red; and fades away at the last into mauve or blue. Fritz Müller's Lantana is yellow on its first day, orange on its second, and purple on the third. The whole family of Boraginaceae begin by being pink and end with being blue. The garden convolvulus opens a blushing white and passes into full purple. In all these and many other cases the general direction of the changes is the same. They are usually set down as due to varying degrees of oxidation in the pigmentary matter. If this be so, there is a good reason why bees should be specially fond of blue, and why blue flowers should be specially adapted for fertilization by their aid. For Mr. A.R. Wallace has shown that color is most apt to appear or to vary in those parts of plants or animals which have undergone the highest amount of modification. The markings of the peacock and the argus pheasant come out upon their immensely developed secondary tail-feathers or wing-plumes; the metallic hues of sun-birds, or humming-birds, show themselves upon their highly specialized crests, gorgets, or lappets. It is the same with the hackles of fowls, the head ornaments of fruit-pigeons, and the bills of toucans. The most exquisite colors in the insect world are those which are developed on the greatly expanded and delicately feathered wings of butterflies; and the eye-spots which adorn a few species are usually found on their very highly modified swallow-tail appendages. So too with flowers: those which have undergone most modification have their colors most profoundly altered. In this way, we may put it down as a general rule (to be tested hereafter) that the least developed flowers are usually yellow or white; those which have undergone a little more modification are usually pink or red; and those which have been most highly specialized of any are usually purple, lilac, or blue. Absolute deep ultramarine probably marks the highest level of all.
Some signs of a gradual change in color from yellow to blue can sometimes be seen just in the different stages of a single flower. For example, one of our common little English forget-me-nots, Myosotis versicolor, starts off pale yellow when it first blooms; but as it ages, it turns slightly pink before becoming blue, like the others of its kind. This kind of color change is quite common; and in almost all known instances, it consistently follows the same pattern, moving from yellow or white, through pink, orange, or red, to purple or blue. For example, one wallflower, Cheiranthus chamoeleo, starts with whitish flowers that then become citron-yellow, and finally turn red or violet. The petals of Stytidium fructicosum begin as pale yellow and later change to light rose-colored. An evening primrose, Oenothera tetraptera, has white flowers at first and red ones as it develops further. Cobea scandens transitions from white to violet; Hibiscus mutabilis goes from white to flesh-colored to red. The ordinary Virginia stock in our gardens (Malcolmia) often opens a pale yellow-green, shifts to faint pink, then deepens to bright red, and finally fades to mauve or blue. Fritz Müller’s Lantana is yellow on its first day, orange on its second, and purple on the third. The entire family of Boraginaceae starts pink and ends blue. The garden convolvulus begins as a blushing white and turns into full purple. In all of these and many other examples, the overall direction of the changes is similar. These changes are usually attributed to varying levels of oxidation in the pigment. If that's the case, there’s a good reason why bees are especially attracted to blue flowers and why these flowers are particularly suited for pollination by them. Mr. A.R. Wallace has shown that color is most likely to appear or vary in those parts of plants or animals that have undergone significant modification. The markings of the peacock and argus pheasant emerge on their highly developed secondary tail feathers or wing plumes; the metallic colors of sunbirds or hummingbirds appear on their specialized crests, gorgets, or lappets. The same goes for the hackles of chickens, the head ornaments of fruit pigeons, and the bills of toucans. The most stunning colors in the insect world are those found on the large, intricately feathered wings of butterflies; and the eye spots that adorn some species are typically located on their highly modified swallow-tail appendages. Similarly, with flowers: those that have gone through the most modification have their colors most significantly changed. Therefore, we can generally assert (to be tested later) that the least developed flowers are usually yellow or white; those with a bit more modification are often pink or red; and those that are the most specialized are typically purple, lilac, or blue. Pure deep ultramarine likely represents the highest level of this spectrum.
On the other hand, Mr. Wallace's principle also explains why the bees and butterflies should prefer these specialized colors to all others, and should therefore select those flowers which display them by preference over any less developed types; for bees and butterflies are the most highly adapted of all insects to honey-seeking and flower-feeding. They have themselves on their side undergone the largest amount of specialization for that particular function. And if the more specialized and modified flowers, which gradually fitted their forms and the position of their honey-glands to the forms of the bees or butterflies, showed a natural tendency to pass from yellow through pink and red to purple and blue, it would follow that the insects which were being evolved side by side with them, and which were aiding at the same time in their evolution, would grow to recognize these developed colors as the visible symbols of those flowers from which they could obtain the largest amount of honey with the least possible trouble. Thus it would finally result that the ordinary unspecialized flowers, which depended upon small insect riff-raff, would be mostly left yellow or white; those which appealed to rather higher insects would become pink or red; and those which laid themselves out for bees or butterflies, the aristocrats of the arthropodous world, would grow for the most part to be purple or blue.
On the other hand, Mr. Wallace's principle also explains why bees and butterflies prefer these specialized colors over all others and choose flowers that display them instead of less developed types. Bees and butterflies are the most adapted insects for seeking honey and feeding on flowers. They have undergone the most specialization for that specific function. If the more specialized and modified flowers, which gradually adjusted their shapes and the positions of their nectar glands to fit the shapes of bees or butterflies, showed a natural trend of changing from yellow to pink, red, purple, and blue, it would follow that the insects evolving alongside them, and helping in their evolution, would come to recognize these vibrant colors as indicators of the flowers that provided the most nectar with the least effort. Consequently, the ordinary, less specialized flowers, which relied on smaller, less significant insects, would mostly remain yellow or white; those that attracted somewhat more advanced insects would become pink or red; and those that targeted bees or butterflies, the elite of the insect world, would predominantly turn purple or blue.
Now, this is very much what we actually find to be the case in nature. The simplest and earliest flowers are those with regular, symmetrical open cups, like the Ranunculus genus, the Potentillas, and the Alsine or chickweeds, which can be visited by any insects whatsoever; and these are in large part yellow or white. A little higher are flowers like the Campions or Sileneoe, and the stocks (Matthiola), with more or less closed cups, whose honey can only be reached by more specialized insects; and these are oftener pink or reddish. More profoundly modified are those irregular one-sided flowers, like the violets, peas, and orchids, which have assumed special shapes to accommodate bees and other specific honey-seekers; and these are often purple and not unfrequently blue. Highly specialized in another way are the flowers like harebells (Campanulaceoe), scabious (Dipsaceoe), and heaths (Ericaceoe), whose petals have all coalesced into a tubular corolla; and these might almost be said to be usually purple or blue. And finally, highest of all are the flowers like labiates (rosemary, Salvia, etc.) and speedwells (Veronica), whose tubular corolla has been turned to one side, thus combining the united petals with the irregular shape; and these are almost invariably purple or blue.
Now, this is very much what we actually observe in nature. The simplest and earliest flowers have regular, symmetrical open cups, like the Ranunculus genus, Potentillas, and Alsine or chickweeds, which can be visited by any insects at all; and these are mostly yellow or white. Next are flowers like the Campions or Sileneoe, and the stocks (Matthiola), with more or less closed cups, whose nectar can only be accessed by more specialized insects; and these are often pink or reddish. More significantly modified are those irregular one-sided flowers, like violets, peas, and orchids, which have developed special shapes to attract bees and other specific nectar-seekers; and these are often purple and sometimes blue. Highly specialized in another way are flowers like harebells (Campanulaceoe), scabious (Dipsaceoe), and heaths (Ericaceoe), whose petals have all fused into a tubular corolla; and these could almost be said to usually be purple or blue. Finally, at the highest level are flowers like labiates (rosemary, Salvia, etc.) and speedwells (Veronica), whose tubular corolla has been shifted to one side, thus combining the united petals with the irregular shape; and these are almost always purple or blue.
AMONG THE HEATHER
I suppose even that apocryphal person, the general reader, would be insulted at being told at this hour of the day that all bright-colored flowers are fertilized by the visits of insects, whose attentions they are specially designed to solicit. Everybody has heard over and over again that roses, orchids, and columbines have acquired their honey to allure the friendly bee, their gaudy petals to advertise the honey, and their divers shapes to insure the proper fertilization by the correct type of insect. But everybody does not know how specifically certain blossoms have laid themselves out for a particular species of fly, beetle, or tiny moth. Here on the higher downs, for instance, most flowers are exceptionally large and brilliant; while all Alpine climbers must have noticed that the most gorgeous masses of bloom in Switzerland occur just below the snow-line. The reason is, that such blossoms must be fertilized by butterflies alone. Bees, their great rivals in honey-sucking, frequent only the lower meadows and slopes, where flowers are many and small: they seldom venture far from the hive or the nest among the high peaks and chilly nooks where we find those great patches of blue gentian or purple anemone, which hang like monstrous breadths of tapestry upon the mountain sides. This heather here, now fully opening in the warmer sun of the southern counties--it is still but in the bud among the Scotch hills, I doubt not--specially lays itself out for the humble-bee, and its masses form almost his highest pasture-grounds; but the butterflies--insect vagrants that they are--have no fixed home, and they therefore stray far above the level at which bee-blossoms altogether cease to grow. Now, the butterfly differs greatly from the bee in his mode of honey-hunting: he does not bustle about in a business-like manner from one buttercup or dead-nettle to its nearest fellow; but he flits joyously, like a sauntering straggler that he is, from a great patch of color here to another great patch at a distance, whose gleam happens to strike his roving eye by its size and brilliancy. Hence, as that indefatigable observer, Dr. Hermann Müller, has noticed, all Alpine or hill-top flowers have very large and conspicuous blossoms, generally grouped together in big clusters so as to catch a passing glance of the butterfly's eye. As soon as the insect spies such a cluster, the color seems to act as a stimulant to his broad wings, just as the candle-light does to those of his cousin the moth. Off he sails at once, as if by automatic action, towards the distant patch, and there both robs the plant of its honey, and at the same time carries to it on his legs and head fertilizing pollen from the last of its congeners which he favored with a call. For of course both bees and butterflies stick on the whole to a single species at a time; or else the flowers would only get uselessly hybridized, instead of being impregnated with pollen from other plants of their own kind. For this purpose it is that most plants lay themselves out to secure the attention of only two or three varieties among their insect allies, while they make their nectaries either too deep or too shallow for the convenience of all other kinds.
I guess even that fictional person, the average reader, would be offended to be told at this time of day that all brightly colored flowers are pollinated by insects, which they are specifically designed to attract. Everyone has heard repeatedly that roses, orchids, and columbines produce nectar to lure in friendly bees, have colorful petals to advertise the nectar, and come in various shapes to ensure pollination by the right type of insect. But not everyone knows how specifically certain flowers are adapted for particular species of flies, beetles, or tiny moths. For example, up in the higher hills, most flowers are notably large and vibrant; while anyone climbing in the Alps will have noticed that the most stunning displays of blooms in Switzerland appear just below the snow line. This happens because such flowers need to be pollinated only by butterflies. Bees, their main competitors for nectar, stick to the lower meadows and slopes, where flowers are numerous but small: they rarely venture far from their hives or nests in the high peaks and chilly spots where we find those vast patches of blue gentian or purple anemone, which hang like giant tapestries on the mountainsides. This heather here, now blooming fully in the warmer sun of the southern counties—it’s still just budding among the Scottish hills, I’m sure—specifically caters to the humble bee, and its masses form almost his highest pastures; but butterflies—insect wanderers that they are—have no fixed homes, so they drift far above the level where bee-friendly flowers stop growing. Now, the butterfly is quite different from the bee in how it hunts for nectar: it doesn’t rush around in a businesslike way from one buttercup or dead-nettle to the nearest one; instead, it flits joyfully, sauntering from one large patch of color to another far-off patch that catches its wandering eye with its size and brightness. Because of this, as that tireless observer, Dr. Hermann Müller, has noted, all Alpine or mountaintop flowers have very large and eye-catching blossoms, generally clustered together in big groups to attract a butterfly's gaze. As soon as the insect spots such a cluster, the color seems to stimulate its broad wings, just like candlelight does to its cousin, the moth. Off it goes immediately, as if by instinct, towards the distant patch, where it both steals nectar from the plant and simultaneously brings fertilizing pollen from the last flower of the same species it visited. Of course, both bees and butterflies generally stick to one species at a time, or else the flowers would just get unnecessarily hybridized instead of being pollinated with pollen from other plants of their kind. For this reason, most plants are designed to grab the attention of only two or three types among their insect partners, while they make their nectar-glands either too deep or too shallow for all other kinds.
Insects, however, differ much from one another in their aesthetic tastes, and flowers are adapted accordingly to the varying fancies of the different kinds. Here, for example, is a spray of common white galium, which attracts and is fertilized by small flies, who generally frequent white blossoms. But here again, not far off, I find a luxuriant mass of the yellow species, known by the quaint name of "lady's-bedstraw,"--a legacy from the old legend which represents it as having formed Our Lady's bed in the manger at Bethlehem. Now why has this kind of galium yellow flowers, while its near kinsman yonder has them snowy white? The reason is that lady's-bedstraw is fertilized by small beetles; and beetles are known to be one among the most color-loving races of insects. You may often find one of their number, the lovely bronze and golden-mailed rose-chafer, buried deeply in the very centre of a red garden rose, and reeling about when touched as if drunk with pollen and honey. Almost all the flowers which beetles frequent are consequently brightly decked in scarlet or yellow. On the other hand, the whole family of the umbellates, those tall plants with level bunches of tiny blossoms, like the fool's-parsley, have all but universally white petals; and Müller, the most statistical of naturalists, took the trouble to count the number of insects which paid them a visit. He found that only fourteen per cent. were bees, while the remainder consisted mainly of miscellaneous small flies and other arthropodous riff-raff, whereas, in the brilliant class of composites, including the asters, sunflowers, daisies, dandelions, and thistles, nearly seventy-five per cent. of the visitors were steady, industrious bees. Certain dingy blossoms which lay themselves out to attract wasps, are obviously adapted, as Müller quaintly remarks, "to a less aesthetically cultivated circle of visitors." But the most brilliant among all insect-fertilized flowers are those which specially affect the society of butterflies; and they are only surpassed in this respect throughout all nature by the still larger and more magnificent tropical species which owe their fertilization to humming-birds and brush-tongued lories.
Insects vary greatly in their preferences when it comes to beauty, and flowers adjust to cater to the diverse tastes of different species. For instance, take a sprig of common white galium, which draws in and gets fertilized by small flies that tend to favor white blooms. Not far from that, I see a lush cluster of the yellow variety known as "lady's-bedstraw," a name derived from an old legend that says it made a bed for Our Lady in the manger at Bethlehem. So, why does this type of galium have yellow flowers, while its close relative over there has snowy white ones? The answer is that lady's-bedstraw is pollinated by small beetles, which are known to be among the most color-loving insects. You might often spot one, the beautiful bronze and golden rose-chafer, buried deep in the heart of a red garden rose, swaying as if intoxicated with pollen and nectar when touched. Almost all the flowers that attract beetles are thus brightly colored in shades of red or yellow. On the flip side, the entire family of umbellates, those tall plants with flat clusters of tiny flowers, like fool's-parsley, almost universally have white petals; and Müller, the most statistical of naturalists, took the time to count the insects that visited them. He found that only fourteen percent were bees, while the rest were mostly assorted small flies and other random arthropods. In contrast, in the vibrant category of composites, including asters, sunflowers, daisies, dandelions, and thistles, nearly seventy-five percent of visitors were dedicated, hardworking bees. Some drab flowers that are designed to attract wasps are clearly suited for, as Müller charmingly puts it, "a less aesthetically cultivated circle of visitors." But the most striking among all insect-pollinated flowers are those that specifically attract butterflies; they are only outshone in this regard by the even grander and more stunning tropical species that rely on hummingbirds and brush-tongued lories for their pollination.
Is it not a curious, yet a comprehensible circumstance, that the tastes which thus show themselves in the development, by natural selection, of lovely flowers, should also show themselves in the marked preference for beautiful mates? Poised on yonder sprig of harebell stands a little purple-winged butterfly, one of the most exquisite among our British kinds. That little butterfly owes its own rich and delicately shaded tints to the long selective action of a million generations among its ancestors. So we find throughout that the most beautifully colored birds and insects are always those which have had most to do with the production of bright-colored fruits and flowers. The butterflies and rose-beetles are the most gorgeous among insects; the humming-birds and parrots are the most gorgeous among birds. Nay, more, exactly like effects have been produced in two hemispheres on different tribes by the same causes. The plain brown swifts of the North have developed among tropical West Indian and South American orchids the metallic gorgets and crimson crests of the humming-bird; while a totally unlike group of Asiatic birds have developed among the rich flora of India and the Malay Archipelago the exactly similar plumage of the exquisite sun-birds. Just as bees depend upon flowers, and flowers upon bees, so the color-sense of animals has created the bright petals of blossoms; and the bright petals have reacted upon the tastes of the animals themselves, and through their tastes upon their own appearance.
Isn’t it interesting, yet understandable, that the preferences we see in the evolution of beautiful flowers through natural selection also appear in the strong attraction to attractive partners? Perched on that sprig of harebell is a small purple-winged butterfly, one of the most stunning of our British species. That little butterfly owes its rich and delicately shaded colors to the long process of selection over a million generations of its ancestors. We notice that the most beautifully colored birds and insects are always those that have been closely associated with vibrant fruits and flowers. Butterflies and rose-beetles are the most vibrant among insects; hummingbirds and parrots are the most vibrant among birds. Furthermore, similar results have occurred in two hemispheres across different species due to the same factors. The plain brown swifts in the North have developed the metallic gorgets and red crests of the hummingbird alongside tropical West Indian and South American orchids; meanwhile, a completely different group of Asian birds has developed the similarly stunning plumage of the exquisite sunbirds among the rich plants of India and the Malay Archipelago. Just as bees rely on flowers, and flowers rely on bees, so the color preferences of animals have shaped the bright petals of blossoms, and those bright petals have influenced the preferences of the animals themselves, and through those preferences, their own appearance.
THE HERON'S HAUNT
Most of the fields on the country-side are now laid up for hay, or down in the tall haulming corn; and so I am driven from my accustomed botanizing grounds on the open, and compelled to take refuge in the wild bosky moor-land back of Hole Common. Here, on the edge of the copse, the river widens to a considerable pool, and coming upon it softly through the wood from behind--the boggy, moss-covered ground masking and muffling my foot-fall--I have surprised a great, graceful ash-and-white heron, standing all unconscious on the shallow bottom, in the very act of angling for minnows. The heron is a somewhat rare bird among the more cultivated parts of England; but just hereabouts we get a sight of one not infrequently, for they still breed in a few tall ash-trees at Chilcombe Park, where the lords of the manor in mediaeval times long preserved a regular heronry to provide sport for their hawking. There is no English bird, not even the swan, so perfectly and absolutely graceful as the heron. I am leaning now breathless and noiseless against the gate, taking a good look at him, as he stands half-knee deep on the oozy bottom, with his long neck arched over the water, and his keen purple eye fixed eagerly upon the fish below. Though I am still twenty yards from where he poises lightly on his stilted legs, I can see distinctly his long pendent snow-white breast-feathers, his crest of waving black plumes, falling loosely backward over the ash-gray neck, and even the bright red skin of his bare legs just below the feathered thighs. I dare hardly move nearer to get a closer view of his beautiful plumage; and still I will try. I push very quietly through the gate, but not quite quietly enough for the heron. One moment he raises his curved neck and poises his head a little on one side to listen for the direction of the rustling; then he catches a glimpse of me as I try to draw back silently behind a clump of flags and nettles; and in a moment his long legs give him a good spring from the bottom, his big wings spread with a sudden flap sky-wards, and almost before I can note what is happening he is off and away to leeward, making a bee-line for the high trees that fringe the artificial water in Chilcombe Hollow.
Most of the fields in the countryside are now set aside for hay or filled with tall corn, which pushes me away from my usual plant-seeking spots in the open and forces me to find refuge in the wild, bushy moorland behind Hole Common. Here, at the edge of the thicket, the river widens into a sizable pool, and as I quietly approach through the woods from behind—stepping on the boggy, moss-covered ground that muffles my footsteps—I unexpectedly come across a stunning ash-and-white heron, completely unaware, standing in the shallow water and trying to catch minnows. The heron is a somewhat rare sight in the more developed areas of England, but around here, we often see one, as they still nest in a few tall ash trees at Chilcombe Park, where medieval lords maintained a heronry for sport in hawking. No English bird, not even the swan, is as perfectly graceful as the heron. Right now, I’m leaning breathlessly and silently against the gate, taking in the view of him standing half-knee deep in the muddy water, his long neck curved over the surface, and his sharp purple eye intently watching the fish below. Although I’m still about twenty yards away from where he balances lightly on his long legs, I can clearly see his long, dangling snow-white breast feathers, his crest of flowing black plumes draping loosely over his ash-gray neck, and even the bright red skin on his bare legs just below the feathered thighs. I hardly dare to move closer for a better look at his beautiful feathers; yet, I still want to try. I quietly push through the gate, but not quietly enough for the heron. For a moment, he lifts his curved neck and tilts his head slightly to listen for the noise; then he spots me as I attempt to retreat silently behind a cluster of reeds and nettles. In an instant, his long legs give him a strong push from the bottom, his large wings flap suddenly upward, and almost before I realize what's happening, he’s off, heading away towards the tall trees that line the artificial lake in Chilcombe Hollow.
All these wading birds the herons, the cranes, the bitterns, the snipes, and the plovers are almost necessarily, by the very nature of their typical conformation, beautiful and graceful in form. Their tall, slender legs, which they require for wading, their comparatively light and well-poised bodies, their long, curved, quickly-darting necks and sharp beaks, which they need in order to secure their rapid-swimming prey, all these things make the waders, almost in spite of themselves, handsome and shapely birds. Their feet, it is true, are generally rather large and sprawling, with long, wide-spread toes, so as to distribute their weight on the snow-shoe principle, and prevent them from sinking in the deep soft mud on which they tread; but then we seldom see the feet, because the birds, when we catch a close view of them at all, are almost always either on stilts in the water, or flying with their legs tucked behind them, after their pretty rudder-like fashion. I have often wondered whether it is this general beauty of form in the waders which has turned their aesthetic tastes, apparently, into such a sculpturesque line. Certainly, it is very noteworthy that whenever among this particular order of birds we get clear evidence of ornamental devices, such as Mr. Darwin sets down to long-exerted selective preferences in the choice of mates, the ornaments are almost always those of form rather than those of color.
All these wading birds—the herons, cranes, bitterns, snipes, and plovers—are naturally beautiful and graceful due to their typical shape. Their tall, slender legs, which they need for wading, their relatively light and well-balanced bodies, long, curved necks that dart quickly, and sharp beaks for catching fast-swimming prey all contribute to their striking appearance. Although their feet tend to be quite large and flat, with long, spread-out toes to help distribute their weight and prevent sinking into soft mud, we rarely notice their feet. When we do see these birds up close, they’re usually either standing tall in the water or flying with their legs tucked in behind them, similar to a pretty rudder. I often wonder if the overall beauty of these waders has influenced their seemingly artistic tastes toward a sculptural style. It’s certainly interesting that whenever we find evidence of decorative features in this group of birds—like the traits noted by Mr. Darwin due to long-standing selective mate preferences—the ornaments are almost always related to form rather than color.
The waders, I sometimes fancy, only care for beauty of shape, not for beauty of tint. As I stood looking at the heron here just now, the same old idea seemed to force itself more clearly than ever upon my mind. The decorative adjuncts--the curving tufted crest on the head, the pendent silvery gorget on the neck, the long ornamental quills of the pinions--all look exactly as if they were deliberately intended to emphasize and heighten the natural gracefulness of the heron's form. May it not be, I ask myself, that these birds, seeing one another's statuesque shape from generation to generation, have that shape hereditarily implanted upon the nervous system of the species, in connection with all their ideas of mating and of love, just as the human form is hereditarily associated with all our deepest emotions, so that Miranda falling in love at first sight with Ferdinand is not a mere poetical fiction, but the true illustration of a psychological fact? And as on each of our minds and brains the picture of the beautiful human figure is, as it were, antecedently engraved, may not the ancestral type be similarly engraved on the minds and brains of the wading birds? If so, would it not be natural to conclude that these birds, having thus a very graceful form as their generic standard of taste, a graceful form with little richness of coloring, would naturally choose as the loveliest among their mates, not those which showed any tendency to more bright-hued plumage (which indeed might be fatal to their safety, by betraying them to their enemies, the falcons and eagles), but those which most fully embodied and carried furthest the ideal specific gracefulness of the wading type? ... Forestine flower-feeders and fruit-eaters, especially in the tropics, are almost always brightly colored. Their chromatic taste seems to get quickened in their daily search for food among the beautiful blossoms and brilliant fruits of southern woodlands. Thus the humming-birds, the sun-birds, and the brush-tongued lories, three very dissimilar groups of birds as far as descent is concerned, all alike feed upon the honey and the insects which they extract from the large tubular bells of tropical flowers; and all alike are noticeable for their intense metallic lustre or pure tones of color. Again, the parrots, the toucans, the birds of paradise, and many other of the more beautiful exotic species, are fruit-eaters, and reflect their inherited taste in their own gaudy plumage. But the waders have no such special reasons for acquiring a love for bright hues. Hence their aesthetic feeling seems rather to have taken a turn toward the further development of their own graceful forms. Even the plainest wading birds have a certain natural elegance of shape which supplies a primitive basis for aesthetic selection to work on.
The wading birds, I sometimes think, only care about the beauty of their shape, not the beauty of their color. As I was watching the heron just now, this same idea stood out more clearly than ever to me. The decorative features—the curved tuft on its head, the shining silver patch on its neck, the long ornamental feathers in its wings—all seem designed to highlight and enhance the natural grace of the heron's form. I wonder if these birds, seeing each other's elegant shapes from generation to generation, have that shape instinctively embedded in their species' nervous system, linked to their concepts of mating and love, just as the human form is linked to our deepest emotions. So when Miranda falls in love at first sight with Ferdinand, it’s not just poetic fiction but a true reflection of a psychological reality. And just like we have a mental image of a beautiful human figure etched in our minds, could it be that the ancestral ideal is similarly impressed on the minds of wading birds? If that’s the case, wouldn’t it be logical to think that these birds, having a very graceful form as their standard of beauty—one that lacks vibrant coloring—would naturally pick mates that epitomize the ideal grace of their type? They wouldn’t choose those with brighter plumage (which could expose them to predators like falcons and eagles), but rather those that fully embody the specific grace of wading birds... In contrast, forest flower-feeders and fruit-eaters, especially in tropical areas, are almost always brightly colored. Their appreciation for color seems to be heightened in their daily quest for food among the beautiful flowers and vibrant fruits of southern woodlands. Hummingbirds, sunbirds, and brush-tongued lories, three very different groups of birds genetically, all feed on the nectar and insects they get from the large tubular flowers; they’re all known for their bright metallic colors or pure tones. Similarly, parrots, toucans, birds of paradise, and many other exotic species that eat fruit reflect their inherited taste in their colorful plumage. However, wading birds don’t have any particular reasons to develop a preference for bright colors. Therefore, their aesthetic inclination seems to lean more towards enhancing their elegant shapes. Even the simplest wading birds possess a natural elegance that provides a basic foundation for aesthetic selection.
JAMES LANE ALLEN
(1850-)
he literary work of James Lane Allen was begun with maturer powers and wider culture than most writers exhibit in their first publications. His mastery of English was acquired with difficulty, and his knowledge of Latin he obtained through years of instruction as well as of study. The wholesome open-air atmosphere which pervades his stories, their pastoral character and love of nature, come from the tastes bequeathed to him by three generations of paternal ancestors, easy-going gentlemen farmers of the blue-grass region of Kentucky. On a farm near Lexington, in this beautiful country of stately homes, fine herds, and great flocks, the author was born, and there he spent his childhood and youth.
The literary work of James Lane Allen began with more developed skills and a broader education than most writers show in their first publications. He learned English with difficulty, and he acquired his knowledge of Latin through years of teaching and study. The refreshing outdoor vibe that fills his stories, along with their rural charm and love for nature, comes from the tastes passed down to him by three generations of laid-back gentleman farmers from the bluegrass region of Kentucky. The author was born on a farm near Lexington, in this beautiful area known for its grand homes, excellent herds, and large flocks, and he spent his childhood and youth there.
About 1885 he came to New York to devote himself to literature; for though he had contributed poems, essays, and criticisms to leading periodicals, his first important work was a series of articles descriptive of the "Blue-Grass Region," published in Harper's Magazine. The field was new, the work was fresh, and the author's ability was at once recognized. Inevitably he chose Kentucky for the scene of his stories, knowing and loving, as he did, her characteristics and her history. While preparing his articles on 'The Blue-Grass Region,' he had studied the Trappist Monastery and the Convent of Loretto, as well as the records of the Catholic Church in Kentucky; and his first stories, 'The White Cowl' and 'Sister Dolorosa,' which appeared in the Century Magazine, were the first fruits of this labor. A controversy arose as to the fairness of these portraitures; but however opinions may differ as to his characterization, there can be no question of the truthfulness of the exposition of the mediaeval spirit of those retreats.
Around 1885, he moved to New York to focus on writing. Although he had already contributed poems, essays, and critiques to major magazines, his first significant work was a series of articles about the "Blue-Grass Region," published in Harper's Magazine. The topic was new, the writing was fresh, and his talent was quickly recognized. Naturally, he set his stories in Kentucky, as he was familiar with and fond of its unique traits and history. While working on his articles about the 'Blue-Grass Region,' he studied the Trappist Monastery and the Convent of Loretto, along with the records of the Catholic Church in Kentucky. His first stories, 'The White Cowl' and 'Sister Dolorosa,' which were published in the Century Magazine, were the initial results of this research. A debate emerged about the fairness of these portrayals; however, regardless of differing opinions on his characterizations, there is no doubt about the accuracy of the depiction of the medieval spirit of those retreats.
This tendency to use a historic background marks most of Mr. Allen's stories. In 'The Choir Invisible,' a tale of the last century, pioneer Kentucky once more exists. The old clergyman of 'Flute and Violin' lived and died in Lexington, and had been long forgotten when his story "touched the vanishing halo of a hard and saintly life." The old negro preacher, with texts embroidered on his coat-tails, was another figure of reality, unnoticed until he became one of the 'Two Gentlemen of Kentucky.' In Lexington lived and died "King Solomon," who had almost faded from memory when his historian found the record of the poor vagabond's heroism during the plague, and made it memorable in a story that touches the heart and fills the eyes. 'A Kentucky Cardinal,' with 'Aftermath,' its second part, is full of history and of historic personages. 'Summer in Arcady: A Tale of Nature,' the latest of Mr. Allen's stories, is no less based on local history and no less full of local color than his other tales, notwithstanding its general unlikeness.
This tendency to include historical backgrounds is present in most of Mr. Allen's stories. In 'The Choir Invisible,' a story from the last century, pioneer Kentucky once again comes to life. The old clergyman from 'Flute and Violin' lived and died in Lexington and was long forgotten when his story "touched the vanishing halo of a hard and saintly life." The old Black preacher, with texts stitched onto his coat-tails, was another figure of reality, unnoticed until he became one of the 'Two Gentlemen of Kentucky.' In Lexington lived and died "King Solomon," who had almost been forgotten when his historian discovered the record of the poor vagabond's heroism during the plague and immortalized it in a story that touches the heart and brings tears to the eyes. 'A Kentucky Cardinal,' along with its sequel 'Aftermath,' is filled with history and historical figures. 'Summer in Arcady: A Tale of Nature,' the most recent of Mr. Allen's stories, is equally rooted in local history and rich in local color, despite being quite different from his other tales.
This book sounds a deeper note than the earlier tales, although the truth which Mr. Allen sees is not mere fidelity to local types, but the essential truth of human nature. His realism has always a poetic aspect. Quiet, reserved, out of the common, his books deal with moods rather than with actions; their problems are spiritual rather than physical; their thought tends toward the higher and more difficult way of life.
This book strikes a deeper chord than the earlier stories, although the truth that Mr. Allen perceives isn't just about being true to local characters, but rather the fundamental truth of human nature. His realism always has a poetic quality. Calm, understated, and unique, his books focus more on feelings than on events; their issues are more spiritual than physical; their ideas lean towards the higher and more challenging aspects of life.
A COURTSHIP
The sunlight grew pale the following morning; a shadow crept rapidly over the blue; bolts darted about the skies like maddened redbirds; the thunder, ploughing its way down the dome as along zigzag cracks in the stony street, filled the caverns of the horizon with reverberations that shook the earth; and the rain was whirled across the landscape in long, white, wavering sheets. Then all day quiet and silence throughout Nature except for the drops, tapping high and low the twinkling leaves; except for the new melody of woodland and meadow brooks, late silvery and with a voice only for their pebbles and moss and mint, but now yellow and brawling and leaping-back into the grassy channels that were their old-time beds; except for the indoor music of dripping eaves and rushing gutters and overflowing rain-barrels. And when at last in the gold of the cool west the sun broke from the edge of the gray, over what a green, soaked, fragrant world he reared the arch of Nature's peace!
The sunlight faded the next morning; a shadow quickly moved over the blue sky; lightning streaked across the heavens like wild redbirds; the thunder, rumbling down the dome like zigzag cracks in a rocky street, filled the horizon with echoes that shook the earth; and the rain swept across the landscape in long, white, wavering sheets. Then all day it was quiet and still in Nature, except for the drops tapping on the shimmering leaves; except for the new tune of the woodland and meadow brooks, once silvery and with a voice just for their pebbles and moss and mint, but now muddy and roaring as they splashed back into the grassy channels that were their former beds; except for the indoor sounds of dripping eaves, rushing gutters, and overflowing rain barrels. And when at last, in the golden light of the cool west, the sun emerged from behind the gray, how beautifully he cast the arch of Nature's peace over that green, soaked, fragrant world!
A COURTSHIP.
Photogravure from Painting by H. Vogka.
A COURTSHIP.
Photogravure from Painting by H. Vogka.
Not a little blade of corn in the fields but holds in an emerald vase its treasures of white gems. The hemp-stalks bend so low under the weight of their plumes, that were a vesper sparrow to alight on one for his evening hymn, it would go with him to the ground. The leaning barley and rye and wheat flash in the last rays their jeweled beards. Under the old apple-trees, golden-brown mushrooms are already pushing upward through the leaf-loam, rank with many an autumn's dropping. About the yards the peonies fall with faces earthward. In the stable-lots the larded porkers, with bristles as clean as frost, and flesh of pinky whiteness, are hunting with nervous nostrils for the lush purslain. The fowls are driving their bills up and down their wet breasts. And the farmers who have been shelling corn for the mill come out of their barns, with their coats over their shoulders, on the way to supper, look about for the plough-horses, and glance at the western sky, from which the last drops are falling.
Not a single blade of corn in the fields doesn’t hold its treasures of white gems in an emerald vase. The hemp stalks bend so low under the weight of their plumes that if a sparrow were to land on one for its evening song, it would go down to the ground with it. The bending barley, rye, and wheat sparkle in the last rays of sunlight with their jeweled beards. Under the old apple trees, golden-brown mushrooms are already pushing up through the leaf litter, rich with many autumns of decay. Around the yards, the peonies droop with their faces toward the ground. In the stables, the well-fed pigs, with bristles as clean as frost and flesh of rosy whiteness, are foraging nervously for the lush purslane. The birds are pecking up and down their wet bodies. And the farmers, who have been shelling corn for the mill, come out of their barns with their coats draped over their shoulders, heading to dinner, looking for the plow horses, and glancing at the western sky from which the last drops are falling.
But soon only a more passionate heat shoots from the sun into the planet. The plumes of the hemp are so dry again, that by the pollen shaken from their tops you can trace the young rabbits making their way out to the dusty paths. The shadows of white clouds sail over purple stretches of blue-grass, hiding the sun from the steady eye of the turkey, whose brood is spread out before her like a fan on the earth. At early morning the neighing of the stallions is heard around the horizon; at noon the bull makes the deep, hot pastures echo with his majestic summons; out in the blazing meadows the butterflies strike the afternoon air with more impatient wings; under the moon all night the play of ducks and drakes goes on along the margins of the ponds. Young people are running away and marrying; middle-aged farmers surprise their wives by looking in on them at their butter-making in the sweet dairies; and Nature is lashing everything--grass, fruit, insects, cattle, human creatures--more fiercely onward to the fulfillment of her ends. She is the great heartless haymaker, wasting not a ray of sunshine on a clod, but caring naught for the light that beats upon a throne, and holding man and woman, with their longing for immortality, and their capacities for joy and pain, as of no more account than a couple of fertilizing nasturtiums.
But soon, only a more intense heat radiates from the sun down to the planet. The hemp plants are so dry again that you can follow the young rabbits making their way out to the dusty paths by the pollen shaken from their tops. Shadows of white clouds drift over stretches of purple bluegrass, blocking the sun from the vigilant turkey, whose brood is spread out before her like a fan on the ground. In the early morning, the neighing of stallions can be heard across the horizon; at noon, the bull's deep call echoes through the hot pastures; out in the blazing meadows, butterflies flutter through the afternoon air with more restless wings; and all night under the moon, ducks play along the edges of the ponds. Young people are running off to get married; middle-aged farmers surprise their wives by showing up while they’re making butter in the sweet dairies; and Nature is pushing everything—grass, fruit, insects, cattle, and humans—more intensely toward fulfilling her purposes. She is the great, unfeeling haymaker, wasting not a single ray of sunshine on a clod, indifferent to the light that shines on a throne, treating men and women, with their yearning for immortality and their capacity for joy and pain, as if they were no more significant than a couple of fertilizing nasturtiums.
The storm kept Daphne at home. On the next day the earth was yellow with sunlight, but there were puddles along the path, and a branch rushing swollen across the green valley in the fields. On the third, her mother took the children to town to be fitted with hats and shoes, and Daphne also, to be freshened up with various moderate adornments, in view of a protracted meeting soon to begin. On the fourth, some ladies dropped in to spend the day, bearing in mind the episode at the dinner, and having grown curious to watch events accordingly. On the fifth, her father carried out the idea of cutting down some cedar-trees in the front yard for fence posts; and whenever he was working about the house, he kept her near to wait on him in unnecessary ways. On the sixth, he rode away with two hands and an empty wagon-bed for some work on the farm; her mother drove off to another dinner--dinners never cease in Kentucky, and the wife of an elder is not free to decline invitations; and at last she was left alone in the front porch, her face turned with burning eagerness toward the fields. In a little while she had slipped away.
The storm kept Daphne at home. The next day, the sun streamed down, making the earth look yellow, but there were still puddles along the path and a swollen branch rushing across the green valley in the fields. On the third day, her mother took the kids to town to get fitted for hats and shoes, and Daphne was also brought along to be refreshed with some modest accessories in preparation for a long meeting coming up soon. On the fourth day, a few ladies came over to spend the day, curious about the dinner episode and eager to see what would happen next. On the fifth, her father decided to cut down some cedar trees in the front yard for fence posts, and whenever he was working around the house, he kept her nearby, asking her to help him with unnecessary tasks. On the sixth day, he left with two hands and an empty wagon bed to do some work on the farm; her mother drove off to yet another dinner—dinners seem endless in Kentucky, and the wife of an elder can't really turn down invitations. Finally, she found herself alone on the front porch, her face turned towards the fields, filled with anticipation. A little while later, she quietly slipped away.
All these days Hilary had been eager to see her. He was carrying a good many girls in his mind that summer; none in his heart; but his plans concerning these latter were for the time forgotten. He hung about that part of his farm from which he could have descried her in the distance. Each forenoon and afternoon, at the usual hour of her going to her uncle's, he rode over and watched for her. Other people passed to and fro,--children and servants,--but not Daphne; and repeated disappointments fanned his desire to see her.
All this time, Hilary had been excited to see her. He had a lot of girls on his mind that summer; none in his heart; but his plans regarding the latter were temporarily forgotten. He lingered around that part of his farm where he could spot her from a distance. Every morning and afternoon, at the usual time she went to her uncle's, he rode over and looked for her. Other people came and went—children and staff—but not Daphne; and the repeated letdowns fueled his desire to see her.
When she came into sight at last, he was soon walking beside her, leading his horse by the reins.
When she finally came into view, he quickly walked alongside her, holding his horse by the reins.
"I have been waiting to see you, Daphne," he said, with a smile, but general air of seriousness. "I have been waiting a long time for a chance to talk to you."
"I've been waiting to see you, Daphne," he said, smiling but looking serious overall. "I’ve been waiting a long time for the opportunity to talk to you."
"And I have wanted to see you," said Daphne, her face turned away and her voice hardly to be heard. "I have been waiting for a chance to talk to you."
"And I’ve wanted to see you," Daphne said, looking away, her voice barely above a whisper. "I’ve been waiting for a chance to talk to you."
The change in her was so great, so unexpected, it contained an appeal to him so touching, that he glanced quickly at her. Then he stopped short and looked searchingly around the meadow.
The change in her was so dramatic, so unexpected, it had a pull on him that was so moving, he glanced quickly at her. Then he halted abruptly and looked carefully around the meadow.
The thorn-tree is often the only one that can survive on these pasture lands. Its spikes, even when it is no higher than the grass, keep off the mouths of grazing stock. As it grows higher, birds see it standing solitary in the distance and fly to it, as a resting-place in passing. Some autumn day a seed of the wild grape is thus dropped near its root; and in time the thorn-tree and the grape-vine come to thrive together.
The thorn tree is often the only plant that can survive in these pasturelands. Its thorns, even when it's no taller than the grass, keep grazing animals away. As it grows taller, birds spot it standing alone in the distance and fly over to rest for a bit. One autumn day, a wild grape seed falls near its base; eventually, the thorn tree and the grapevine begin to thrive together.
As Hilary now looked for some shade to which they could retreat from the blinding, burning sunlight, he saw one of these standing off at a distance of a few hundred yards. He slipped the bridle-reins through the head-stall, and giving his mare a soft slap on the shoulder, turned her loose to graze.
As Hilary now searched for some shade where they could escape the intense, glaring sunlight, he spotted one of these a few hundred yards away. He slipped the bridle reins through the head stall and gave his mare a gentle pat on the shoulder before letting her graze freely.
"Come over here and sit down out of the sun," he said, starting off in his authoritative way. "I want to talk to you."
"Come over here and sit in the shade," he said, beginning in his commanding manner. "I need to talk to you."
Daphne followed in his wake, through the deep grass.
Daphne walked behind him, through the tall grass.
When they reached the tree, they sat down under the rayless boughs. Some sheep lying there ran round to the other side and stood watching them, with a frightened look in their clear, peaceful eyes.
When they got to the tree, they sat down under the dark branches. A few sheep lying nearby ran around to the other side and stood there watching them, looking scared with their bright, calm eyes.
"What's the matter?" he said, fanning his face, and tugging with his forefinger to loosen his shirt collar from his moist neck. He had the manner of a powerful comrade who means to succor a weaker one.
"What's wrong?" he said, fanning his face and pulling at his shirt collar to loosen it from his sweaty neck. He had the demeanor of a strong friend who intends to help a less capable one.
"Nothing," said Daphne, like a true woman.
"Nothing," said Daphne, like a real woman.
"Yes, but there is," he insisted. "I got you into trouble. I didn't think of that when I asked you to dance."
"Yes, but there is," he insisted. "I got you into trouble. I didn't think about that when I asked you to dance."
"You had nothing to do with it," retorted Daphne, with a flash. "I danced for spite."
"You had nothing to do with it," Daphne shot back, her eyes flashing. "I danced out of spite."
He threw back his head with a peal of laughter. All at once this was broken off. He sat up, with his eyes fixed on the lower edge of the meadow.
He tossed his head back and laughed out loud. Suddenly, the laughter stopped. He sat up, staring intently at the lower edge of the meadow.
"Here comes your father," he said gravely.
"Your father is coming," he said seriously.
Daphne turned. Her father was riding slowly through the bars. A wagon-bed loaded with rails crept slowly after him.
Daphne turned. Her dad was riding slowly through the bars. A wagon bed loaded with rails was following him at a crawl.
In an instant the things that had cost her so much toil and so many tears to arrange,--her explanations, her justifications, and her parting,--all the reserve and the coldness that she had laid up in her heart, as one fills high a little ice-house with fear of far-off summer heat,--all were quite gone, melted away. And everything that he had planned to tell her was forgotten also at the sight of that stern figure on horseback bearing unconsciously down upon them.
In an instant, all the things that had cost her so much effort and so many tears to set up—her explanations, her justifications, and her farewell—all the barriers and coldness she had built up in her heart, like filling a small ice house in fear of the distant summer heat—were completely gone, melted away. And everything he had planned to say to her was forgotten too at the sight of that stern figure on horseback approaching them unknowingly.
"If I had only kept my mouth shut about his old fences," he said to himself. "Confound my bull!" and he looked anxiously at Daphne, who sat with her eyes riveted on her father. The next moment she had turned, and they were laughing in each other's faces.
"If only I had kept my mouth shut about his old fences," he thought to himself. "Damn my bull!" He glanced nervously at Daphne, who was staring intently at her father. A moment later, she turned, and they were laughing at each other.
"What shall I do?" she cried, leaning over and burying her face in her hands, and lifting it again, scarlet with excitement.
"What should I do?" she cried, leaning over and burying her face in her hands, then lifting it again, red with excitement.
"Don't do anything," he said calmly.
"Don't do anything," he said calmly.
"But Hilary, if he sees us, we are lost."
"But Hilary, if he sees us, we're done for."
"If he sees us, we are found."
"If he sees us, we're caught."
"But he mustn't see me here!" she cried, with something like real terror. "I believe I'll lie down in the grass. Maybe he'll think I am a friend of yours."
"But he can't see me here!" she exclaimed, with a hint of true fear. "I think I'll just lie down in the grass. Maybe he'll think I'm one of your friends."
"My friends all sit up in the grass," said Hilary.
"My friends are all sitting on the grass," said Hilary.
But Daphne had already hidden.
But Daphne had already tucked away.
Many a time, when a little girl, she had amused herself by screaming like a hawk at the young guineas, and seeing them cuddle invisible under small tufts and weeds. Out in the stable lot, where the grass was grazed so close that the geese could barely nip it, she would sometimes get one of the negro men to scare the little pigs, for the delight of seeing them squat as though hidden, when they were no more hidden than if they had spread themselves out upon so many dinner dishes. All of us reveal traces of this primitive instinct upon occasion. Daphne was doing her best to hide now.
Many times, when she was a little girl, she would entertain herself by screaming like a hawk at the young guineas and watching them huddle invisibly under small tufts and weeds. Out in the stable lot, where the grass was grazed so short that the geese could barely pick at it, she would sometimes get one of the Black men to scare the little pigs for the fun of seeing them squat as if they were hiding, even though they were no more hidden than if they had spread out on dinner plates. We all show signs of this primitive instinct from time to time. Daphne was doing her best to hide now.
When Hilary realized it he moved in front of her, screening her as well as possible.
When Hilary realized it, he stepped in front of her, trying to block her as much as he could.
"Hadn't you better lie down, too?" she asked.
"Shouldn't you lie down, too?" she asked.
"No," he replied quickly.
"No," he responded quickly.
"But if he sees you, he might take a notion to ride over this way!"
"But if he sees you, he might decide to come over this way!"
"Then he'll have to ride."
"Then he’ll have to ride."
"But, Hilary, suppose he were to find me lying down here behind you, hiding?"
"But, Hilary, what if he found me lying here behind you, hiding?"
"Then he'll have to find you."
"Then he'll need to find you."
"You get me into trouble, and then you won't help me out!" exclaimed Daphne with considerable heat.
"You get me into trouble, and then you won’t help me out!" Daphne exclaimed, quite heatedly.
"It might not make matters any better for me to hide," he answered quietly. "But if he comes over here and tries to get us into trouble, I'll see then what I can do."
"It might not help me to hide," he replied quietly. "But if he comes over here and tries to get us in trouble, I'll figure out what to do then."
Daphne lay silent for a moment, thinking. Then she nestled more closely down, and said with gay, unconscious archness: "I'm not hiding because I'm afraid of him. I'm doing it just because I want to."
Daphne lay quietly for a moment, thinking. Then she snuggled closer and said playfully and without realizing it: "I'm not hiding because I'm scared of him. I'm doing it just because I want to."
She did not know that the fresh happiness flushing her at that moment came from the fact of having Hilary between herself and her father as a protector; that she was drinking in the delight a woman feels in getting playfully behind the man she loves in the face of danger: but her action bound her to him and brought her more under his influence.
She didn't realize that the wave of happiness she was feeling at that moment came from having Hilary between her and her father as a shield; that she was soaking up the joy a woman experiences in playfully standing behind the man she loves when faced with danger: but her action tied her to him and made her more influenced by him.
His words showed that he also felt his position,--the position of the male who stalks forth from the herd and stands the silent challenger. He was young, and vain of his manhood in the usual innocent way that led him to carry the chip on his shoulder for the world to knock off; and he placed himself before Daphne with the understanding that if they were discovered, there would be trouble. Her father was a violent man, and the circumstances were not such that any Kentucky father would overlook them. But with his inward seriousness, his face wore its usual look of reckless unconcern.
His words revealed that he also recognized his role—the role of the guy who steps out from the group and stands as a quiet challenger. He was young and proud of his masculinity in that typical innocent way, which made him carry a chip on his shoulder just waiting for the world to knock it off. He positioned himself in front of Daphne knowing that if they were caught, it would lead to trouble. Her father was a hot-tempered man, and the situation wasn't one that any Kentucky father would let slide. But despite his inner seriousness, his face maintained its usual look of carefree indifference.
"Is he coming this way?" asked Daphne, after an interval of impatient waiting.
"Is he coming over here?" asked Daphne, after a moment of restless waiting.
"Straight ahead. Are you hid?"
"Go straight ahead. Are you hiding?"
"I can't see whether I'm hid or not. Where is he now?"
"I can't tell if I'm hidden or not. Where is he now?"
"Right on us."
"Right on us."
"Does he see you?"
"Is he looking at you?"
"Yes."
Yes.
"Do you think he sees me?"
"Do you think he notices me?"
"I'm sure of it."
"I know it."
"Then I might as well get up," said Daphne, with the courage of despair, and up she got. Her father was riding along the path in front of them, but not looking. She was down again like a partridge.
"Then I might as well get up," said Daphne, with the bravery of hopelessness, and she got up. Her father was riding along the path ahead of them, but not paying attention. She was back down again like a partridge.
"How could you fool me, Hilary? Suppose he had been looking!"
"How could you trick me, Hilary? What if he had been watching!"
"I wonder what he thinks I'm doing, sitting over here in the grass like a stump," said Hilary. "If he takes me for one, he must think I've got an awful lot of roots."
"I wonder what he thinks I'm doing, sitting over here in the grass like a log," said Hilary. "If he sees me like that, he must think I've got a ton of roots."
"Tell me when it's time to get up."
"Let me know when it’s time to wake up."
"I will."
"Sure thing."
He turned softly toward her. She was lying on her side, with her burning cheek in one hand. The other hand rested high on the curve of her hip. Her braids had fallen forward, and lay in a heavy loop about her lovely shoulders. Her eyes were closed, her scarlet lips parted in a smile. The edges of her snow-white petticoats showed beneath her blue dress, and beyond these one of her feet and ankles. Nothing more fragrant with innocence ever lay on the grass.
He turned gently toward her. She was lying on her side, with her flushed cheek in one hand. The other hand rested high on the curve of her hip. Her braids had fallen forward, forming a heavy loop around her beautiful shoulders. Her eyes were closed, and her red lips were slightly parted in a smile. The edges of her pure white petticoats peeked out from beneath her blue dress, and beyond those, one of her feet and ankles were visible. Nothing more fragrant with innocence ever lay on the grass.
"Is it time to get up now?"
"Is it time to wake up now?"
"Not yet," and he sat bending over her.
"Not yet," he said, leaning over her.
"Now?"
"Right now?"
"Not yet," he repeated more softly.
"Not yet," he said again, this time more gently.
"Now, then?"
"What's next?"
"Not for a long time."
"Not for a while."
His voice thrilled her, and she glanced up at him. His laughing eyes were glowing down upon her under his heavy mat of hair. She sat up and looked toward the wagon crawling away in the distance; her father was no longer in sight.
His voice excited her, and she looked up at him. His playful eyes were shining down on her beneath his thick mane of hair. She sat up and gazed at the wagon slowly moving away in the distance; her father was out of view.
One of the ewes, dissatisfied with a back view, stamped her forefoot impatiently, and ran round in front, and out into the sun. Her lambs followed, and the three, ranging themselves abreast, stared at Daphne, with a look of helpless inquiry.
One of the ewes, unhappy with the view from behind, stomped her front foot impatiently and ran around in front, out into the sunlight. Her lambs followed her, and the three of them lined up side by side, staring at Daphne with a look of confused inquiry.
"Sh-pp-pp!" she cried, throwing up her hands at them, irritated. "Go away!"
"Sh-pp-pp!" she shouted, throwing her hands up at them, annoyed. "Go away!"
They turned and ran; the others followed; and the whole number, falling into line, took a path meekly homeward. They left a greater sense of privacy under the tree. Several yards off was a small stock-pond. Around the edge of this the water stood hot and green in the tracks of the cattle and the sheep, and about these pools the yellow butterflies were thick, alighting daintily on the promontories of the mud, or rising two by two through the dazzling atmosphere in columns of enamored flight.
They turned and ran; the others followed; and everyone fell into line, taking a quiet path home. They left behind a greater sense of privacy under the tree. A few yards away was a small stock pond. The water around the edge was hot and green from the tracks of the cattle and sheep, and the yellow butterflies were plentiful, gently landing on the edges of the mud, or rising two by two in the bright air in columns of joyful flight.
Daphne leaned over to the blue grass where it swayed unbroken in the breeze, and drew out of their sockets several stalks of it, bearing on their tops the purplish seed-vessels. With them she began to braid a ring about one of her fingers in the old simple fashion of the country.
Daphne bent down to the blue grass that swayed gently in the breeze and pulled out several stalks, each topped with purplish seed pods. Using them, she started to weave a ring around one of her fingers in the traditional, simple style of the area.
As they talked, he lay propped on his elbow, watching her fingers, the soft slow movements of which little by little wove a spell over his eyes. And once again the power of her beauty began to draw him beyond control. He felt a desire to seize her hands, to crush them in his. His eyes passed upward along her tapering wrists, the skin of which was like mother-of-pearl; upward along the arm to the shoulder--to her neck--to her deeply crimsoned cheeks--to the purity of her brow--to the purity of her eyes, the downcast lashes of which hid them like conscious fringes.
As they talked, he lay on his elbow, watching her fingers, the soft, slow movements of which gradually cast a spell over his eyes. Once again, the power of her beauty started to pull him in uncontrollably. He felt an urge to grab her hands, to hold them tightly in his. His gaze moved up her slender wrists, the skin of which was like mother-of-pearl; then up her arm to her shoulder—to her neck—to her deeply flushed cheeks—to the smoothness of her brow—to the clarity of her eyes, the downturned lashes of which concealed them like aware fringes.
An awkward silence began to fall between them. Daphne felt that the time had come for her to speak. But, powerless to begin, she feigned to busy herself all the more devotedly with braiding the deep-green circlet. Suddenly he drew himself through the grass to her side.
An awkward silence started to settle between them. Daphne sensed that it was time for her to speak up. But, unable to start, she pretended to focus intently on braiding the deep-green circlet. Suddenly, he moved through the grass to sit beside her.
"Let me!"
"Let me!"
"No!" she cried, lifting her arm above his reach and looking at him with a gay threat. "You don't know how."
"No!" she shouted, raising her arm out of his reach and giving him a playful glare. "You can't do it."
"I do know how," he said, with his white teeth on his red underlip, and his eyes sparkling; and reaching upward, he laid his hand in the hollow of her elbow and pulled her arm down.
"I know how," he said, biting his red underlip with his white teeth, and his eyes sparkling; then he reached up, placed his hand in the crook of her elbow, and pulled her arm down.
"No! No!" she cried again, putting her hands behind her back. "You will spoil it!"
"No! No!" she shouted again, putting her hands behind her back. "You'll ruin it!"
"I will not spoil it," he said, moving so close to her that his breath was on her face, and reaching round to unclasp her hands.
"I won't ruin it," he said, moving so close to her that his breath was on her face, and reaching around to unclasp her hands.
"No! No! No!" she cried, bending away from him. "I don't want any ring!" and she tore it from her finger and threw it out on the grass. Then she got up, and, brushing the grass-seed off her lap, put on her hat.
"No! No! No!" she shouted, pulling away from him. "I don't want any ring!" She ripped it off her finger and tossed it onto the grass. Then she stood up, brushed the grass seeds off her lap, and put on her hat.
He sat cross-legged on the grass before her. He had put on his hat, and the brim hid his eyes.
He sat cross-legged on the grass in front of her. He had put on his hat, and the brim covered his eyes.
"And you are not going to stay and talk to me?" he said in a tone of reproachfulness, without looking up.
"And you're not going to stay and talk to me?" he said reproachfully, without looking up.
She was excited and weak and trembling, and so she put out her hand and took hold of a strong loop of the grape-vine hanging from a branch of the thorn, and laid her cheek against her hand and looked away from him.
She felt excited but weak and trembling, so she reached out and grabbed a sturdy loop of the grapevine hanging from a branch of the thorn, resting her cheek against her hand while looking away from him.
"I thought you were better than the others," he continued, with the bitter wisdom of twenty years. "But you women are all alike. When a man gets into trouble, you desert him. You hurry him on to the devil. I have been turned out of the church, and now you are down on me. Oh, well! But you know how much I have always liked you, Daphne."
"I thought you were better than the others," he went on, with the harsh insights of twenty years. "But you women are all the same. When a guy gets into trouble, you abandon him. You push him towards destruction. I've been kicked out of the church, and now you're against me. Oh, well! But you know how much I've always liked you, Daphne."
It was not the first time he had acted this character. It had been a favorite role. But Daphne had never seen the like. She was overwhelmed with happiness that he cared so much for her; and to have him reproach her for indifference, and see him suffering with the idea that she had turned against him--that instantly changed the whole situation. He had not heard then what had taken place at the dinner. Under the circumstances, feeling certain that the secret of her love had not been discovered, she grew emboldened to risk a little more.
It wasn’t the first time he had played this character. It was a favorite role of his. But Daphne had never seen anything like it. She was filled with joy that he cared so much for her; and for him to blame her for being indifferent, and to see him upset thinking she had turned against him—that completely changed everything. He hadn’t heard what had happened at dinner. Given the circumstances, and feeling sure that her secret love hadn’t been uncovered, she felt brave enough to take a few more risks.
So she turned toward him smiling, and swayed gently as she clung to the vine.
So she turned to him with a smile, swaying lightly as she held onto the vine.
"Yes; I have my orders not even to speak to you! Never again!" she said, with the air of tantalizing.
"Yeah; I've been told not to even talk to you! Never again!" she said, teasingly.
"Then stay with me a while now," he said, and lifted slowly to her his appealing face. She sat down, and screened herself with a little feminine transparency.
"Then stay with me for a bit," he said, lifting his charming face towards her. She sat down and shielded herself with a bit of delicate fabric.
"I can't stay long: it's going to rain!"
"I can't stay long; it's about to rain!"
He cast a wicked glance at the sky from under his hat; there were a few clouds on the horizon.
He shot a sinister look at the sky from beneath his hat; there were a few clouds on the horizon.
"And so you are never going to speak to me again?" he said mournfully.
"And so you're never going to talk to me again?" he said sadly.
"Never!" How delicious her laughter was.
"Never!" Her laughter was so delightful.
"I'll put a ring on your finger to remember me by."
"I'll put a ring on your finger to remember me."
He lay over in the grass and pulled several stalks. Then he lifted his eyes beseechingly to hers.
He lay in the grass and pulled up a few blades. Then he looked up at her with pleading eyes.
"Will you let me?"
"Will you allow me?"
Daphne hid her hands. He drew himself to her side and took one of them forcibly from her lap.
Daphne hid her hands. He moved closer to her and grabbed one of them firmly from her lap.
With a slow, caressing movement he began to braid the grass ring around her finger--in and out, around and around, his fingers laced with her fingers, his palm lying close upon her palm, his blood tingling through the skin upon her blood. He made the braiding go wrong, and took it off and began over again. Two or three times she drew a deep breath, and stole a bewildered look at his face, which was so close to hers that his hair brushed it--so close that she heard the quiver of his own breath. Then all at once he folded his hands about hers with a quick, fierce tenderness, and looked up at her. She turned her face aside and tried to draw her hand away. His clasp tightened. She snatched it away, and got up with a nervous laugh.
With a slow, gentle movement, he started to braid the grass ring around her finger— weaving in and out, round and round, his fingers intertwining with hers, his palm resting closely against hers, his blood buzzing through the skin to hers. He messed up the braiding, took it off, and started over. A few times, she took a deep breath and stole a confused glance at his face, which was so near to hers that his hair brushed against her—so close that she heard his breath tremble. Then all of a sudden, he wrapped his hands around hers with a quick, intense tenderness and looked up at her. She turned her face away and tried to pull her hand back. His grip tightened. She yanked her hand away and stood up with a nervous laugh.
"Look at the butterflies! Aren't they pretty?"
"Check out the butterflies! Aren't they beautiful?"
He sprang up and tried to seize her hand again.
He jumped up and tried to grab her hand again.
"You shan't go home yet!" he said, in an undertone.
"You can't go home yet!" he said, quietly.
"Shan't I?" she said, backing away from him. "Who's going to keep me?"
"Shouldn't I?" she said, stepping back from him. "Who’s going to take care of me?"
"I am," he said, laughing excitedly and following her closely.
"I am," he said, laughing excitedly and staying right behind her.
"My father's coming!" she cried out as a warning.
"My dad's coming!" she shouted as a warning.
He turned and looked: there was no one in sight.
He turned and looked: there was no one around.
"He is coming--sooner or later!" she called.
"He's coming—sooner or later!" she called.
She had retreated several yards off into the sunlight of the meadow.
She had stepped back several yards into the sunlight of the meadow.
The remembrance of the risk that he was causing her to run checked him. He went over to her.
The memory of the risk he was putting her in held him back. He walked over to her.
"When can I see you again--soon?"
"When can I see you again—soon?"
He had never spoken so seriously to her before. He had never before been so serious. But within the last hour Nature had been doing her work, and its effect was immediate. His sincerity instantly conquered her. Her eyes fell.
He had never talked to her so seriously before. He had never been this serious before. But in the last hour, Nature had been doing its thing, and the effect was immediate. His sincerity won her over right away. She looked down.
"No one has any right to keep us from seeing each other!" he insisted. "We must settle that for ourselves."
"No one has the right to stop us from seeing each other!" he insisted. "We need to decide that for ourselves."
Daphne made no reply.
Daphne didn’t respond.
"But we can't meet here any more--with people passing backward and forward!" he continued rapidly and decisively. "What has happened to-day mustn't happen again."
"But we can't meet here anymore—with people walking back and forth!" he continued quickly and firmly. "What happened today can't happen again."
"No!" she replied, in a voice barely to be heard. "It must never happen again. We can't meet here."
"No!" she replied, her voice barely audible. "It can't happen again. We can't meet here."
They were walking side by side now toward the meadow-path. As they reached it he paused.
They were walking next to each other now toward the meadow path. As they got to it, he stopped.
"Come to the back of the pasture--to-morrow!--at four o'clock!" he said, tentatively, recklessly.
"Meet me at the back of the pasture tomorrow at four o'clock!" he said, cautiously yet boldly.
Daphne did not answer as she moved away from him along the path homeward.
Daphne didn't respond as she walked away from him along the path home.
"Will you come?" he called out to her.
"Are you coming?" he called out to her.
She turned and shook her head. Whatever her own new plans may have become, she was once more happy and laughing.
She turned and shook her head. No matter what her new plans had become, she was happy and laughing again.
"Come, Daphne!"
"Hey, Daphne!"
She walked several paces further and turned and shook her head again.
She walked a few more steps, turned around, and shook her head again.
"Come!" he pleaded.
"Come on!" he pleaded.
She laughed at him.
She laughed at him.
He wheeled round to his mare grazing near. As he put his foot into the stirrup, he looked again: she was standing in the same place, laughing still.
He turned to his mare that was grazing nearby. As he put his foot in the stirrup, he looked again: she was still standing in the same spot, still laughing.
"You go," she cried, waving him good-by. "There'll not be a soul to disturb you! To-morrow--at four o'clock!"
"You go," she exclaimed, waving goodbye to him. "There won’t be anyone to bother you! Tomorrow--at four o'clock!"
"Will you be there?" he said.
"Will you be there?" he asked.
"Will you?" she answered.
"Will you?" she replied.
"I'll be there to-morrow," he said, "and every other day till you come."
"I'll be there tomorrow," he said, "and every other day until you arrive."
By permission of the Macmillan Company, Publishers.
By permission of the Macmillan Company, Publishers.
OLD KING SOLOMON'S CORONATION
From 'Flute and Violin, and Other Kentucky Tales and Romances' 1891, by Harper and Brothers.
From 'Flute and Violin, and Other Kentucky Tales and Romances' 1891, by Harper and Brothers.
He stood on the topmost of the court-house steps, and for a moment looked down on the crowd with the usual air of official severity.
He stood on the highest step of the courthouse and, for a moment, looked down at the crowd with his usual serious demeanor.
"Gentlemen," he then cried out sharply, "by an ordah of the cou't I now offah this man at public sale to the highes' biddah. He is able-bodied but lazy, without visible property or means of suppoht, an' of dissolute habits. He is therefoh adjudged guilty of high misdemeanahs, an' is to be sole into labah foh a twelvemonth. How much, then, am I offahed foh the vagrant? How much am I offahed foh ole King Sol'mon?"
"Gentlemen," he then shouted sharply, "by an order of the court, I now offer this man for public sale to the highest bidder. He is capable but lazy, without any visible property or means of support, and has bad habits. He is therefore judged guilty of serious offenses and is to be sold into labor for a year. So, how much am I being offered for the vagrant? How much am I being offered for old King Solomon?"
Nothing was offered for old King Solomon. The spectators formed themselves into a ring around the big vagrant, and settled down to enjoy the performance.
Nothing was offered to old King Solomon. The onlookers formed a circle around the big vagrant and got comfortable to enjoy the show.
"Staht 'im, somebody."
"Start him, someone."
Somebody started a laugh, which rippled around the circle.
Somebody started laughing, and the sound spread around the circle.
The sheriff looked on with an expression of unrelaxed severity, but catching the eye of an acquaintance on the outskirts, he exchanged a lightning wink of secret appreciation. Then he lifted off his tight beaver hat, wiped out of his eyes a little shower of perspiration which rolled suddenly down from above, and warmed a degree to his theme.
The sheriff watched with a serious expression, but when he spotted a friend on the edge of the crowd, he quickly winked in shared understanding. Then he took off his snug beaver hat, wiped away a bit of sweat that had suddenly dripped down, and became a bit more enthusiastic about what he was discussing.
"Come, gentlemen," he said more suasively, "it's too hot to stan' heah all day. Make me an offah! You all know ole King Sol'mon; don't wait to be interduced. How much, then, to staht 'im? Say fifty dollahs! Twenty-five! Fifteen! Ten! Why, gentlemen! Not ten dollahs? Remembah, this is the Blue-Grass Region of Kentucky--the land of Boone an' Kenton, the home of Henry Clay!" he added, in an oratorical crescendo.
"Come on, guys," he said more persuasively, "it's too hot to stand here all day. Make me an offer! You all know old King Solomon; don’t wait to be introduced. How much, then, to start him? Say fifty dollars! Twenty-five! Fifteen! Ten! Why, gentlemen! Not ten dollars? Remember, this is the Bluegrass Region of Kentucky—the land of Boone and Kenton, the home of Henry Clay!" he added, in an oratorical crescendo.
"He ain't wuth his victuals," said an oily little tavern-keeper, folding his arms restfully over his own stomach and cocking up one piggish eye into his neighbor's face. "He ain't wuth his 'taters."
"He isn't worth his food," said a greasy little tavern-keeper, folding his arms comfortably over his own stomach and raising one piggish eye to look at his neighbor's face. "He isn't worth his potatoes."
"Buy 'im foh 'is rags!" cried a young law student, with a Blackstone under his arm, to the town rag picker opposite, who was unconsciously ogling the vagrant's apparel.
"Buy him for his rags!" shouted a young law student, with a Blackstone under his arm, to the town rag picker across from him, who was unknowingly eyeing the vagrant's clothes.
"I might buy 'im foh 'is scalp," drawled a farmer, who had taken part in all kinds of scalp contests, and was now known to be busily engaged in collecting crow scalps for a match soon to come off between two rival counties.
"I might buy him for his scalp," said a farmer, who had participated in all sorts of scalp contests, and was now known to be actively collecting crow scalps for a match coming up between two rival counties.
"I think I'll buy 'im foh a hat sign," said a manufacturer of ten-dollar Castor and Rhorum hats. This sally drew merry attention to the vagrant's hat, and the merchant felt rewarded.
"I think I’ll buy him a hat sign," said a maker of ten-dollar Castor and Rhorum hats. This comment grabbed everyone's attention on the vagrant's hat, and the merchant felt satisfied.
"You'd bettah say the town ought to buy 'im an' put 'im up on top of the cou't-house as a scarecrow foh the cholera," said some one else.
"You'd better say the town should buy him and put him up on top of the courthouse as a scarecrow for the cholera," said someone else.
"What news of the cholera did the stage coach bring this mohning?" quickly inquired his neighbor in his ear; and the two immediately fell into low, grave talk, forgot the auction, and turned away.
"What news about the cholera did the stagecoach bring this morning?" his neighbor quickly asked in his ear, and the two immediately engaged in a low, serious conversation, forgetting about the auction and turning away.
"Stop, gentlemen, stop!" cried the sheriff, who had watched the rising tide of good humor, and now saw his chance to float in on it with spreading sails. "You're runnin' the price in the wrong direction--down, not up. The law requires that he be sole to the highes' biddah, not the lowes'. As loyal citizens, uphole the constitution of the commonwealth of Kentucky an' make me an offah; the man is really a great bargain. In the first place, he would cos' his ownah little or nothin', because, as you see, he keeps himself in cigahs an' clo'es; then, his main article of diet is whisky--a supply of which he always has on ban'. He don't even need a bed, foh you know he sleeps jus' as well on any doohstep; noh a chair, foh he prefers to sit roun' on the curbstones. Remembah, too, gentlemen, that ole King Sol'mon is a Virginian--from the same neighbohhood as Mr. Clay. Remembah that he is well educated, that he is an awful Whig, an' that he has smoked mo' of the stumps of Mr. Clay's cigahs than any other man in existence. If you don't b'lieve me, gentlemen, yondah goes Mr. Clay now; call him ovah an' ask 'im foh yo'se'ves."
"Stop, everyone, stop!" yelled the sheriff, who had been watching the rising wave of good humor, and now saw his chance to take advantage of it. "You’re driving the price in the wrong direction—down, not up. The law says that he must be sold to the highest bidder, not the lowest. As loyal citizens, uphold the constitution of the commonwealth of Kentucky and make me an offer; the man is actually a great deal. First of all, he would cost his owner little to nothing, because, as you can see, he takes care of himself with cigarettes and clothes; also, his main food is whisky—a supply of which he always has on hand. He doesn't even need a bed, since he can sleep just as well on any doorstep; nor does he need a chair, because he prefers to sit around on the curbstones. Remember, too, gentlemen, that old King Solomon is a Virginian—from the same area as Mr. Clay. Remember that he is well educated, that he is a huge Whig, and that he has smoked more of Mr. Clay's used-up cigars than anyone else alive. If you don’t believe me, gentlemen, there goes Mr. Clay now; call him over and ask him for yourselves."
He paused, and pointed with his right forefinger towards Main Street, along which the spectators, with a sudden craning of necks, beheld the familiar figure of the passing statesman.
He stopped for a moment and pointed with his right index finger towards Main Street, where the onlookers, suddenly stretching their necks, saw the recognizable figure of the passing politician.
"But you don't need anybody to tell these fac's, gentlemen," he continued. "You merely need to be reminded that ole King Sol'mon is no ohdinary man. Mo'ovah he has a kine heaht; he nevah spoke a rough wohd to anybody in this worl', an' he is as proud as Tecumseh of his good name an' charactah. An', gentlemen," he added, bridling with an air of mock gallantry and laying a hand on his heart, "if anythin' fu'thah is required in the way of a puffect encomium, we all know that there isn't anothah man among us who cuts as wide a swath among the ladies. The'foh, if you have any appreciation of virtue, any magnanimity of heaht; if you set a propah valuation upon the descendants of Virginia, that mothah of Presidents; if you believe in the pure laws of Kentucky as the pioneer bride of the Union; if you love America an' love the worl'--make me a gen'rous, high-toned offah foh ole King Sol'mon!"
"But you don't need anybody to tell these facts, gentlemen," he continued. "You just need to be reminded that old King Solomon is no ordinary man. Moreover, he has a kind heart; he never spoke a harsh word to anyone in this world, and he is as proud as Tecumseh of his good name and character. And, gentlemen," he added, puffing up with an air of mock gallantry and placing a hand on his heart, "if anything further is needed in the way of a perfect tribute, we all know that there isn't another man among us who makes as big an impression on the ladies. Therefore, if you have any appreciation of virtue, any generosity of heart; if you place a proper value on the descendants of Virginia, that mother of Presidents; if you believe in the pure principles of Kentucky as the pioneering bride of the Union; if you love America and love the world—make me a generous, high-minded offer for old King Solomon!"
He ended his peroration amid a shout of laughter and applause, and feeling satisfied that it was a good time for returning to a more practical treatment of his subject, proceeded in a sincere tone:--
He finished his speech with a burst of laughter and applause, feeling confident that it was a good moment to get back to a more practical discussion of his topic, and continued in a sincere tone:--
"He can easily earn from one to two dollahs a day, an' from three to six hundred a yeah. There's not anothah white man in town capable of doin' as much work. There's not a niggah ban' in the hemp factories with such muscles an' such a chest. Look at 'em! An', if you don't b'lieve me, step fo'ward and feel 'em. How much, then, is bid foh 'im?"
"He can easily earn from one to two dollars a day, and from three to six hundred a year. There's not another white man in town capable of doing as much work. There's not a single person in the hemp factories with such muscles and such a chest. Look at them! And if you don't believe me, step forward and feel them. So how much is being offered for him?"
"One dollah!" said the owner of a hemp factory, who had walked forward and felt the vagrant's arm, laughing, but coloring up also as the eyes of all were quickly turned upon him. In those days it was not an unheard-of thing for the muscles of a human being to be thus examined when being sold into servitude to a new master.
"One dollar!" said the owner of a hemp factory, who had stepped forward and grabbed the vagrant's arm, laughing but also blushing as everyone quickly looked at him. Back then, it wasn't unusual for a person's muscles to be examined like this when they were being sold into servitude to a new master.
"Thank you!" cried the sheriff, cheerily. "One precinc' heard from! One dollah! I am offahed one dollah foh ole King Sol'mon. One dollah foh the king! Make it a half. One dollah an' a half. Make it a half. One dol-dol-dol-dollah!"
"Thank you!" shouted the sheriff happily. "One precinct heard from! One dollar! I'm offered one dollar for old King Solomon. One dollar for the king! Make it a half. One dollar and a half. Make it a half. One dol-dol-dol-dolla!"
Two medical students, returning from lectures at the old Medical Hall, now joined the group, and the sheriff explained:
Two medical students, coming back from classes at the old Medical Hall, now joined the group, and the sheriff explained:
"One dollah is bid foh the vagrant ole King Sol'mon, who is to be sole into labah foh a twelvemonth. Is there any othah bid? Are you all done? One dollah, once--"
"One dollar is bid for the old King Solomon, who is to be sold into labor for a year. Is there any other bid? Are you all done? One dollar, once—"
"Dollah and a half," said one of the students, and remarked half jestingly under his breath to his companion, "I'll buy him on the chance of his dying. We'll dissect him."
"Dollar and a half," said one of the students, and joked half-heartedly under his breath to his friend, "I'll buy him on the chance that he dies. We'll dissect him."
"Would you own his body if he should die?"
"Would you own his body if he were to die?"
"If he dies while bound to me, I'll arrange that."
"If he dies while tied to me, I'll take care of that."
"One dollah an' a half," resumed the sheriff, and falling into the tone of a facile auctioneer he rattled on:--
"One dollar and fifty cents," continued the sheriff, and slipping into the style of a smooth auctioneer, he kept going:--
"One dollah an' a half foh ole Sol'mon--sol, sol, sol,--do, re, mi, fa, sol,--do, re, mi, fa, sol! Why, gentlemen, you can set the king to music!"
"One dollar and a half for old Solomon—so, so, so—do, re, mi, fa, sol—do, re, mi, fa, sol! Why, gentlemen, you can put the king to music!"
All this time the vagrant had stood in the centre of that close ring of jeering and humorous bystanders--a baffling text from which to have preached a sermon on the infirmities of our imperfect humanity. Some years before, perhaps as a master-stroke of derision, there had been given to him that title which could but heighten the contrast of his personality and estate with every suggestion of the ancient sacred magnificence; and never had the mockery seemed so fine as at this moment, when he was led forth into the streets to receive the lowest sentence of the law upon his poverty and dissolute idleness. He was apparently in the very prime of life--a striking figure, for nature at least had truly done some royal work on him. Over six feet in height, erect, with limbs well shaped and sinewy, with chest and neck full of the lines of great power, a large head thickly covered with long, reddish hair, eyes blue, face beardless, complexion fair but discolored by low passions and excesses--such was old King Solomon. He wore a stiff, high, black Castor hat of the period, with the crown smashed in and the torn rim hanging down over one ear; a black cloth coat in the old style, ragged and buttonless; a white cotton shirt, with the broad collar crumpled wide open at the neck and down his sunburnt bosom; blue jean pantaloons, patched at the seat and the knees; and ragged cotton socks that fell down over the tops of his dusty shoes, which were open at the heels.
All this time, the homeless man had stood in the center of that tight circle of mocking and amused onlookers—a confusing scene from which to have delivered a sermon on the flaws of our imperfect humanity. Years earlier, perhaps as a masterstroke of ridicule, he had been given that title which only highlighted the contrast between his personality and status with every suggestion of ancient sacred grandeur; and never had the mockery seemed so poignant as at this moment, when he was dragged into the streets to face the harshest judgment of the law for his poverty and reckless idleness. He appeared to be in the prime of his life—a striking figure, as nature had indeed done some impressive work on him. Over six feet tall, standing straight, with well-shaped, muscular limbs, a chest and neck marked with the lines of great strength, a large head covered with long, reddish hair, blue eyes, a beardless face, and a fair complexion marred by low vices and excesses—such was old King Solomon. He wore a stiff, high black Castor hat from the period, with the crown dented in and the torn brim hanging down over one ear; a ragged, buttonless black cloth coat in the old style; a white cotton shirt, its wide collar crumpled open at the neck and down his sunburnt chest; blue denim pants, patched at the seat and knees; and worn, ragged cotton socks that slipped down over the tops of his dusty shoes, which were open at the heels.
In one corner of his sensual mouth rested the stump of a cigar. Once during the proceedings he had produced another, lighted it, and continued quietly smoking. If he took to himself any shame as the central figure of this ignoble performance, no one knew it. There was something almost royal in his unconcern. The humor, the badinage, the open contempt, of which he was the public target, fell thick and fast upon him, but as harmlessly as would balls of pith upon a coat of mail. In truth, there was that in his great, lazy, gentle, good-humored bulk and bearing which made the gibes seem all but despicable. He shuffled from one foot to the other as though he found it a trial to stand up so long, but all the while looking the spectators full in the eyes without the least impatience. He suffered the man of the factory to walk round him and push and pinch his muscles as calmly as though he had been the show bull at a country fair. Once only, when the sheriff had pointed across the street at the figure of Mr. Clay, he had looked quickly in that direction with a kindling light in his eye and a passing flush on his face. For the rest, he seemed like a man who has drained his cup of human life and has nothing left him but to fill again and drink without the least surprise or eagerness.
In one corner of his sensual mouth rested the stub of a cigar. Once during the events, he had taken out another one, lit it, and continued smoking calmly. If he felt any shame being the main figure in this disgraceful display, no one could tell. There was something almost regal in his indifference. The jokes, the teasing, and the open disdain directed at him came down swiftly and heavily, but it seemed as harmless as soft balls against a suit of armor. In truth, his large, relaxed, kind, and good-natured presence made the taunts seem almost pathetic. He shifted from one foot to the other as if standing for so long was a challenge, yet all the while, he looked the spectators right in the eyes without the slightest annoyance. He allowed the factory worker to circle around him, poking and pinching his muscles as calmly as if he were a prize bull at a county fair. Only once, when the sheriff pointed across the street at Mr. Clay, did he glance quickly in that direction, his eyes lighting up and a flush crossing his face. For the rest, he appeared like a person who has drained their cup of life and has nothing left to do but refill it and drink again without any surprise or eagerness.
The bidding between the man of the factory and the student had gone slowly on. The price had reached ten dollars. The heat was intense, the sheriff tired. Then something occurred to revivify the scene. Across the market place and toward the steps of the court-house there suddenly came trundling along in breathless haste a huge old negress, carrying on one arm a large shallow basket containing apple-crab lanterns and fresh gingerbread. With a series of half-articulate grunts and snorts she approached the edge of the crowd and tried to force her way through. She coaxed, she begged, she elbowed and pushed and scolded, now laughing, and now with the passion of tears in her thick, excited voice. All at once, catching sight of the sheriff, she lifted one ponderous brown arm, naked to the elbow, and waved her hand to him above the heads of those in front.
The bidding between the factory guy and the student had been dragging on. The price had hit ten dollars. The heat was brutal, and the sheriff was worn out. Then something happened to liven things up. Across the marketplace, headed toward the courthouse steps, a big old Black woman came rushing in, carrying a large shallow basket filled with apple-crab lanterns and fresh gingerbread. She approached the edge of the crowd with a series of half-formed grunts and snorts, trying to push her way through. She handed out coaxing, begging, elbowing, and pushing while scolding, alternating between laughter and a voice thick with emotion and almost in tears. Suddenly, spotting the sheriff, she raised one heavy brown arm, bare to the elbow, and waved to him over the heads of those in front.
"Hole on marster! hole on!" she cried in a tone of humorous entreaty. "Don' knock 'im off till I come! Gim me a bid at 'im!"
"Hole on, master! Hole on!" she shouted in a lighthearted plea. "Don't knock him off until I get there! Give me a chance at him!"
The sheriff paused and smiled. The crowd made way tumultuously, with broad laughter and comment.
The sheriff paused and smiled. The crowd moved aside excitedly, full of laughter and chatter.
"Stan' aside theah an' let Aun' Charlotte in!"
"Stand aside there and let Aunt Charlotte in!"
"Now you'll see biddin'!"
"Now you'll see bidding!"
"Get out of the way foh Aun' Charlotte!"
"Get out of the way for Aunt Charlotte!"
"Up, my free niggah! Hurrah foh Kentucky."
"Get up, my free friend! Hooray for Kentucky."
A moment more and she stood inside the ring of spectators, her basket on the pavement at her feet, her hands plumped akimbo into her fathomless sides, her head up, and her soft, motherly eyes turned eagerly upon the sheriff. Of the crowd she seemed unconscious, and on the vagrant before her she had not cast a single glance.
A moment later, she was standing in the circle of onlookers, her basket on the ground at her feet, her hands resting confidently on her hips, her head held high, and her gentle, motherly eyes focused eagerly on the sheriff. She seemed unaware of the crowd around her and hadn’t looked at the vagrant in front of her even once.
She was dressed with perfect neatness. A red and yellow Madras kerchief was bound about her head in a high coil, and another over the bosom of her stiffly starched and smoothly ironed blue cottonade dress. Rivulets of perspiration ran down over her nose, her temples, and around her ears, and disappeared mysteriously in the creases of her brown neck. A single drop accidentally hung glistening like a diamond on the circlet of one of her large brass earrings.
She was dressed impeccably. A red and yellow Madras scarf was tied around her head in a high coil, and another was placed over the chest of her stiffly starched and smoothly ironed blue cotton dress. Beads of sweat trickled down her nose, her temples, and around her ears, disappearing mysteriously in the folds of her brown neck. A single drop accidentally hung, sparkling like a diamond, on the hoop of one of her large brass earrings.
The sheriff looked at her a moment, smiling but a little disconcerted. The spectacle was unprecedented.
The sheriff looked at her for a moment, smiling but a bit uneasy. The scene was unlike anything anyone had seen before.
"What do you want heah, Aun' Charlotte?" he asked kindly. "You can't sell yo' pies an' gingerbread heah."
"What do you want here, Aunt Charlotte?" he asked kindly. "You can't sell your pies and gingerbread here."
"I don' wan' sell no pies en gingerbread," she replied, contemptuously. "I wan' bid on him," and she nodded sidewise at the vagrant. "White folks allers sellin' niggahs to wuk fuh dem; I gwine to buy a white man to wuk fuh me. En he gwine t' git a mighty hard mistiss, you heah me!"
"I don't want to sell any pies or gingerbread," she replied, disdainfully. "I want to bid on him," and she gestured sideways at the vagrant. "White people are always selling Black people to work for them; I'm going to buy a white man to work for me. And he's going to have a really tough mistress, do you hear me!"
The eyes of the sheriff twinkled with delight.
The sheriff's eyes sparkled with joy.
"Ten dollahs is offahed foh ole King Sol'mon. Is theah any othah bid. Are you all done?"
"Ten dollars is offered for old King Solomon. Is there any other bid? Are you all done?"
"Leben," she said.
"Life," she said.
Two young ragamuffins crawled among the legs of the crowd up to her basket and filched pies and cake beneath her very nose.
Two young kids in tattered clothes crawled between the legs of the crowd and snatched pies and cake right under her nose.
"Twelve!" cried the student, laughing.
"Twelve!" shouted the student, laughing.
"Thirteen!" she laughed, too, but her eyes flashed.
"Thirteen!" she laughed as well, but her eyes sparkled.
"You are bidding against a niggah" whispered the student's companion in his ear.
"You are bidding against a guy" whispered the student's companion in his ear.
"So I am; let's be off," answered the other, with a hot flush on his proud face.
"So I am; let's go," replied the other, a flush of anger rising on his proud face.
Thus the sale was ended, and the crowd variously dispersed. In a distant corner of the courtyard the ragged urchins were devouring their unexpected booty. The old negress drew a red handkerchief out of her bosom, untied a knot in a corner of it, and counted out the money to the sheriff. Only she and the vagrant were now left on the spot.
Thus the sale was finished, and the crowd dispersed in different directions. In a far corner of the courtyard, the ragged kids were eagerly enjoying their unexpected treasure. The old Black woman pulled a red handkerchief from her bosom, untied a knot in one corner, and counted out the money for the sheriff. Only she and the vagrant remained at the scene.
"You have bought me. What do you want me to do?" he asked quietly.
"You bought me. What do you want me to do?" he asked quietly.
"Lohd, honey!" she answered, in a low tone of affectionate chiding, "I don' wan' you to do no thin'! I wuzn' gwine t' 'low dem white folks to buy you. Dey'd wuk you till you dropped dead. You go 'long en do ez you please."
"Lohd, sweetie!" she replied, in a soft voice of loving teasing, "I don’t want you to do anything! I wasn’t going to let those white folks buy you. They’d work you until you dropped dead. You go on and do as you please."
She gave a cunning chuckle of triumph in thus setting at naught the ends of justice, and in a voice rich and musical with affection, she said, as she gave him a little push:
She let out a sly laugh of victory for disregarding the goals of justice, and in a voice warm and melodious with love, she said, giving him a gentle shove:
"You bettah be gittin' out o' dis blazin' sun. G' on home! I be 'long by-en-by."
"You better get out of this blazing sun. Go on home! I'll be along soon."
He turned and moved slowly away in the direction of Water Street, where she lived; and she, taking up her basket, shuffled across the market place toward Cheapside, muttering to herself the while:
He turned and walked slowly away toward Water Street, where she lived; and she, picking up her basket, shuffled across the marketplace toward Cheapside, muttering to herself as she went:
"I come mighty nigh gittin' dar too late, foolin' long wid dese pies. Sellin' him 'ca'se he don' wuk! Umph! if all de men in dis town dat don' wuk wuz to be tuk up en sole, d' wouldn' be 'nough money in de town to buy em! Don' I see 'em settin' 'roun' dese taverns f'om mohnin' till night?"
"I’m almost getting there too late, messing around with these pies. Selling him because he doesn’t work! Ugh! If all the men in this town who don’t work were to be taken and sold, there wouldn’t be enough money in the town to buy them! Don’t I see them sitting around these taverns from morning till night?"
Nature soon smiles upon her own ravages and strews our graves with flowers, not as memories, but for other flowers when the spring returns.
Nature quickly brings back her beauty after destruction and decorates our graves with flowers, not as a reminder, but for new blooms when spring arrives.
It was one cool, brilliant morning late in that autumn. The air blew fresh and invigorating, as though on the earth there were no corruption, no death. Far southward had flown the plague. A spectator in the open court square might have seen many signs of life returning to the town. Students hurried along, talking eagerly. Merchants met for the first time and spoke of the winter trade. An old negress, gayly and neatly dressed, came into the market place, and sitting down on a sidewalk displayed her yellow and red apples and fragrant gingerbread. She hummed to herself an old cradle-song, and in her soft, motherly black eyes shone a mild, happy radiance. A group of young ragamuffins eyed her longingly from a distance. Court was to open for the first time since the spring. The hour was early, and one by one the lawyers passed slowly in. On the steps of the court-house three men were standing: Thomas Brown, the sheriff; old Peter Leuba, who had just walked over from his music store on Main Street; and little M. Giron, the French confectioner. Each wore mourning on his hat, and their voices were low and grave.
It was a cool, bright morning late in autumn. The air felt fresh and refreshing, as if there was no decay or death in the world. The plague had moved far south. A spectator in the open square might have seen many signs of life returning to the town. Students rushed by, chatting excitedly. Merchants met for the first time and discussed the winter trade. An elderly Black woman, dressed cheerfully and neatly, came into the market place and sat down on the sidewalk, showcasing her yellow and red apples and fragrant gingerbread. She hummed an old lullaby to herself, and her soft, motherly black eyes sparkled with a gentle, happy glow. A group of young kids watched her longingly from a distance. Court was about to open for the first time since spring. It was early, and one by one, the lawyers entered slowly. On the steps of the courthouse, three men stood: Thomas Brown, the sheriff; old Peter Leuba, who had just come over from his music store on Main Street; and little M. Giron, the French confectioner. Each wore mourning on his hat, and their voices were low and serious.
"Gentlemen," the sheriff was saying, "it was on this very spot the day befoah the cholera broke out that I sole 'im as a vagrant. An' I did the meanes' thing a man can evah do. I hel' 'im up to public ridicule foh his weakness an' made spoht of 'is infirmities. I laughed at 'is povahty an' 'is ole clo'es. I delivahed on 'im as complete an oration of sarcastic detraction as I could prepare on the spot, out of my own meanness an' with the vulgah sympathies of the crowd. Gentlemen, if I only had that crowd heah now, an' ole King Sol'mon standin' in the midst of it, that I might ask 'im to accept a humble public apology, offahed from the heaht of one who feels himself unworthy to shake 'is han'! But gentlemen, that crowd will nevah reassemble. Neahly ev'ry man of them is dead, an' ole King Sol'mon buried them."
"Gentlemen," the sheriff was saying, "it was right here the day before the cholera outbreak that I sold him as a vagrant. And I did the meanest thing a person can ever do. I held him up to public ridicule for his weakness and made fun of his infirmities. I laughed at his poverty and his old clothes. I delivered as complete a speech of sarcastic criticism as I could come up with on the spot, born out of my own meanness and with the vulgar sympathies of the crowd. Gentlemen, if I only had that crowd here now, and old King Solomon standing among them, I would ask him to accept a humble public apology, offered from the heart of one who feels unworthy to shake his hand! But gentlemen, that crowd will never gather again. Nearly every man among them is dead, and old King Solomon buried them."
"He buried my friend Adolphe Xaupi," said François Giron, touching his eyes with his handkerchief.
"He buried my friend Adolphe Xaupi," François Giron said, wiping his eyes with his handkerchief.
"There is a case of my best Jamaica rum for him whenever he comes for it," said old Leuba, clearing his throat.
"There’s a case of my best Jamaica rum waiting for him whenever he comes to get it," said old Leuba, clearing his throat.
"But, gentlemen, while we are speakin' of ole King Sol'mon we ought not to forget who it is that has suppohted 'im. Yondah she sits on the sidewalk, sellin' 'er apples an' gingerbread."
"But, gentlemen, while we’re talking about old King Solomon, we shouldn’t forget who has supported him. Over there, she’s sitting on the sidewalk, selling her apples and gingerbread."
The three men looked in the direction indicated.
The three men looked in the direction pointed out.
"Heah comes ole King Sol'mon now," exclaimed the sheriff.
"Here comes old King Solomon now," exclaimed the sheriff.
Across the open square the vagrant was seen walking slowly along with his habitual air of quiet, unobtrusive preoccupation. A minute more and he had come over and passed into the court-house by a side door.
Across the open square, the homeless man was seen walking slowly with his usual calm, unassuming focus. A moment later, he had approached and entered the courthouse through a side door.
"Is Mr. Clay to be in court to-day?"
"Is Mr. Clay going to be in court today?"
"He is expected, I think."
"I think he's expected."
"Then let's go in: there will be a crowd."
"Then let's go in; there will be a crowd."
"I don't know: so many are dead."
"I don't know: so many are gone."
They turned and entered and found seats as quietly as possible; for a strange and sorrowful hush brooded over the court-room. Until the bar assembled, it had not been realized how many were gone. The silence was that of a common overwhelming disaster. No one spoke with his neighbor; no one observed the vagrant as he entered and made his way to a seat on one of the meanest benches, a little apart from the others. He had not sat there since the day of his indictment for vagrancy. The judge took his seat, and making a great effort to control himself, passed his eyes slowly over the court-room. All at once he caught sight of old King Solomon sitting against the wall in an obscure corner; and before any one could know what he was doing, he had hurried down and walked up to the vagrant and grasped his hand. He tried to speak, but could not. Old King Solomon had buried his wife and daughter,--buried them one clouded midnight, with no one present but himself.
They turned and walked in, trying to find their seats as quietly as possible, because a strange and heavy silence hovered over the courtroom. Until the bar gathered, it hadn't hit anyone how many were missing. The quiet felt like a shared, overwhelming tragedy. No one chatted with their neighbor; no one noticed the vagrant as he entered and made his way to an empty spot on one of the most rundown benches, a little separated from the others. He hadn’t sat there since the day he was charged with vagrancy. The judge took his seat, making a big effort to keep himself together as he scanned the courtroom. Suddenly, he spotted old King Solomon sitting against the wall in a hidden corner, and before anyone realized what was happening, he rushed down and approached the vagrant, grabbing his hand. He tried to say something, but words wouldn’t come. Old King Solomon had buried his wife and daughter—he had laid them to rest one darkened midnight, with no one there but him.
Then the oldest member of the bar started up and followed the example; and then the other members, rising by a common impulse, filed slowly back and one by one wrung that hard and powerful hand. After them came the other persons in the court-room. The vagrant, the gravedigger, had risen and stood against the wall, at first with a white face and a dazed expression, not knowing what it meant; afterwards, when he understood it, his head dropped suddenly forward and his tears fell thick and hot upon the hands that he could not see. And his were not the only tears. Not a man in the long file but paid his tribute of emotion as he stepped forward to honor that image of sadly eclipsed but still effulgent humanity. It was not grief, it was not gratitude, nor any sense of making reparation for the past. It was the softening influence of an act of heroism, which makes every man feel himself a brother hand in hand with every other;--such power has a single act of moral greatness to reverse the relations of men, lifting up one, and bringing all others to do him homage.
Then the oldest member of the bar stood up and followed suit; soon, the other members, moved by a shared impulse, slowly got to their feet and one by one shook that strong and powerful hand. After them came the other people in the courtroom. The vagrant, the gravedigger, had risen and leaned against the wall, initially with a pale face and a dazed expression, unsure of what it meant; later, when he understood, his head suddenly dropped forward, and his tears fell thick and hot onto the hands he could not see. And he wasn’t the only one crying. Every man in the long line paid his tribute of emotion as he stepped forward to honor that figure of sadly overshadowed but still shining humanity. It wasn’t grief or gratitude, nor was it about making up for the past. It was the gentle effect of an act of heroism, which makes every man feel like a brother, united with all others; such power does a single act of moral greatness have to change the dynamics among people, elevating one while inspiring all others to pay their respects.
It was the coronation scene in the life of 'Ole' King Solomon of Kentucky.
It was the coronation scene in the life of 'Ole' King Solomon of Kentucky.
WILLIAM ALLINGHAM
(1828-1889)
ach form of verse has, in addition to its laws of structure, a subtle quality as difficult to define as the perfume of a flower. The poem, 'An Evening,' given below, may be classified both as a song and as a lyric; yet it needs no music other than its own rhythms, and the full close to each verse which falls upon the ear like a soft and final chord ending a musical composition. A light touch and a feeling for shades of meaning are required to execute such dainty verse. In 'St. Margaret's Eve,' and in many other ballads, Allingham expresses the broader, more dramatic sweep of the ballad, and reveals his Celtic ancestry.
Each form of verse has, in addition to its structure, a subtle quality that's as hard to define as the scent of a flower. The poem, 'An Evening,' presented below, can be seen as both a song and a lyric; yet, it needs no music other than its own rhythms, and the complete close to each verse resonates like a soft and final chord ending a musical piece. A light touch and a sense for nuances are needed to craft such delicate verse. In 'St. Margaret's Eve,' as well as in many other ballads, Allingham showcases the broader, more dramatic style of the ballad, revealing his Celtic heritage.
The lovable Irishman, William Allingham, worked hard to enter the brotherhood of poets. When he was only fourteen his father took him from school to become clerk in the town bank of which he himself was manager. "The books which he had to keep for the next seven years were not those on which his heart was set," says Mr. George Birkbeck Hill. But this fortune is almost an inevitable part, and probably not the worst part, of the training for a literary vocation; and he justified his ambitions by pluckily studying alone till he had mastered Greek, Latin, French, and German.
The charming Irishman, William Allingham, worked hard to join the group of poets. When he was just fourteen, his father pulled him out of school to be a clerk at the town bank where he was the manager. "The books he had to keep for the next seven years weren't the ones he was really interested in," says Mr. George Birkbeck Hill. But this situation is almost an unavoidable part, and probably not the worst part, of the training for a writing career; and he proved his determination by bravely studying on his own until he had mastered Greek, Latin, French, and German.
Mr. Hill, in his 'Letters of D.G. Rossetti' (Atlantic Monthly, May, 1896), thus quotes Allingham's own delightful description of his early home at Ballyshannon, County Donegal:--
Mr. Hill, in his 'Letters of D.G. Rossetti' (Atlantic Monthly, May, 1896), quotes Allingham's lovely description of his childhood home in Ballyshannon, County Donegal:--
"The little old town where I was born has a voice of its own, low, solemn, persistent, humming through the air day and night, summer and winter. Whenever I think of that town I seem to hear the voice. The river which makes it rolls over rocky ledges into the tide. Before spreads a great ocean in sunshine or storm; behind stretches a many-islanded lake. On the south runs a wavy line of blue mountains; and on the north, over green rocky hills rise peaks of a more distant range. The trees hide in glens or cluster near the river; gray rocks and bowlders lie scattered about the windy pastures. The sky arches wide over all, giving room to multitudes of stars by night, and long processions of clouds blown from the sea; but also, in the childish memory where these pictures live, to deeps of celestial blue in the endless days of summer. An odd, out-of-the-way little town, ours, on the extreme western edge of Europe; our next neighbors, sunset way, being citizens of the great new republic, which indeed, to our imagination, seemed little if at all farther off than England in the opposite direction."
"The small old town where I was born has a distinct voice, low, serious, and constant, humming through the air day and night, in every season. Whenever I think of that town, I seem to hear its voice. The river that flows through it tumbles over rocky ledges into the tide. In front lies a vast ocean, whether under sunshine or storm; behind is a lake dotted with many islands. To the south stretches a wavy line of blue mountains, and to the north, over green rocky hills, rise the peaks of a more distant range. Trees hide in valleys or cluster near the river; gray rocks and boulders are scattered across the breezy pastures. The sky arches wide over everything, allowing for countless stars at night and long lines of clouds blown in from the sea; but also, in the child’s memory where these images reside, deep celestial blues during the endless summer days. Our town is a curious, secluded little place on the far western edge of Europe; our closest neighbors to the west are citizens of the great new republic, which seemed, in our imagination, to be not much farther away than England in the opposite direction."
Of the cottage in which he spent most of his childhood and youth he writes:--
Of the cottage where he spent most of his childhood and youth, he writes:--
"Opposite the hall door a good-sized walnut-tree leaned its wrinkled stem towards the house, and brushed some of the second-story panes with its broad, fragrant leaves. To sit at that little upper window when it was open to a summer twilight, and the great tree rustled gently, and sent one leafy spray so far that it even touched my face, was an enchantment beyond all telling. Killarney, Switzerland, Venice, could not, in later life, come near it. On three sides the cottage looked on flowers and branches, which I count as one of the fortunate chances of my childhood; the sense of natural beauty thus receiving its due share of nourishment, and of a kind suitable to those early years."
"Across from the hall door, a decent-sized walnut tree leaned its gnarled trunk toward the house, brushing some of the second-floor windows with its broad, fragrant leaves. Sitting at that little upper window during a summer twilight, while the big tree rustled gently and sent a leafy branch so far that it even touched my face, was a magical experience beyond words. Killarney, Switzerland, Venice—none of them could ever compare to it later in life. The cottage was surrounded on three sides by flowers and branches, which I consider one of the lucky aspects of my childhood; it allowed me to absorb the natural beauty that was fitting for those early years."
At last a position in the Customs presented itself:--
At last, a job in Customs became available:--
"In the spring of 1846 I gladly took leave forever of discount ledgers and current accounts, and went to Belfast for two months' instruction in the duties of Principal Coast Officer of Customs; a tolerably well-sounding title, but which carried with it a salary of but £80 a year. I trudged daily about the docks and timber-yards, learning to measure logs, piles of planks, and, more troublesome, ships for tonnage; indoors, part of the time practiced customs book-keeping, and talked to the clerks about literature and poetry in a way that excited some astonishment, but on the whole, as I found at parting, a certain degree of curiosity and respect. I preached Tennyson to them. My spare time was mostly spent in reading and haunting booksellers' shops where, I venture to say, I laid out a good deal more than most people, in proportion to my income, and managed to get glimpses of many books which I could not afford or did not care to buy. I enjoyed my new position, on the whole, without analysis, as a great improvement on the bank; and for the rest, my inner mind was brimful of love and poetry, and usually all external things appeared trivial save in their relation to it."
"In the spring of 1846, I happily left behind the world of discount ledgers and current accounts for good and went to Belfast for two months of training as the Principal Coast Officer of Customs. It sounds like a prestigious title, but it only came with a salary of £80 a year. I walked every day around the docks and timber yards, learning how to measure logs, stacks of planks, and, more challenging, ships for tonnage. Indoors, I practiced customs bookkeeping part of the time and talked with the clerks about literature and poetry, which surprised them a bit, but overall, as I found out when I left, they held a certain curiosity and respect for me. I preached Tennyson to them. Most of my free time was spent reading and browsing bookshops, where I probably spent more than most people relative to my income, catching glimpses of many books that I couldn’t afford or didn't want to buy. Overall, I enjoyed my new role, considering it a big improvement over the bank. My mind was full of love and poetry, and most things in the outside world seemed trivial unless they related to that."
Of Allingham's early song-writing, his friend Arthur Hughes says:--
Of Allingham's early songwriting, his friend Arthur Hughes says:--
"Rossetti, and I think Allingham himself, told me, in the early days of our acquaintance, how in remote Ballyshannon, where he was a clerk in the Customs, in evening walks he would hear the Irish girls at their cottage doors singing old ballads, which he would pick up. If they were broken or incomplete, he would add to them or finish them; if they were improper he would refine them. He could not get them sung till he got the Dublin Catnach of that day to print them, on long strips of blue paper, like old songs, and if about the sea, with the old rough woodcut of a ship on the top. He either gave them away or they were sold in the neighborhood. Then, in his evening walks, he had at last the pleasure of hearing some of his own ballads sung at the cottage doors by the blooming lasses, who were quite unaware that it was the author who was passing by."
"Rossetti, and I believe Allingham too, told me during our early days of meeting how in remote Ballyshannon, where he worked as a Customs clerk, he would hear Irish girls singing old ballads at their cottage doors during his evening walks. He would pick up the songs, and if they were broken or incomplete, he would complete them; if they were inappropriate, he would refine them. He couldn’t get them sung until he had the Dublin Catnach of that time print them on long strips of blue paper, just like old songs, often featuring a rough woodcut of a ship at the top if they were about the sea. He either gave them away or they were sold locally. Then, during his evening walks, he eventually enjoyed the pleasure of hearing some of his own ballads sung at the cottage doors by the lovely girls, who had no idea that the author was walking by."
In 1850 Allingham published a small volume of lyrics whose freshness and delicacy seemed to announce a new singer, and four years later his 'Day and Night Songs' strengthened this impression. Stationed as revenue officer in various parts of England, he wrote much verse, and published also the 'The Rambles of Patricius Walker,' a collection of essays upon his walks through England; 'Lawrence Bloomfield in Ireland,' the tale of a young landlord's efforts to improve the condition of his tenantry; an anthology, 'Nightingale Valley' (1862), and an excellent collection of English ballads, 'The Ballad Book' (1865).
In 1850, Allingham released a small book of lyrics that felt fresh and delicate, signaling the emergence of a new voice, and four years later, his 'Day and Night Songs' reinforced this impression. Working as a revenue officer in various parts of England, he wrote a lot of poetry and also published 'The Rambles of Patricius Walker,' a collection of essays about his walks across England; 'Lawrence Bloomfield in Ireland,' a story about a young landlord trying to improve the lives of his tenants; an anthology titled 'Nightingale Valley' (1862); and a great collection of English ballads, 'The Ballad Book' (1865).
In 1870 he gladly embraced an opportunity to leave the Customs for the position of assistant editor of Fraser's Magazine under Froude, whom he afterward succeeded as editor. He was now a member of a brilliant literary circle, knew Tennyson, Ruskin, and Carlyle, and was admitted into the warm friendship of the Pre-Raphaelites. But in no way does he reflect the Pre-Raphaelite spirit by which he was surrounded; nor does he write his lyrics in the metres and rhythms of mediaeval France. He is as oblivious of rondeaux, ballades, and roundels, as he is of fair damosels with cygnet necks and full pomegranate lips. He is a child of nature, whose verse is free from all artificial inspiration or expression, and seems to flow easily, clearly, and tenderly from his pen. Some of it errs in being too fanciful. In the Flower-Songs, indeed, he sometimes becomes trivial in his comparison of each English poet to a special flower; but his poetry is usually sincere with an undercurrent of pathos, as in 'The Ruined Chapel,' 'The Winter Pear,' and the 'Song.' For lightness of touch and aerial grace, 'The Bubble' will bear comparison with any verse of its own genre. 'Robin Redbreast' has many delightful lines; and in 'The Fairies' one is taken into the realm of Celtic folklore, which is Allingham's inheritance, where the Brownies, the Pixies, and the Leprechauns trip over the dew-spangled meadows, or dance on the yellow sands, and then vanish away in fantastic mists. Quite different is 'Lovely Mary Donnelly,' which is a sample of the popular songs that made him a favorite in his own country.
In 1870, he happily took the chance to leave the Customs for the role of assistant editor at Fraser's Magazine under Froude, who he later succeeded as editor. He was now part of a vibrant literary circle, knowing Tennyson, Ruskin, and Carlyle, and forming a close friendship with the Pre-Raphaelites. However, he doesn't reflect the Pre-Raphaelite spirit surrounding him, nor does he write his poems in the meters and rhythms of medieval France. He is as unaware of rondeaux, ballades, and roundels as he is of fair maidens with swan-like necks and full, luscious lips. He is a child of nature, whose verse is free from any artificial inspiration or expression, flowing easily, clearly, and tenderly from his pen. Some of it strays into being too fanciful. In the Flower-Songs, he can sometimes be trivial in comparing each English poet to a specific flower; yet his poetry is generally sincere with an undertone of sadness, as seen in 'The Ruined Chapel,' 'The Winter Pear,' and the 'Song.' For lightness and delicate grace, 'The Bubble' stands out among its kind. 'Robin Redbreast' includes many delightful lines, and in 'The Fairies,' one enters the world of Celtic folklore, which is Allingham's legacy, where Brownies, Pixies, and Leprechauns dance over the dewy meadows or on the golden sands, and then disappear into whimsical mists. In contrast, 'Lovely Mary Donnelly' is an example of the popular songs that made him well-loved in his own country.
After his death at Hampstead in 1889, his body was cremated according to his wish, when these lines of his own were read:--
After he died in Hampstead in 1889, his body was cremated as he wished, and these lines of his own were read:--
"Body to purifying flame,
Soul to the Great Deep whence it came,
Leaving a song on earth below,
An urn of ashes white as snow."
"Body to the purifying flame,
Soul to the Great Deep where it came from,
Leaving a song on the earth below,
An urn of ashes as white as snow."
By the shore, a plot of ground
By the shore, a piece of land
Clips a ruined chapel round,
Clips a ruined chapel scene,
Buttressed with a grassy mound;
Supported by a grassy mound;
Where Day and Night and Day go by
Where Day and Night and Day pass by
And bring no touch of human sound.
And bring no hint of human sound.
Washing of the lonely seas,
Washing of the lonely seas,
Shaking of the guardian trees,
Shaking of the guardian trees,
Piping of the salted breeze;
Piping of the salty breeze;
Day and Night and Day go by
Day and night and day pass by
To the endless tune of these.
To the never-ending rhythm of these.
Or when, as winds and waters keep
Or when, as wind and waves continue
A hush more dead than any sleep,
A silence deeper than any sleep,
Still morns to stiller evenings creep,
Still mornings give way to even calmer evenings,
And Day and Night and Day go by;
And day and night and day go by;
Here the silence is most deep.
Here, the silence is the deepest.
The empty ruins, lapsed again
The abandoned ruins, forgotten again
Into Nature's wide domain,
Into nature's vast realm,
Sow themselves with seed and grain
Sow themselves with seed and grain
As Day and Night and Day go by;
As day and night pass by;
And hoard June's sun and April's rain.
And save June's sunshine and April's rain.
Here fresh funeral tears were shed;
Here, fresh funeral tears were shed;
Now the graves are also dead;
Now the graves are also empty;
And suckers from the ash-tree spread,
And suckers from the ash tree spread,
While Day and Night and Day go by;
While Day and Night and Day pass by;
And stars move calmly overhead.
And stars move peacefully above.
From 'Day and Night Songs.'
From 'Day and Night Songs.'
Is always Age severe?
Is aging always harsh?
Is never Youth austere?
Is youth ever austere?
Spring-fruits are sour to eat;
Spring fruits are sour to eat;
Autumn's the mellow time.
Autumn's a chill time.
Nay, very late in the year,
Nay, very late in the year,
Short day and frosty rime,
Cold and frosty day,
Thought, like a winter pear,
Thought, like a winter pear,
Stone-cold in summer's prime,
Ice-cold in summer's peak,
May turn from harsh to sweet.
May turn from harsh to sweet.
From 'Ballads and Songs.'
From 'Ballads and Songs.'
O spirit of the Summer-time!
O spirit of summer!
Bring back the roses to the dells;
Bring the roses back to the valleys;
The swallow from her distant clime,
The swallow from her far-off home,
The honey-bee from drowsy cells.
The honeybee from sleepy hives.
Bring back the friendship of the sun;
Bring back the friendship of the sun;
The gilded evenings calm and late,
The golden evenings are quiet and late,
When weary children homeward run,
When tired kids head home,
And peeping stars bid lovers wait.
And watching stars tell lovers to wait.
Bring back the singing; and the scent
Bring back the singing and the scent.
Of meadow-lands at dewy prime;
Of meadows at morning dew;
Oh, bring again my heart's content,
Oh, bring back what makes my heart happy,
Thou Spirit of the Summer-time!
You Spirit of the Summer!
From 'Day and Night Songs.'
From 'Day and Night Songs.'
See the pretty planet!
Check out the beautiful planet!
Floating sphere!
Floating sphere!
Faintest breeze will fan it
A light breeze will fan it
Far or near;
Far or close;
World as light as feather;
World as light as a feather;
Moonshine rays,
Moonlight,
Rainbow tints together,
Rainbow colors blend together,
As it plays.
As it plays.
Drooping, sinking, failing,
Drooping, sinking, struggling,
Nigh to earth,
Close to earth,
Mounting, whirling, sailing,
Flying, spinning, sailing,
Full of mirth;
Full of joy;
Life there, welling, flowing,
Life there, thriving, flowing,
Waving round;
Waving around;
Pictures coming, going,
Pics coming, going,
Without sound.
Silent.
Quick now, be this airy
Hurry up, be light-hearted
Globe repelled!
Globe rejected!
Never can the fairy
Never can the fairy
Star be held.
Star be held.
Touched--it in a twinkle
Touched it in a flash
Disappears!
Gone!
Leaving but a sprinkle,
Leaving just a sprinkle,
As of tears.
As of tears.
From 'Ballads and Songs.'
From 'Ballads and Songs.'
I built my castle upon the seaside,
I built my castle on the beach,
The waves roll so gayly O,
The waves roll so joyfully O,
Half on the land and half in the tide,
Half on the land and half in the tide,
Love me true!
Love me for real!
Within was silk, without was stone,
Within was silk, outside was stone,
The waves roll so gayly O,
The waves roll so joyfully, O,
It lacks a queen, and that alone,
It doesn't have a queen, and that's all it takes,
Love me true!
Love me genuinely!
The gray old harper sang to me,
The gray old harper sang to me,
The waves roll so gayly O,
The waves roll so cheerfully O,
"Beware of the Damsel of the Sea!"
"Watch out for the Damsel of the Sea!"
Love me true!
Love me for real!
Saint Margaret's Eve it did befall,
It happened on Saint Margaret's Eve,
The waves roll so gayly O,
The waves roll so happily, O,
The tide came creeping up the wall,
The tide started rising up the wall,
Love me true!
Love me genuinely!
I opened my gate; who there should stand--
I opened my gate; who should be standing there--
The waves roll so gayly O,
The waves roll so cheerfully, O,
But a fair lady, with a cup in her hand,
But a beautiful lady, holding a cup,
Love me true!
Love me for real!
The cup was gold, and full of wine,
The cup was gold and filled with wine,
The waves roll so gayly O,
The waves roll so cheerfully, O,
"Drink," said the lady, "and I will be thine,"
"Drink," said the lady, "and I will belong to you,"
Love me true!
Love me for real!
"Enter my castle, lady fair,"
"Enter my castle, beautiful lady,"
The waves roll so gayly O,
The waves roll so cheerfully, O,
"You shall be queen of all that's there,"
"You will be queen of everything that exists,"
Love me true!
Love me for real!
A gray old harper sang to me,
A gray old harp player sang to me,
The waves roll so gayly O,
The waves roll so cheerfully, O,
"Beware of the Damsel of the Sea!"
"Watch out for the Sea Damsel!"
Love me true!
Love me for real!
In hall he harpeth many a year,
In the hall, he has been playing the harp for many years,
The waves roll so gayly O,
The waves roll so happily, O,
And we will sit his song to hear,
And we'll sit down to listen to his song,
Love me true!
Love me for real!
"I love thee deep, I love thee true,"
"I love you deeply, I love you truly,"
The waves roll so gayly O,
The waves roll so joyfully O,
"But ah! I know not how to woo,"
"But oh! I don't know how to flirt,"
Love me true!
Love me for real!
Down dashed the cup, with a sudden shock,
Down fell the cup, with a sudden jolt,
The waves roll so gayly O,
The waves roll so happily O,
The wine like blood ran over the rock,
The wine, rich and deep like blood, flowed over the rock,
Love me true!
Love me for real!
She said no word, but shrieked aloud,
She didn't say a word, but screamed out loud,
The waves roll so gayly O,
The waves roll so happily, O,
And vanished away from where she stood,
And disappeared from where she was standing,
Love me true!
Love me for real!
I locked and barred my castle door,
I locked and secured my castle door,
The waves roll so gayly O,
The waves roll so happily, O,
Three summer days I grieved sore,
Three summer days I mourned deeply,
Love me true!
Love me for real!
For myself a day, a night,
For me, a day, a night,
The waves roll so gayly O,
The waves roll so happily, O,
And two to moan that lady bright,
And two to complain about that bright lady,
Love me true!
Love me for real!
>From 'Ballads and Songs.'
>From 'Ballads and Songs.'
(A CHILD'S SONG)
(A Kid's Song)
Up the airy mountain,
Up the lofty mountain,
Down the rushy glen,
Through the grassy valley,
We daren't go a hunting
We shouldn’t go hunting
For fear of little men:
Fear of small guys:
Wee folk, good folk,
Little people, kind people,
Trooping all together;
Grouping together;
Green jacket, red cap,
Green jacket, red hat,
And white owl's feather.
And a white owl feather.
Down along the rocky shore
Down by the rocky shore
Some have made their home;
Some have settled in;
They live on crispy pancakes
They live on crunchy pancakes
Of yellow-tide foam.
Of yellow foam.
Some in the reeds
Some in the grass
Of the black mountain-lake,
Of the dark mountain lake,
With frogs for their watch-dogs,
With frogs as their watchdogs,
All night awake.
Awake all night.
High on the hill-top
On top of the hill
The old King sits;
The old King is seated;
He is now so old and gray
He is now so old and gray.
He's nigh lost his wits.
He's almost lost his mind.
With a bridge of white mist
With a bridge of white mist
Columbkill he crosses,
Columbkill he crosses,
On his stately journeys
On his grand travels
From Sliveleague to Rosses;
From Sliveleague to Rosses;
Or going up with music
Or elevating with music
On cold starry nights,
On chilly starry nights,
To sup with the Queen
To have dinner with the Queen
Of the gay northern lights.
Of the queer northern lights.
They stole little Bridget
They took little Bridget
For seven years long;
For seven years;
When she came down again
When she came downstairs again
Her friends were all gone.
Her friends were all gone.
They took her lightly back,
They took her back lightly,
Between the night and morrow,
Between night and tomorrow,
They thought that she was fast asleep,
They thought she was sound asleep,
But she was dead with sorrow.
But she was overwhelmed with grief.
They have kept her ever since
They’ve had her ever since.
Deep within the lakes,
Deep in the lakes,
On a bed of flag leaves
On a bed of flag leaves
Watching till she wakes.
Watching until she wakes.
By the craggy hillside,
By the rugged hillside,
Through the mosses bare,
Through the bare mosses,
They have planted thorn-trees
They have planted thorn trees.
For pleasure here and there.
For fun here and there.
Is any man so daring
Is any man that bold
As dig them up in spite,
As they dig them up in anger,
He shall feel their sharpest thorns
He will feel their sharpest thorns
In his bed at night.
In bed at night.
Up the airy mountain,
Up the high mountain,
Down the rushy glen,
Down the grassy valley,
We daren't go a hunting
We can't go hunting
For fear of little men:
For fear of small guys:
Wee folk, good folk,
Little people, good people,
Trooping all together;
All together now;
Green jacket, red cap,
Green jacket, red hat,
And white owl's feather.
And white owl feather.
From 'Ballads and Songs.'
From 'Ballads and Songs.'
(A CHILD'S SONG)
(A Kid's Song)
Good-by, good-by, to Summer!
Goodbye, goodbye, to Summer!
For Summer's nearly done;
Summer's almost over;
The garden smiling faintly,
The garden smiling softly,
Cool breezes in the sun;
Cool breezes in the sun;
Our Thrushes now are silent,
Our thrushes are silent now.
Our Swallows flown away--
Our swallows have flown away—
But Robin's here, in coat of brown,
But Robin's here, in a brown coat,
With ruddy breast-knot gay.
With red breast knot bright.
Robin, Robin Redbreast,
Robin, Redbreast
Oh, Robin, dear!
Oh, Robin, sweetheart!
Robin singing sweetly
Robin singing beautifully
In the falling of the year.
In fall.
Bright yellow, red, and orange,
Bright yellow, red, and orange,
The leaves come down in hosts;
The leaves fall down in droves;
The trees are Indian Princes,
The trees are royal figures,
But soon they'll turn to Ghosts;
But soon they'll be ghosts;
The scanty pears and apples
The meager pears and apples
Hang russet on the bough,
Hang red potatoes on the branch,
It's Autumn, Autumn, Autumn late,
It's late autumn, autumn vibes,
'Twill soon be winter now.
It'll soon be winter now.
Robin, Robin Redbreast,
Robin, Redbreasted Robin,
Oh, Robin, dear!
Oh, Robin, honey!
And welaway! my Robin,
And alas! my Robin,
For pinching times are near.
Tough times are coming.
The fireside for the Cricket,
The cricket's fireside,
The wheatstack for the Mouse,
The wheat stack for the Mouse,
When trembling night-winds whistle
When chilly night winds whistle
And moan all round the house.
And complain all around the house.
The frosty ways like iron,
The icy paths like steel,
The branches plumed with snow--
The branches covered in snow--
Alas! in Winter, dead and dark,
Alas! in winter, lifeless and dark,
Where can poor Robin go?
Where can broke Robin go?
Robin, Robin Redbreast,
Robin, the red-breasted bird,
Oh, Robin, dear!
Oh, Robin, sweetheart!
And a crumb of bread for Robin,
And a piece of bread for Robin,
His little heart to cheer.
His small heart to cheer.
>From 'Ballads and Songs.'
From 'Ballads and Songs.'
Sunset's mounded cloud;
Clouds at sunset;
A diamond evening-star;
A diamond evening star;
Sad blue hills afar:
Sad blue hills in the distance:
Love in his shroud.
Love in his veil.
Scarcely a tear to shed;
Hardly a tear to shed;
Hardly a word to say;
Not much to say;
The end of a summer's day;
The end of a summer day;
Sweet Love is dead.
Sweet Love is over.
From 'Day and Night Songs.'
From 'Day and Night Songs.'
Gold tassel upon March's bugle-horn,
Gold tassel on March's trumpet,
Whose blithe reveille blows from hill to hill
Whose cheerful wake-up call rings from hill to hill
And every valley rings--O Daffodil!
And every valley echoes—O Daffodil!
What promise for the season newly born?
What hope does the new season bring?
Shall wave on wave of flow'rs, full tide of corn,
Shall wave after wave of flowers, a full tide of corn,
O'erflow the world, then fruited Autumn fill
O'erflow the world, then fruited Autumn fill
Hedgerow and garth? Shall tempest, blight, or chill
Hedgerow and yard? Should storms, disease, or cold
Turn all felicity to scathe and scorn?
Turn all happiness into harm and contempt?
Tantarrara! the joyous Book of Spring
Tantarrara! the joyful Book of Spring
Lies open, writ in blossoms; not a bird
Lies open, written in flowers; not a bird
Of evil augury is seen or heard:
Of bad omens is seen or heard:
Come now, like Pan's old crew, we'll dance and sing,
Come on now, like Pan's old crew, we'll dance and sing,
Or Oberon's: for hill and valley ring
Or Oberon's: for hill and valley echo
To March's bugle-horn,--Earth's blood is stirred.
To March's bugle-horn,--Earth's blood is stirred.
From 'Flower Pieces.'
From 'Flower Pieces.'
(To an Irish Tune)
(To an Irish Song)
O lovely Mary Donnelly, it's you I love the best!
O beautiful Mary Donnelly, you’re the one I love the most!
If fifty girls were round you, I'd hardly see the rest.
If there were fifty girls around you, I would barely notice anyone else.
Be what it may the time of day, the place be where it will,
Be it morning, noon, or night, no matter where we are,
Sweet looks of Mary Donnelly, they bloom before me still.
Sweet looks of Mary Donnelly still bloom before me.
Her eyes like mountain water that's flowing on a rock,
Her eyes are like mountain water flowing over a rock,
How clear they are, how dark they are! and they give me many a shock.
How clear they are, how dark they are! And they shock me many times.
Red rowans warm in sunshine and wetted with a shower,
Red rowans glow in the sunlight and are dampened by a rain shower,
Could ne'er express the charming lip that has me in its power.
Could never express the charming lips that have me under their spell.
Her nose is straight and handsome, her eyebrows lifted up;
Her nose is straight and attractive, her eyebrows arched;
Her chin is very neat and pert, and smooth like a china cup;
Her chin is very neat and cute, and smooth like a fine china cup;
Her hair's the brag of Ireland, so weighty and so fine,
Her hair is the pride of Ireland, so thick and so beautiful,
It's rolling down upon her neck and gathered in a twine.
It's rolling down her neck and gathered in a twist.
The dance o' last Whit Monday night exceeded all before;
The dance from last Whit Monday night was better than any before it;
No pretty girl for miles about was missing from the floor;
No attractive girl for miles around was missing from the dance floor;
But Mary kept the belt of love, and oh, but she was gay!
But Mary held onto the belt of love, and wow, she was so happy!
She danced a jig, she sung a song, that took my heart away.
She danced a jig and sang a song that stole my heart.
When she stood up for dancing, her steps were so complete,
When she got up to dance, her movements were so full,
The music nearly killed itself to listen to her feet;
The music almost silenced itself to hear her feet;
The fiddler moaned his blindness, he heard her so much praised,
The fiddler lamented his blindness; he heard her being praised so much,
But blessed himself he wasn't deaf, when once her voice she raised.
But he was grateful that he wasn't deaf when she finally raised her voice.
And evermore I'm whistling or lilting what you sung,
And I'm always whistling or humming what you sang,
Your smile is always in my heart, your name beside my tongue;
Your smile is always in my heart, your name on my lips;
But you've as many sweethearts as you'd count on both your hands,
But you have as many romantic interests as you can count on both hands,
And for myself there's not a thumb or little finger stands.
And for me, there isn't a thumb or pinky standing.
Oh, you're the flower o' womankind in country or in town;
Oh, you're the beauty of all women, whether in the countryside or the city;
The higher I exalt you, the lower I'm cast down.
The more I lift you up, the more I'm pushed down.
If some great lord should come this way, and see your beauty bright,
If a powerful lord were to pass this way and see your radiant beauty,
And you to be his lady, I'd own it was but right.
And you to be his lady, I’d admit it was only fair.
Oh, might we live together in a lofty palace hall,
Oh, how I wish we could live together in a grand palace hall,
Where joyful music rises, and where scarlet curtains fall!
Where joyful music plays, and where red curtains drop!
Oh, might we live together in a cottage mean and small,
Oh, could we live together in a tiny, simple cottage,
With sods of grass the only roof, and mud the only wall!
With grass as the only roof and mud as the only walls!
O lovely Mary Donnelly, your beauty's my distress:
O lovely Mary Donnelly, your beauty causes me great pain:
It's far too beauteous to be mine, but I'll never wish it less.
It's way too beautiful for me to have, but I will never want it any less.
The proudest place would fit your face, and I am poor and low;
The proudest place would suit you well, while I'm left with nothing and feel small;
But blessings be about you, dear, wherever you may go!
But blessings be with you, dear, wherever you go!
From 'Ballads and Songs.'
From 'Ballads and Songs.'
KARL JONAS LUDVIG ALMQUIST
(1793-1866)
lmquist, one of the most versatile writers of Sweden, was a man of strange contrasts, a genius as uncertain as a will-o'-the-wisp. His contemporary, the famous poet and critic Atterbom, writes:--
lmquist, one of the most versatile writers in Sweden, was a man of strange contrasts, a genius as unpredictable as a will-o'-the-wisp. His contemporary, the famous poet and critic Atterbom, writes:--
"What did the great poets of past times possess which upheld them under even the bitterest worldly circumstances? Two things: one a strong and conscientious will, the other a single--not double, much less manifold--determination for their work, oneness. They were not self-seekers; they sought, they worshiped something better than themselves. The aim which stood dimly before their inmost souls was not the enjoyment of flattered vanity; it was a high, heroic symbol of love of honor and love of country, of heavenly wisdom. For this they thought it worth while to fight, for this they even thought it worth while to suffer, without finding the suffering in itself strange, or calling earth to witness thereof.... The writer of 'Törnrosens Bok' [The Book of the Rose] is one of these few; he does therefore already reign over a number of youthful hearts, and out of them will rise his time of honor, a time when many of the celebrities of the present moment will have faded away."
"What did the great poets of the past have that helped them endure even the harshest circumstances? Two things: a strong and sincere will, and a single -- not double, much less complicated -- focus on their work, a sense of unity. They weren't self-serving; they sought and revered something greater than themselves. The goal they held deep within their souls wasn't about enjoying empty praise; it was a noble, heroic vision of love for honor and love for their country, and a pursuit of divine wisdom. For this, they believed it was worth fighting and even suffering, without finding the suffering itself unusual, or calling on the world to witness it.... The writer of 'Törnrosens Bok' [The Book of the Rose] is one of these rare individuals; he already holds sway over many young hearts, and from them will emerge his time of recognition, a time when many current celebrities will have faded away."
Almquist was born in Stockholm in 1793. When still a very young man he obtained a good official position, but gave it up in 1823 to lead a colony of friends into the forests of Värmland, where they intended to return to a primitive life close to the heart of nature. He called this colony a "Man's-home Association," and ordained that in the primeval forest the members should live in turf-covered huts, wear homespun, eat porridge with a wooden spoon, and enact the ancient freeholder. The experiment was not successful, he tired of the manual work, and returning to Stockholm, became master of the new Elementary School, and began to write text-books and educational works. His publication of a number of epics, dramas, lyrics, and romances made him suddenly famous. Viewed as a whole, this collection is generally called 'The Book of the Rose,' but at times 'En Irrande Hind' (A Stray Deer). Of this, the two dramas, 'Signora Luna' and 'Ramido Marinesco,' contain some of the pearls of Swedish literature. Uneven in the plan and execution, they are yet masterly in dialogue, and their dramatic and tragic force is great. Almquist's imagination showed itself as individual as it is fantastic. Coming from a man hitherto known as the writer of text-books and the advocate of popular social ideas, the volumes aroused extraordinary interest. The author revealed himself as akin to Novalis and Victor Hugo, with a power of language like that of Atterbom, and a richness of color resembling Tegnèr's. Atterbom himself wrote of 'Törnrosens Bok' that it was a work whose "faults were exceedingly easy to overlook and whose beauties exceedingly difficult to match."
Almquist was born in Stockholm in 1793. As a young man, he secured a decent government job but left it in 1823 to lead a group of friends into the forests of Värmland, where they aimed to live a simple, back-to-nature lifestyle. He called this group the "Man's-home Association" and decreed that in the ancient forest, members would live in turf-covered huts, wear homespun clothing, eat porridge with wooden spoons, and embrace the traditional freeholder way of life. The experiment didn't work out; he grew tired of the physical labor and returned to Stockholm, where he became the head of the new Elementary School and began writing textbooks and educational materials. His publication of various epics, dramas, lyrics, and romances quickly made him famous. Overall, this collection is typically referred to as 'The Book of the Rose,' but sometimes it's called 'En Irrande Hind' (A Stray Deer). Among these, the two plays, 'Signora Luna' and 'Ramido Marinesco,' contain some gems of Swedish literature. While uneven in structure and execution, they are brilliant in dialogue, and their dramatic and tragic power is significant. Almquist's imagination was as unique as it was imaginative. Coming from someone previously recognized as a textbook writer and proponent of social ideas, the volumes generated immense interest. The author revealed himself to be similar to Novalis and Victor Hugo, with a command of language comparable to Atterbom and a depth of expression reminiscent of Tegnèr. Atterbom himself remarked about 'Törnrosens Bok' that it was a work whose "faults were very easy to overlook and whose beauties extremely hard to match."
After this appeared in rapid succession, and written with equal ease, lyrical, dramatic, educational, poetical, aesthetical, philosophical, moral, and religious treatises, as well as lectures and studies in history and law; for Almquist now gave all his time to literary labors. His novels showed socialistic sympathies, and he put forth newspaper articles and pamphlets on Socialism which aroused considerable opposition. Moreover, he delighted in contradictions. One day he wrote as an avowed Christian, extolling virtue, piety, and Christian knowledge; the next, he abrogated religion as entirely unnecessary: and his own explanation of this variability was merely--"I paint so because it pleases me to paint so, and life is not otherwise."
After this, he quickly produced a variety of works with the same ease, including lyrical, dramatic, educational, poetic, aesthetic, philosophical, moral, and religious essays, along with lectures and studies in history and law; Almquist now devoted all his time to writing. His novels expressed socialist views, and he published newspaper articles and pamphlets on Socialism that sparked significant backlash. Additionally, he enjoyed being contradictory. One day, he wrote as a committed Christian, praising virtue, piety, and Christian knowledge; the next day, he dismissed religion as completely unnecessary. His own explanation for this inconsistency was simply, "I create as I please, and life isn't any different."
In 1851 was heard the startling rumor that he was accused of forgery and charged with murder. He fled from Sweden and disappeared from the knowledge of men. Going to America, he earned under a fictitious name a scanty living, and became, it is said, the private secretary of Abraham Lincoln. In 1866 he found himself again under the ban of the law, his papers were destroyed, and he escaped with difficulty to Bremen, where he died.
In 1851, a shocking rumor spread that he was accused of forgery and charged with murder. He fled Sweden and vanished from public knowledge. After moving to America, he made a meager living under a fake name and reportedly became Abraham Lincoln's private secretary. In 1866, he found himself in trouble with the law once more; his documents were destroyed, and he barely managed to escape to Bremen, where he died.
One of his latest works was his excellent modern novel, 'Det Går An' (It's All Right), a forerunner of the "problem novel" of the day. It is an attack upon conventional marriage, and pictures the helplessness of a woman in the hands of a depraved man. Its extreme views called out violent criticism.
One of his latest works was his outstanding modern novel, 'Det Går An' (It's All Right), an early example of the "problem novel" of its time. It criticizes traditional marriage and depicts a woman's helplessness in the hands of a corrupt man. Its radical views sparked intense criticism.
He was a romanticist through and through, with a strong leaning toward the French school. Among the best of his tales are 'Araminta May,' 'Skällnora Quarn' (Skällnora's Mill), and 'Grimstahamns Nybygge' (Grimstahamn's Settlement). His idyl 'Kapellet' (The Chapel) is wonderfully true to nature, and his novel 'Palatset' (The Palace) is rich in humor and true poesy. His literary fame will probably rest on his romances, which are the best of their kind in Swedish literature.
He was a true romantic, heavily influenced by the French style. Some of his best stories include 'Araminta May,' 'Skällnora Quarn' (Skällnora's Mill), and 'Grimstahamns Nybygge' (Grimstahamn's Settlement). His poem 'Kapellet' (The Chapel) is beautifully realistic, and his novel 'Palatset' (The Palace) is filled with humor and genuine poetry. His literary reputation will likely be built on his romances, which are the finest of their kind in Swedish literature.
CHARACTERISTICS OF CATTLE
Any one with a taste for physiognomy should carefully observe the features of the ox and the cow; their demeanor and the expression of their eyes. They are figures which bear an extraordinary stamp of respectability. They look neither joyful nor melancholy. They are seldom evilly disposed, but never sportive. They are full of gravity, and always seem to be going about their business. They are not merely of great economic service, but their whole persons carry the look of it. They are the very models of earthly carefulness.
Anyone who appreciates physiognomy should closely observe the features of the ox and the cow; their behavior and the expression in their eyes. They have an extraordinary air of respectability. They appear neither happy nor sad. They are rarely unkind, but they are never playful. They exude seriousness and always seem focused on their tasks. They are not just highly valuable economically, but their whole appearance reflects that. They are the very embodiment of earthly diligence.
Nothing is ever to be seen more dignified, more official-looking, than the whole behavior of the ox; his way of carrying his head, and looking around him. If anybody thinks I mean these words for a sarcasm, he is mistaken: no slur on official life, or on what the world calls a man's vocation, is intended. I hold them all in as much respect as could be asked. And though I have an eye for contours, no feeling of ridicule is connected in my mind with any of these. On the contrary, I regard the ox and the cow with the warmest feelings of esteem. I admire in them a naïve and striking picture of one who minds his own business; who submits to the claims of duty, not using the word in its highest sense; who in the world's estimate is dignified, steady, conventional, and middle-aged,--that is to say, neither youthful nor stricken in years.
Nothing looks more dignified or official than the way an ox behaves; the way it carries its head and looks around. If anyone thinks I'm being sarcastic, they’re mistaken: I mean no disrespect to official life or to what society considers a man's career. I hold all of them in as much respect as anyone could want. And while I appreciate shape and form, I don’t associate any sense of ridicule with any of this. On the contrary, I have a deep admiration for both the ox and the cow. I see in them a straightforward and striking image of someone who stays focused on their own responsibilities; who accepts the demands of duty, not in its highest sense; who is viewed by the world as dignified, steady, conventional, and middle-aged—that is, neither young nor old.
Look at that ox which stands before you, chewing his cud and gazing around him with such unspeakable thoughtfulness--but which you will find, when you look more closely into his eyes, is thinking about nothing at all. Look at that discreet, excellent Dutch cow, which, gifted with an inexhaustible udder, stands quietly and allows herself to be milked as a matter of course, while she gazes into space with a most sensible expression. Whatever she does, she does with the same imperturbable calmness, and as when a person leaves an important trust to his own time and to posterity. If the worth of this creature is thus great on the one side, yet on the other it must be confessed that she possesses not a single trait of grace, not a particle of vivacity, and none of that quick characteristic retreating from an object which indicates an internal buoyancy, an elastic temperament, such as we see in a bird or fish.... There is something very agreeable in the varied lowing of cattle when heard in the distant country, and when replied to by a large herd, especially toward evening and amid echoes. On the other hand, nothing is more unpleasant than to hear all at once, and just beside one, the bellowing of a bull, who thus authoritatively announces himself, as if nobody else had any right to utter a syllable in his presence.
Look at that ox standing in front of you, chewing his cud and looking around with such deep thoughtfulness—but when you look closer into his eyes, you’ll see he’s really thinking about nothing at all. Look at that calm, amazing Dutch cow, which, with her endless supply of milk, stands still and lets herself be milked like it’s completely normal, while she stares into space with a sensible expression. Whatever she does, she does with the same unshakeable calm, just like someone who leaves an important task to their own timing and future generations. While this creature is quite valuable in some ways, it must be acknowledged that she lacks any sense of grace, any spark of liveliness, and none of that quick retreat from an object that suggests an inner lightness, an elastic temperament, like we see in birds or fish. There’s something really pleasant about the varied lowing of cattle when you hear it in the distant countryside, especially when it’s answered back by a large herd, particularly in the evening and among echoes. On the flip side, nothing is more off-putting than suddenly hearing the loud bellow of a bull right next to you, who declares his presence so authoritatively, as if no one else has the right to say a word in his company.
A NEW UNDINE
Miss Rudensköld and her companion sat in one of the pews in the cheerful and beautiful church of Normalm, which is all that is left of the once famous cloister of St. Clara, and still bears the saint's name. The sermon was finished, and the strong full tones of the organ, called out by the skillful hands of an excellent organist, hovered like the voices of unseen angel choirs in the high vaults of the church, floated down to the listeners, and sank deep into their hearts.
Miss Rudensköld and her companion sat in one of the pews of the bright and beautiful church in Normalm, which is all that remains of the once-famous cloister of St. Clara, and still carries the saint's name. The sermon had ended, and the strong, full sounds of the organ, brought out by the skillful hands of an excellent organist, hovered like the voices of unseen angel choirs in the high ceilings of the church, floated down to the listeners, and sank deep into their hearts.
Azouras did not speak a single word; neither did she sing, for she did not know a whole hymn through. Nor did Miss Rudensköld sing, because it was not her custom to sing in church. During the organ solo, however, Miss Rudensköld ventured to make some remarks about Dr. Asplund's sermon which was so beautiful, and about the notices afterward which were so tiresome. But when her neighbor did not answer, but sat looking ahead with large, almost motionless eyes, as people stare without looking at anything in particular, she changed her subject.
Azouras didn't say a word; she didn't even sing, because she didn't know a whole hymn. Miss Rudensköld also didn’t sing since it wasn't her habit to do so in church. However, during the organ solo, Miss Rudensköld decided to comment on Dr. Asplund’s sermon, which was lovely, and the announcements afterward, which were quite boring. But when her neighbor didn't respond and just stared ahead with wide, almost motionless eyes, like people do when they're not really looking at anything in particular, she switched topics.
At one of the organ tones which finished a cadence, Azouras started, and blinked quickly with her eyelids, and a light sigh showed that she came back to herself and her friend, from her vague contemplative state of mind. Something indescribable, very sad, shone in her eyes, and made them almost black; and with a childlike look at Miss Rudensköld she asked, "Tell me what that large painting over there represents."
At the end of one of the organ tones, Azouras flinched, blinked rapidly, and a soft sigh revealed that she was returning to reality and her friend from her dreamy state. Something indescribable and very sad shone in her eyes, making them almost appear black; with a childlike expression toward Miss Rudensköld, she asked, "Can you tell me what that big painting over there is about?"
"The altar-piece? Don't you know? The altar-piece in Clara is one of the most beautiful we possess."
"The altar piece? Don't you know? The altar piece in Clara is one of the most beautiful ones we have."
"What is going on there?" asked Azouras.
"What’s happening over there?" asked Azouras.
Miss Rudensköld gave her a side glance; she did not know that her neighbor in the pew was a girl without baptism, without Christianity, without the slightest knowledge of holy religion, a heathen--and knew less than a heathen, for such a one has his teachings, although they are not Christian. Miss Rudensköld thought the girl's question came of a momentary forgetfulness, and answered, to remind her:--
Miss Rudensköld glanced at her from the side; she didn't realize that her neighbor in the pew was a girl who hadn't been baptized, who wasn't Christian, and who had no understanding of holy religion at all—essentially a heathen—and even less than a heathen, since they have some teachings, even if they aren't Christian. Miss Rudensköld assumed the girl's question was just a momentary lapse and replied to remind her:--
"Well, you see, it is one of the usual subjects, but unusually well painted, that is all. High up among the other figures in the painting you will see the half-reclining figure of one that is dead--see what an expression the painter has put into the face!--That is the Saviour."
"Well, you see, it’s one of the usual subjects, but painted in an unusually good way, that’s all. High up among the other figures in the painting, you’ll see the half-reclining figure of someone who is dead—look at the expression the artist has captured on the face! That’s the Savior."
"The Saviour?"
"Is this the Savior?"
"Yes, God's son, you know; or God Himself."
"Yeah, God's son, you know; or God Himself."
"And he is dead?" repeated Azouras to herself with wondering eyes. "Yes, I believe that; it must be so: it is godlike to die!"
"And he's dead?" Azouras echoed to herself with wide eyes. "Yeah, I believe that; it has to be true: it's divine to die!"
Miss Rudensköld looked at her neighbor with wide-opened eyes. "You must not misunderstand this subject," she said. "It is human to live and want to live; you can see that, too, in the altar-piece, for all the persons who are human beings, like ourselves, are alive."
Miss Rudensköld looked at her neighbor with wide eyes. "You mustn't misunderstand this topic," she said. "It's human to live and to want to live; you can see that in the altar piece, because all the figures who are human beings, like us, are alive."
"Let us go out! I feel oppressed by fear--no, I will tarry here until my fear passes away. Go, dearest, I will send you word."
"Let’s go outside! I feel weighed down by fear--no, I’ll stay here until it passes. Go on, my dear, I’ll let you know how I’m doing."
Miss Rudensköld took leave of her; went out of the church and over the churchyard to the Eastern Gate, which faces Oden's lane....
Miss Rudensköld said goodbye to her, left the church, and walked across the churchyard to the Eastern Gate, which faces Oden's Lane....
The girl meanwhile stayed inside; came to a corner in the organ stairs; saw people go out little by little; remained unobserved, and finally heard the sexton and the church-keeper go away. When the last door was closed, Azouras stepped out of her hiding-place. Shut out from the entire world, severed from all human beings, she found herself the only occupant of the large, light building, into which the sun lavishly poured his gold.
The girl stayed inside; she got to a corner on the church stairs; watched as people slowly left; remained unnoticed, and finally heard the sexton and the church-keeper leave. When the last door closed, Azouras stepped out of her hiding place. Cut off from the outside world and all human contact, she realized she was the only one left in the large, bright building, where the sun poured in generously like gold.
Although she was entirely ignorant of our holy church customs and the meaning of the things she saw around her, she had nevertheless, sometimes in the past, when her mother was in better health, been present at the church service as a pastime, and so remembered one thing and another. The persons with whom she lived, in the halls and corridors of the opera, hardly ever went to God's house; and generally speaking, church-going was not practiced much during this time. No wonder, then, that a child who was not a member of any religious body, and who had never received an enlightening word from any minister, should neglect what the initiated themselves did not attend to assiduously.
Although she didn’t really understand our church customs or the significance of what she saw around her, she had, at times in the past when her mother was healthier, attended church services for fun, and so she remembered a few things. The people she lived with in the opera's halls and corridors rarely went to church, and in general, not many people went during this period. It’s no surprise, then, that a child who wasn't part of any religious group and had never heard anything enlightening from a minister would overlook what the devoted members themselves didn’t pay much attention to.
She walked up the aisle, and never had the sad, strange feeling of utter loneliness taken hold of her as it did now; it was coupled with the apprehension of a great, overhanging danger. Her heart beat wildly; she longed unspeakably--but for what? for her wild free forest out there, where she ran around quick as a deer? or for what?
She walked down the aisle, and she had never felt such a deep sense of loneliness as she did now; it came with a looming feeling of great danger. Her heart raced; she yearned desperately—but for what? For the untamed forest outside, where she could run as fast as a deer? Or for something else?
She walked up toward the choir and approached the altar railing. "Here at least--I remember that once--but that was long ago, and it stands like a shadow before my memory--I saw many people kneel here: it must have been of some use to them? Suppose I did likewise?"
She walked up toward the choir and approached the altar railing. "Here at least—I remember that once—but that was long ago, and it feels like a shadow in my memory—I saw many people kneel here: it must have been helpful for them? What if I did the same?"
Nevertheless she thought it would be improper for her to kneel down on the decorated cushions around the chancel. She folded her hands and knelt outside of the choir on the bare stone floor. But what more was she to do or say now? Of what use was it all? Where was she to turn?
Nevertheless, she thought it would be inappropriate to kneel on the decorated cushions around the chancel. She folded her hands and knelt outside the choir on the bare stone floor. But what more was she supposed to do or say now? What was the point of it all? Where was she supposed to turn?
She knew nothing. She looked down into her own thoughts as into an immense, silent dwelling. Feelings of sorrow and a sense of transiency moved in slow swells, like shining, breaking waves, through her consciousness. "Oh--something to lean on--a help--where? where? where?"
She knew nothing. She looked down into her own thoughts like they were a vast, silent space. Feelings of sadness and a sense of impermanence rolled through her mind in slow waves, like bright, crashing waves. "Oh—something to hold onto—a support—where? where? where?"
She looked quietly about her; she saw nobody. She was sure to meet the most awful danger when the door was opened, if help did not come first.
She quietly looked around; she saw no one. She was certain she'd face the worst danger when the door opened, unless help arrived first.
She turned her eyes back toward the organ, and in her thoughts she besought grace of the straight, long, shining pipes. But all their mouths were silent now.
She turned her gaze back to the organ, and in her mind, she pleaded for grace from the long, straight, shiny pipes. But all their openings were silent now.
She looked up to the pulpit; nobody was standing there. In the pews nobody. She had sent everybody away from here and from herself.
She looked up at the pulpit; nobody was there. In the pews, no one was there either. She had sent everyone away from this place and from herself.
She turned her head again toward the choir. She remembered that when she had seen so many gathered here, two ministers in vestments had moved about inside of the railing and had offered the kneeling worshipers something. No doubt to help them! But now--there was nobody inside there. To be sure she was kneeling here with folded hands and praying eyes; but there was nobody, nobody, nobody who offered her the least little thing. She wept.
She turned her head again toward the choir. She remembered that when she had seen so many people gathered here, two ministers in robes had moved around inside the railing and had offered the kneeling worshipers something. Probably to help them! But now—there was nobody in there. Sure, she was kneeling here with her hands folded and eyes praying; but there was nobody, nobody, nobody who offered her even the smallest thing. She cried.
She looked out of the great church windows to the clear noonday sky; her eyes beheld the delicate azure light which spread itself over everything far, far away, but on nothing could her eyes rest. There were no stars to be seen now, and the sun itself was hidden by the window post, although its mild golden light flooded the world.
She looked out of the large church windows at the bright midday sky; her eyes took in the soft blue light that covered everything in the distance, but she couldn't focus on anything. There were no stars visible now, and the sun was blocked by the window post, even though its gentle golden light filled the world.
She looked away again, and her eyes sank to the ground. Her knees were resting on a tombstone, and she saw many of the same kind about her. She read the names engraven on the stones; they were all Swedish, correct and well-known. "Oh," she said to herself with a sigh, "I have not a name like others! My names have been many, borrowed,--and oh, often changed. I did not get one to be my very own! If only I had one like other people! Nobody has written me down in a book as I have heard it said others are written down. Nobody asks about me. I have nothing to do with anybody! Poor Azouras," she whispered low to herself. She wept much.
She looked away again, and her gaze dropped to the ground. Her knees were resting on a tombstone, and she saw many more like it around her. She read the names engraved on the stones; they were all Swedish, correct and familiar. "Oh," she said to herself with a sigh, "I don’t have a name like everyone else! I've had many names, borrowed—and oh, so often changed. I never got one to call my own! If only I had a name like other people! No one has written me down in a book as I've heard others are recorded. No one asks about me. I feel disconnected from everyone! Poor Azouras," she whispered softly to herself. She cried a lot.
There was no one else who said "poor Azouras Tintomara!" but it was as if an inner, higher, invisible being felt sorry for the outer, bodily, visible being, both one and the same person in her. She wept bitterly over herself.
There was no one else who said "poor Azouras Tintomara!" but it felt like an inner, higher, invisible presence was sympathetic to the outer, physical, visible self, both being one and the same person in her. She cried deeply over herself.
"God is dead," she thought, and looked up at the large altar-piece again. "But I am a human being; I must live." And she wept more heartily, more bitterly....
"God is dead," she thought, looking up at the large altar piece again. "But I’m a human being; I have to live." And she cried even harder, more painfully....
The afternoon passed, and the hour for vespers struck. The bells in the tower began to lift their solemn voices, and keys rattled in the lock. Then the heathen girl sprang up, and, much like a thin vanishing mist, disappeared from the altar. She hid in her corner again. It seemed to her that she had been forward, and had taken liberties in the choir of the church to which she had no right; and that in the congregation coming in now, she saw persons who had a right to everything.
The afternoon went by, and it was time for evening prayers. The bells in the tower started to ring, and keys jingled in the lock. Then the pagan girl jumped up and, like a thin, fading mist, vanished from the altar. She tucked herself away in her corner again. It felt to her like she had overstepped her bounds and acted inappropriately in the church choir, a place she didn’t belong; and as the congregation entered, she saw people who had a rightful claim to everything.
Nevertheless, when the harmonious tones of the organ began to mix with the fragrant summer air in the church, Azouras stood radiant, and she felt quickly how the weight lifted from her breast. Was it because of the tears she had shed? Or did an unknown helper at this moment scatter the fear in her heart?
Nevertheless, when the beautiful sounds of the organ started to blend with the sweet summer air in the church, Azouras stood glowing, and she quickly felt the weight lift off her chest. Was it because of the tears she had cried? Or was there some unknown force at that moment that scattered the fear in her heart?
She felt no more that it would be dangerous to leave the church; she stole away, before vespers were over, came out into the churchyard and turned off to the northern gate.
She didn’t feel that it would be risky to leave the church anymore; she quietly slipped out before vespers finished, stepped into the churchyard, and headed toward the northern gate.
His mighty weapon drawing,
His powerful weapon ready,
God smites the world he loves;
God strikes down the world he loves;
Thus, worthy of him growing,
Thus, worth his growth,
She his reflection proves.
She proves his reflection.
God's war like lightning striking,
God's war is like lightning striking,
The heart's deep core lays bare,
The heart's deep core is exposed,
Which fair grows to his liking
Which fair grows to his liking
Who is supremely fair.
Who is extremely fair.
Escapes no weakness shame,
Escapes shame of weakness,
No hid, ignoble feeling;
No hidden, shameful feelings;
But when his thunder pealing
But when his thunder roared
Enkindles life's deep flame,
Ignites life's deep flame,
And water clear upwelleth,
And clear water flows up,
Flowing unto its goal,
Flowing towards its goal,
God's grand cross standing, telleth
God's great cross standing, tells
His truth unto the soul.
His truth for the soul.
Sing, God's war, earth that shakes!
Sing, O God’s battle, the earth trembles!
Sing, sing the peace he makes!
Sing, sing the peace he creates!
JOHANNA AMBROSIUS
(1854-)
efore the year 1895 the name of the German peasant, Johanna Ambrosius, was hardly known, even within her own country. Now her melodious verse has made her one of the most popular writers in Germany. Her genius found its way from the humble farm in Eastern Prussia, where she worked in the field beside her husband, to the very heart of the great literary circles. She was born in Lengwethen, a parish village in Eastern Prussia, on the 3d of August, 1854. She received only the commonest education, and every day was filled with the coarsest toil. But her mind and soul were uplifted by the gift of poetry, to which she gave voice in her rare moments of leisure. A delicate, middle-aged woman, whose simplicity is undisturbed by the lavish praises of literary men, she leads the most unpretending of lives. Her work became known by the merest chance. She sent a poem to a German weekly, where it attracted the attention of a Viennese gentleman, Dr. Schrattenthal, who collected her verses and sent the little volume into the world with a preface by himself. This work has already gone through twenty-six editions. The short sketch cited, written some years ago, is the only prose of hers that has been published.
Before 1895, the name of the German farmer, Johanna Ambrosius, was hardly recognized, even in her own country. Now, her beautiful poetry has made her one of the most popular writers in Germany. Her talent rose from the modest farm in Eastern Prussia, where she worked in the fields alongside her husband, to the center of the prominent literary circles. She was born in Lengwethen, a small village in Eastern Prussia, on August 3, 1854. She received only the most basic education, and her days were filled with hard labor. But her mind and spirit were lifted by the gift of poetry, which she expressed during her rare moments of free time. A delicate, middle-aged woman, whose simplicity remains unaffected by the lavish praise from literary figures, she leads a very unassuming life. Her work became known by pure chance. She sent a poem to a German weekly, where it caught the attention of a Viennese gentleman, Dr. Schrattenthal, who compiled her poems and published the little volume with a preface by himself. This book has already gone through twenty-six editions. The short sketch mentioned, written a few years ago, is the only prose work of hers that has been published.
The distinguishing characteristics of the poetry of this singularly gifted woman are the deep, almost painfully intense earnestness pervading its every line, the fine sense of harmony and rhythmic felicity attending the comparatively few attempts she has thus far made, and her tender touch when dwelling upon themes of the heart and home. One cannot predict what her success will be when she attempts more ambitious flights, but thus far she seems to have probed the aesthetic heart of Germany to its centre.
The key features of this uniquely talented woman's poetry are the deep, almost painfully intense sincerity that fills every line, the great sense of harmony and rhythmic beauty in the relatively few pieces she has written so far, and her gentle touch when exploring themes of love and home. It's hard to say how successful she will be when she aims for more ambitious works, but up to now, she appears to have deeply connected with the artistic essence of Germany.
A PEASANT'S THOUGHTS
The first snow, in large and thick flakes, fell gently and silently on the barren branches of the ancient pear-tree, standing like a sentinel at my house door. The first snow of the year speaks both of joy and sadness. It is so comfortable to sit in a warm room and watch the falling flakes, eternally pure and lovely. There are neither flowers nor birds about, to make you see and hear the beautiful great world. Now the busy peasant has time to read the stories in his calendar. And I, too, stopped my spinning-wheel, the holy Christ-child's gift on my thirteenth birthday, to fold my hands and to look through the calendar of my thoughts.
The first snow, coming down in big, thick flakes, fell softly and quietly on the bare branches of the old pear tree, standing like a guard at my front door. The first snow of the year brings both joy and sadness. It's so cozy to sit in a warm room and watch the falling flakes, forever pure and beautiful. There are no flowers or birds around to make you notice the wonderful big world. Now the busy farmer has time to read the stories in his calendar. And I, too, stopped my spinning wheel, a treasured gift from the Christ child on my thirteenth birthday, to fold my hands and reflect on the calendar of my thoughts.
I did not hear a knock at the door, but a little man came in with a cordial "Good morning, little sister!" I knew him well enough, though we were not acquaintances. Half familiar, half strange, this little time-worn figure looked. His queer face seemed stamped out of rubber, the upper part sad, the lower full of laughing wrinkles. But his address surprised me, for we were not in the least related. I shook his horny hand, responding, "Hearty thanks, little brother." "I call this good luck," began little brother: "a room freshly scoured, apples roasting in the chimney, half a cold duck in the cupboard; and you all alone with cat and clock. It is easier talking when there are two, for the third is always in the way."
I didn’t hear a knock at the door, but a little man walked in saying, “Good morning, little sister!” I recognized him well enough, even though we weren’t really friends. He seemed both familiar and strange, this little weathered figure. His odd face looked like it was made of rubber, with a sad upper part and a lower part full of smiling wrinkles. But his greeting surprised me because we weren't related at all. I shook his rough hand and replied, “Thanks a lot, little brother.” “I consider this good luck,” said little brother. “A freshly cleaned room, apples roasting in the fireplace, and half a cold duck in the cupboard; and you alone with your cat and clock. It’s easier to talk when there are two of us, since the third is always in the way.”
The old man amused me immensely. I sat down on the bench beside him and asked after his wife and family. "Thanks, thanks," he nodded, "all well and happy except our nestling Ille. She leaves home to-morrow, to eat her bread as a dress-maker in B--."--"And the other children, where are they?" "Flown away, long ago! Do you suppose, little sister, that I want to keep all fifteen at home like so many cabbages in a single bed?" Fifteen children! Almost triumphantly, little brother watched me. I owned almost as many brothers and sisters myself, and fifteen children were no marvel to me. So I asked if he were a grandfather too.
The old man made me laugh a lot. I sat down on the bench next to him and asked about his wife and family. "Thanks, thanks," he nodded, "everyone is doing well and happy except for our little Ille. She leaves home tomorrow to start her job as a dressmaker in B--."—"And what about the other kids, where are they?" "They've flown the nest a long time ago! Do you really think, little sister, that I want to keep all fifteen of them at home like a bunch of cabbages in one garden bed?" Fifteen kids! Little brother watched me with pride. I had almost as many siblings myself, so fifteen children didn’t surprise me. So I asked if he was a grandfather too.
"Of course," he answered gravely. "But I am going to tell you how I came by fifteen children. You know how we peasant folk give house and land to the eldest son, and only a few coppers to the youngest children. A bad custom, that leads to quarrels, and ends sometimes in murder. Fathers and mothers can't bring themselves to part with the property, and so they live with the eldest son, who doles out food and shelter, and gets the farm in the end. So, in time, a family has some rich members and more paupers. Now, we'd better sell the land and let the children share alike; but then that way breaks estates too. I was a younger child, and I received four hundred thalers;--a large sum forty years ago. I didn't know anything but field work. The saying that 'The peasant must be kept stupid or he will not obey' was still printed in all the books. So I had to look about for a family where a son was needed. One day, with my four hundred thalers in my pocket, I went to a farm where there was an unmarried daughter. When you go a-courting among us, you pretend to mean to buy a horse. That's the fashion. With us, a lie doesn't wear French rouge. The parents of Marianne (that was her name) made me welcome. Brown Bess was brought from the stable, and her neck, legs, and teeth examined. I showed my willingness to buy her, which meant as much as to say, 'Your daughter pleases me.' As proud as you please, I walked through the buildings. Everything in plenty, all right, not a nail wanting on the harrow, nor a cord missing from the harness. How I strutted! I saw myself master, and I was tickled to death to be as rich as my brother.
"Of course," he replied seriously. "But let me tell you how I ended up with fifteen kids. You know how we peasants give the family house and land to the oldest son, while the younger children get just a few coins. It's a bad practice that leads to fights and sometimes ends in tragedy. Parents can't bear to part with the property, so they live with the oldest son, who doles out food and shelter and ultimately inherits the farm. This way, a family ends up with some wealthy members and a lot of poor ones. We should really sell the land and let the kids divide it equally, but that would break up the estate. I was one of the younger kids, and I got four hundred thalers—a substantial amount forty years ago. I didn’t know anything besides working the fields. The saying that 'the peasant must be kept ignorant or he won’t obey' was still in all the books. So, I had to look for a family that needed a son. One day, with my four hundred thalers in my pocket, I went to a farm with an unmarried daughter. When you go courting in our community, you pretend you want to buy a horse. That’s just how it is. Among us, a lie doesn’t wear a fancy disguise. Marianne’s parents (that was her name) welcomed me. They brought out Brown Bess from the stable and checked her neck, legs, and teeth. I showed my interest in buying her, which meant 'Your daughter catches my eye.' As proud as I could be, I strolled around the buildings. Everything was abundant and in good shape, not a nail missing on the harrow, nor a cord absent from the harness. I strutted around! I envisioned myself as the owner, thrilled to be as wealthy as my brother."
"But I reckoned without my host. On tiptoe I stole into the kitchen, where my sweetheart was frying ham and eggs. I thought I might snatch a kiss. Above the noise of the sizzling frying-pan and the crackling wood, I plainly heard the voice of my--well, let us say it--bride, weeping and complaining to an old house servant: 'It's a shame and a sin to enter matrimony with a lie. I can't wed this Michael: not because he is ugly; that doesn't matter in a man, but he comes too late! My heart belongs to poor Joseph, the woodcutter, and I'd sooner be turned out of doors than to make a false promise. Money blinds my mother's eyes!' Don't be surprised, little sister, that I remember these words so well. A son doesn't forget his father's blessing, nor a prisoner his sentence. This was my sentence to poverty and single-blessedness. I sent word to Marianne that she should be happy--and so she was.
"But I didn’t consider my host’s feelings. On tiptoe, I sneaked into the kitchen, where my sweetheart was frying ham and eggs. I thought I might steal a kiss. Over the sound of the sizzling pan and the crackling wood, I clearly heard my—well, let’s just say it—bride, crying and complaining to an old servant: 'It’s a shame and a sin to get married on a lie. I can’t marry this Michael; it’s not because he’s ugly— that doesn’t matter in a man, but he comes too late! My heart belongs to poor Joseph, the woodcutter, and I'd rather be kicked out than make a false promise. Money has blinded my mother’s eyes!' Don’t be surprised, little sister, that I remember these words so clearly. A son never forgets his father’s blessing, nor does a prisoner forget their sentence. This was my sentence to poverty and being single. I told Marianne that she should be happy—and she was."
"But now to my own story. I worked six years as farm hand for my rich brother, and then love overtook me. The little housemaid caught me in the net of her golden locks. What a fuss it made in our family! A peasant's pride is as stiff as that of your 'Vous' and 'Zus.' My girl had only a pair of willing hands and a good heart to give to an ugly, pock-marked being like me. My mother (God grant her peace!) caused her many a tear, and when I brought home my Lotte she wouldn't keep the peace until at last she found out that happiness depends on kindness more than on money. On the patch of land that I bought, my wife and I lived as happily as people live when there's love in the house and a bit of bread to spare. We worked hard and spent little. A long, scoured table, a wooden bench or so, a chest or two of coarse linen, and a few pots and pans--that was our furniture. The walls had never tasted whitewash, but Lotte kept them scoured. She went to church barefoot, and put on her shoes at the door. Good things such as coffee and plums, that the poorest hut has now-a-days, we never saw. We didn't save much, for crops sold cheap. But I didn't speculate, nor squeeze money from the sweat of the poor. In time five pretty little chatterboxes arrived, all flaxen-haired girls with blue eyes, or brown. I was satisfied with girls, but the mother hankered after a boy. That's a poor father that prefers a son to a daughter. A man ought to take boys and girls alike, just as God sends them. I was glad enough to work for my girls, and I didn't worry about their future, nor build castles in the air for them to live in. After fifteen years the boy arrived, but he took himself quickly out of the world and coaxed his mother away with him."
"But now let's talk about my own story. I worked for six years as a farmhand for my wealthy brother, and then love hit me out of nowhere. The housemaid caught me in the charm of her golden hair. What a fuss it caused in our family! A peasant's pride is as strong as that of your 'Vous' and 'Zus.' My girl had only a pair of willing hands and a kind heart to offer to someone as unattractive and pockmarked as I was. My mother (may she rest in peace!) made her cry many times, and when I brought home my Lotte, she wouldn't calm down until she finally understood that happiness relies more on kindness than on money. On the piece of land I bought, my wife and I lived as happily as people can when there's love in the home and a little bread to spare. We worked hard and spent little. A long, scrubbed table, a wooden bench or two, a couple of chests of coarse linen, and a few pots and pans—that was our furniture. The walls had never seen whitewash, but Lotte kept them clean. She went to church barefoot and put on her shoes at the door. Good things like coffee and plums, which even the poorest huts have these days, we never had. We didn't save much, as crops sold for cheap. But I didn't gamble or squeeze money out of the sweat of the poor. Over time, five pretty little chatterboxes arrived, all with blonde hair and blue or brown eyes. I was happy with my girls, but their mother longed for a boy. A poor father who prefers a son over a daughter is missing the point. A man should welcome boys and girls alike, just as God sends them. I was more than happy to work for my girls, and I didn't worry about their futures or imagine fantastic lives for them. After fifteen years, the boy finally came, but he left this world quickly and took his mother with him."
Little brother was silent, and bowed his snow-white head. My heart felt as if the dead wife flitted through the room and gently touched the old fellow's thin locks. I saw him kneeling at her death-bed, heard the little girls sobbing, and waited in silence till he drew himself up, sighing deeply:--
Little brother was quiet and lowered his snow-white head. My heart felt like the deceased wife was floating through the room and softly brushing the old man’s thinning hair. I imagined him kneeling at her deathbed, heard the little girls crying, and waited in silence until he straightened up, sighing deeply:--
"My Lotte died; she left me alone. What didn't I promise the dear Lord in those black hours! My life, my savings, yea, all my children if He would but leave her to me. In vain. 'My thoughts are not thy thoughts, saith the Lord, and My ways are not thy ways.' It was night in my soul. I cried over my children, and I only half did my work. At night I tumbled into bed tearless and prayerless. Oh, sad time! God vainly knocked at my heart's door until the children fell ill. Oh, what would become of me if these flowers were gathered? What wealth these rosy mouths meant to me, how gladly would they smile away my sorrow! I had set myself up above the Lord. But by my children's bedside I prayed for grace. They all recovered. I took my motherless brood to God's temple to thank Him there. Church-going won't bring salvation, but staying away from church makes a man stupid and coarse.
"My Lotte died; she left me by myself. What didn’t I promise the dear Lord in those dark hours! My life, my savings, yes, all my children if He would just let her stay with me. But it was in vain. 'My thoughts are not your thoughts, says the Lord, and My ways are not your ways.' It was night in my soul. I cried over my children, and I barely did my work. At night, I fell into bed tearless and without prayer. Oh, what a sad time! God knocked at my heart’s door in vain until the children got sick. Oh, what would happen to me if those flowers were taken away? How much those rosy mouths meant to me; how gladly would they smile away my sorrow! I had elevated myself above the Lord. But by my children’s bedside, I prayed for grace. They all recovered. I took my motherless kids to God’s temple to thank Him there. Going to church won’t bring salvation, but staying away from it makes a person dull and coarse."
"But I am forgetting, little sister. I started to tell you about my fifteen children. You see I made up my mind that I had to find a mother for the chicks. I wouldn't chain a young thing to my bonds, even if she understood housekeeping. I held to the saying, 'Equal wealth, equal birth, equal years make a good match.' When an old widower courts a young girl he looks at her faults with a hundred eyes when he measures her with his first wife. But a home without a wife is like spring without blossoms. So, thinking this way, I chose a widow with ten children."
"But I'm forgetting, little sister. I started to tell you about my fifteen kids. You see, I decided that I needed to find a mother for the little ones. I wouldn't tie a young woman down with my burdens, even if she knew how to manage a household. I stuck to the saying, 'Equal wealth, equal status, equal age make a good match.' When an older man dates a younger woman, he sees her flaws through the lens of his first wife. But a home without a wife is like spring without flowers. So, thinking like this, I chose a widow with ten kids."
Twirling his thumbs, little brother smiled gayly as he looked at me. "Five and ten make fifteen, I thought, and when fifteen prayers rise to heaven, the Lord must hear. My two eldest stepsons entered military service. We wouldn't spend all our money on the boys and then console our poor girls with a husband. I put three sons to trades. But my girls were my pride. They learned every kind of work. When they could cook, wash, and spin, we sent them into good households to learn more. Two married young. Some of the rest are seamstresses and housekeepers. One is a secretary, and our golden-haired Miez is lady's-maid to the Countess H----. Both these girls are betrothed. Miez is the brightest, and she managed to learn, even at the village school. So much is written about education nowadays," (little brother drew himself up proudly as he added, "I take a newspaper,") "but the real education is to keep children at work and make them unselfish. They must love their work. Work and pray, these were my rules, and thank Heaven! all my children are good and industrious.
Twirling his thumbs, my little brother smiled happily as he looked at me. “Five and ten make fifteen,” I thought, “and when fifteen prayers rise to heaven, the Lord must hear.” My two oldest stepsons joined the military. We wouldn't spend all our money on the boys and then comfort our poor girls with a husband. I trained three sons for careers. But my girls were my pride. They learned all kinds of skills. Once they could cook, clean, and spin, we sent them into good households to learn even more. Two married young. Some of the others are seamstresses and housekeepers. One is a secretary, and our golden-haired Miez is a lady's maid to the Countess H----. Both these girls are engaged. Miez is the smartest, and she even managed to learn a lot at the village school. So much is written about education these days,” (little brother straightened up proudly as he added, “I read a newspaper,”) “but the real education is to keep kids busy and make them unselfish. They need to love their work. Work and pray, those were my rules, and thank Heaven! all my children are good and hard-working.
"Just think, last summer my dear girls sent me a suit of fine city clothes and money to go a journey, begging their old father to make them a visit. Oh, how pretty they looked when they showed me round the city in spite of my homespun, for I couldn't bring myself to wear the fine clothes, after all. The best dressed one was our little lady's-maid, who had a gold watch in her belt. So I said: 'Listen, child, that is not fit for you.' But she only laughed. 'Indeed it is, little father. If my gracious lady makes me a present, I'm not likely to be mistaken for her on that account.'--'And girls, are you contented to be in service?'--'Certainly, father: unless there are both masters and servants the world would go out of its grooves. My good Countess makes service so light, that we love and serve her. Yes, little father,' added Miez, 'my gracious mistress chose Gustav for me, and is going to pay for the wedding and start us in housekeeping--God bless her!' Now see what good such a woman does. If people would but learn that it takes wits to command as well as to obey, they would get along well enough in these new times of equality. Thank heaven! we country folk shan't be ruined by idleness. When I saw my thatched roof again, among the fir-trees, I felt as solemn as if I were going to prayers. The blue smoke looked like incense. I folded my hands, I thanked God."
"Just think, last summer my dear girls sent me a nice suit of city clothes and some money for a trip, asking their old dad to visit them. Oh, how lovely they looked when they took me around the city, even though I was in my homemade clothes because I just couldn't bring myself to wear the fancy outfit after all. The best-dressed one was our little maid, who had a gold watch tucked into her belt. So I said, 'Listen, kid, that's not suitable for you.' But she just laughed. 'Of course it is, little father. If my kind lady gives me a gift, I won't be mistaken for her because of that.' -- 'And girls, are you happy being in service?' -- 'Absolutely, dad: if there weren’t both masters and servants, the world would fall apart. My wonderful Countess makes work so easy that we love serving her. Yes, little father,' added Miez, 'my kind mistress picked Gustav for me, and she's going to pay for the wedding and help us set up our home—God bless her!' Just see the good such a woman does. If people would just understand that it takes cleverness to lead as well as to follow, things would go just fine in these new times of equality. Thank goodness! We country folks won’t be ruined by laziness. When I saw my thatched roof again, nestled among the fir trees, I felt as serious as if I were going to pray. The blue smoke looked like incense. I folded my hands and thanked God."
Little brother arose, his eyes bright with tears. He cast a wistful look toward the apples in the chimney: "My old wife, little sister?"--"Certainly, take them all, little brother, you are heartily welcome to them."--"We are like children, my wife and I, we carry tidbits to each other, now that our birds have all flown away."--"That is right, old boy, and God keep thee!" I said. From the threshold the words echoed back, "God keep thee!"
Little brother got up, his eyes shining with tears. He looked longingly at the apples in the chimney: "My dear wife, little sister?"--"Of course, take them all, little brother, you’re completely welcome to them."--"My wife and I are like kids; we share treats with each other now that our children have all left home."--"That's true, my friend, and may God watch over you!" I said. From the doorway, the words echoed back, "May God watch over you!"
Translation of Miss H. Geist.
Translation of Miss H. Geist.
A quarter-century warfare woke
25 years of warfare awakened
No sabre clash nor powder smoke,
No saber clashes or gunpowder smoke,
No triumph song nor battle cry;
No victory song or battle shout;
Their shields no templared knights stood by.
Their shields weren't surrounded by templar knights.
Though fought were many battles hot,
Though many fierce battles were fought,
Of any fight the world knew not
Of any fight the world didn't know about.
How great the perils often grew--
How great the dangers often became--
God only knew.
Only God knew.
Within my deepest soul-depths torn,
Within my deepest soul, torn,
In hands and feet wounds bleeding borne,
In wounds on hands and feet, blood is shed,
Trodden beneath the chargers' tread,
Trodden beneath the horses' tread,
How I endured, felt, suffered, bled,
How I got through, felt, suffered, bled,
How wept and groaned I in my woe,
How I cried and moaned in my misery,
When scoffed the malice-breathing foe,
When mocked by the hostile foe,
How pierced his scorn my spirit through,
How deeply his scorn pierced my spirit,
God only knew.
Only God knew.
The evening nears; cool zephyrs blow;
The evening is coming; cool breezes blow;
The struggle wild doth weaker grow;
The wild struggle gets weaker;
The air with scarce a sigh is filled
The air, with hardly a sigh, is filled
From the pale mouth; the blood is stilled.
From the pale mouth, the blood has stopped.
Quieted now my bitter pain;
Now my bitter pain is quieted;
A faint star lights the heavenly plain;
A faint star illuminates the sky;
Peace cometh after want and woe--
Peace comes after need and suffering--
My God doth know.
My God knows.
The waves they whisper
The waves whisper
In Luna's glance,
In Luna's gaze,
Entrancing music
Captivating music
For the nixies' dance.
For the nymphs' dance.
They beckon, smiling,
They wave, smiling,
And wavewise woo,
And wave-like allure,
While softly plashing:---
While softly splashing:---
"Do thou love, too!"
"Do you love, too?"
In blossoming lindens
In blooming linden trees
Doves fondly rear
Doves lovingly raise
Their tender fledglings
Their gentle young birds
From year to year.
Year after year.
With never a pausing,
Without a pause,
They bill and coo,
They flirt and chat,
And twitter gently:--
And Twitter gently:--
"Do thou love, too!"
"Do you love, too!"
How long wilt stand outside and cower?
How long will you stay outside and be afraid?
Come straight within, beloved guest.
Come right in, dear guest.
The winds are fierce this wintry hour:
The winds are strong this winter hour:
Come, stay awhile with me and rest.
Come, hang out with me for a bit and relax.
You wander begging shelter vainly
You wander, begging for shelter.
A weary time from door to door;
A tiring time from door to door;
I see what you have suffered plainly:
I can clearly see what you’ve been through:
Come, rest with me and stray no more!
Come, relax with me and wander no more!
And nestle by me, trusting-hearted;
And snuggle up to me, trusting;
Lay in my loving hands your head:
Lay your head in my loving hands:
Then back shall come your peace departed,
Then your lost peace will return,
Through the world's baseness long since fled;
Through the world's disgrace long gone;
And deep from out your heart upspringing,
And deep from your heart rising,
Love's downy wings will soar to view,
Love's soft wings will rise to see,
The darling smiles like magic bringing
The sweetheart smiles like magic, bringing
Around your gloomy lips anew.
Around your gloomy lips again.
Come, rest: myself will here detain you,
Come, take a break: I'll keep you here.
So long as pulse of mine shall beat;
So long as my heart continues to beat;
Nor shall my heart grow cold and pain you,
Nor will my heart become cold and hurt you,
Till carried to your last retreat.
Till carried you to your final resting place.
You gaze at me in doubting fashion,
You look at me with doubt.
Before the offered rapture dumb;
Before the offered bliss silent;
Tears and still tears your sole expression:
Tears, and still tears, are your only expression:
Bedew my bosom with them--come!
Wet my chest with them—come!
EDMONDO DE AMICIS
(1846-)
n 1869, 'Vita Militare' (Military Life), a collection of short stories, was perhaps the most popular Italian volume of the year. Read alike in court and cottage, it was everywhere discussed and enthusiastically praised. Its prime quality was that quivering sympathy which insures some success to any imaginative work, however crudely written. But these sketches of all the grim and amusing phases of Italian soldier life are drawn with an exquisite precision. The reader feels the breathless discouragement of the tired soldiers when new dusty vistas are revealed by a sudden turn in the road ('A Midsummer March'); understands the strong silent love between officer and orderly, suppressed by military etiquette ('The Orderly'); smiles with the soldiers at the pretty runaway boy, idol of the regiment ('The Son of the Regiment'); pities the humiliations of the conscript novice ('The Conscript'); thrills with the proud sorrow of the old man whose son's colonel tells the story of his heroic death ('Dead on the Field of Battle'). "When I had finished reading it," said an Italian workman, "I would gladly have pressed the hand of the first soldier whom I happened to meet." The author was only twenty-three, and has since given the world many delightful volumes, but nothing finer.
In 1869, 'Vita Militare' (Military Life), a collection of short stories, was possibly the most popular Italian book of the year. It was read in both high society and humble homes, and it sparked discussions and enthusiastic praise everywhere. Its main strength was the deep empathy that guarantees success for any imaginative work, no matter how poorly it’s written. Yet, these sketches of the harsh and humorous aspects of Italian soldier life are written with exquisite precision. The reader can feel the breathless discouragement of weary soldiers as new dusty landscapes appear after a sudden turn in the road ('A Midsummer March'); understands the strong, silent bond between an officer and his orderly, held back by military decorum ('The Orderly'); laughs with the soldiers at the charming runaway boy, the idol of the regiment ('The Son of the Regiment'); empathizes with the humiliations of the rookie conscript ('The Conscript'); and is moved by the proud sorrow of an old man whose son’s colonel recounts the story of his heroic death ('Dead on the Field of Battle'). "When I finished reading it," said an Italian worker, "I would have gladly shaken the hand of the first soldier I encountered." The author was just twenty-three at the time and has since given the world many delightful books, but nothing better than this.
These sketches were founded upon personal knowledge, for De Amicis began life as a soldier. After his early education at Coni and Turin, he entered the military school at Modena, from which he was sent out as sub-lieutenant in the third regiment of the line. He saw active service in various expeditions against Sicilian brigands; and in the war with Austria he fought at the battle of Custozza.
These sketches were based on personal experience, as De Amicis started his career as a soldier. After attending school in Coni and Turin, he joined the military academy in Modena, from which he graduated as a sub-lieutenant in the third regiment. He served in several missions against Sicilian bandits and fought in the battle of Custozza during the war with Austria.
His literary power seems to have been early manifest; for in 1867 he became manager of a newspaper, L'Italia Militare, at Florence; and in 1871, yielding to his friends' persuasions, he settled down to authorship at Turin. His second book was the 'Ricordi,' memorials dedicated to the youth of Italy, of national events which had come within his experience. Half a dozen later stories published together were also very popular, especially 'Gli Amici di Collegio' (College Friends), 'Fortezza,' and 'La Casa Paterna' (The Paternal Home). He has written some graceful verse as well.
His literary talent seemed to show itself early on; in 1867, he became the manager of a newspaper, L'Italia Militare, in Florence. In 1871, after being persuaded by his friends, he decided to pursue writing full-time in Turin. His second book was 'Ricordi,' memoirs dedicated to the youth of Italy, covering national events he had experienced. A few later stories published together were also quite popular, especially 'Gli Amici di Collegio' (College Friends), 'Fortezza,' and 'La Casa Paterna' (The Paternal Home). He has also written some beautiful poetry.
But De Amicis soon craved the stimulus of novel environments, of differing personalities; and he set out upon the travels which he has so delightfully recounted. This ardent Italian longed for the repose of "a gray sky," a critic tells us. He went first to Holland, and experienced a joyous satisfaction in the careful art of that trim little land. Later, a visit to North Africa in the suite of the Italian ambassador prompted a brilliant volume, "Morocco," "which glitters and flashes like a Damascus blade." Among his other well-known books, descriptive of other trips, are 'Holland and Its People,' 'Spain,' 'London,' 'Paris,' and 'Constantinople,' which, translated into many languages, have been widely read.
But De Amicis soon craved the excitement of new places and different people, prompting him to embark on the travels he beautifully described. This passionate Italian yearned for the calm of "a gray sky," as one critic noted. He first traveled to Holland, where he found great joy in the meticulous artistry of that neat little country. Later, a trip to North Africa as part of the Italian ambassador's entourage inspired a stunning book, "Morocco," "which sparkles and shines like a Damascus blade." Among his other famous works that detail his travels are 'Holland and Its People,' 'Spain,' 'London,' 'Paris,' and 'Constantinople,' all of which have been translated into many languages and widely read.
That unfortunate though not uncommon traveler who finds ennui everywhere must envy De Amicis his inexhaustible enthusiasm, his power of epicurean enjoyment in the color and glory of every land. His is a curiously optimistic nature. Always perceiving the beautiful and picturesque in art and nature, he treats other aspects hopefully, and ignores them when he may. He catches what is characteristic in every nation as inevitably as he catches the physiognomy of a land with its skies and its waters, its flowers and its atmosphere. His is a realism transfigured by poetic imagination, which divines essential things and places them in high relief.
That unfortunate but common traveler who finds ennui everywhere must envy De Amicis his endless enthusiasm and his ability to savor the beauty and splendor of every country. He has a strangely optimistic nature. Always noticing the beauty and charm in art and nature, he approaches other aspects with hope and ignores them when possible. He captures the unique traits of every nation as naturally as he captures the landscape with its skies, waters, flowers, and atmosphere. His realism is transformed by poetic imagination, which reveals essential elements and emphasizes them.
Very early in life De Amicis announced his love and admiration of Manzoni, of whom he called himself a disciple. But his is a very different mind. This Italian, born at Onéglia of Genoese parents, has inherited the emotional nature of his country. He sees everything with feeling, penetrating below the surface with sympathetic insight. Italy gives him his sensuous zest in life. But from France, through his love of her vigor and grace, his cordial admiration of her literature, he has gained a refining and strengthening influence. She has taught him that direct diction, that choice simplicity, which forsakes the stilted Italian of literary tradition for a style far simpler, stronger, and more natural.
Very early in life, De Amicis expressed his love and admiration for Manzoni, calling himself a disciple. However, his perspective is quite different. This Italian, born in Onéglia to Genoese parents, has inherited the emotional depth of his country. He perceives everything with feeling, looking beyond the surface with empathetic insight. Italy gives him a rich zest for life. But from France, through his appreciation for her energy and elegance, as well as his heartfelt admiration for her literature, he has gained a refining and strengthening influence. France has taught him to use direct language and simple elegance, moving away from the overly formal Italian of literary tradition to a style that is much simpler, stronger, and more natural.
All selections used by permission of G. P. Putnam's Sons
All selections used with permission from G. P. Putnam's Sons
THE LIGHT
And first of all, the light! One of my dearest delights at Constantinople was to see the sun rise and set, standing upon the bridge of the Sultana Validé. At dawn, in autumn, the Golden Horn is almost always covered by a light fog, behind which the city is seen vaguely, like those gauze curtains that descend upon the stage to conceal the preparations for a scenic spectacle. Scutari is quite hidden; nothing is to be seen but the dark uncertain outline of her hills. The bridge and the shores are deserted, Constantinople sleeps; the solitude and silence render the spectacle more solemn. The sky begins to grow golden behind the hills of Scutari. Upon that luminous strip are drawn, one by one, black and clear, the tops of the cypress trees in the vast cemetery, like an army of giants ranged upon the heights; and from one cape of the Golden Horn to the other there shines a tremulous light, faint as the first murmur of the awakening city. Then behind the cypresses of the Asiatic shore comes forth an eye of fire, and suddenly the white tops of the four minarets of Saint Sophia are tinted with deep rose. In a few minutes, from hill to hill, from mosque to mosque, down to the end of the Golden Horn, all the minarets, one after the other, turn rose color; all the domes, one by one, are silvered, the flush descends from terrace to terrace, the tremulous light spreads, the great veil melts, and all Stamboul appears, rosy and resplendent upon her heights, blue and violet along the shores, fresh and young, as if just risen from the waters.
And first of all, the light! One of my favorite things about Istanbul was watching the sun rise and set while standing on the Sultana Validé Bridge. At dawn, in autumn, the Golden Horn is almost always covered by a light fog, behind which the city appears vaguely, like those sheer curtains that fall over a stage to hide the setup for a performance. Scutari is completely hidden; all that can be seen is the dark, uncertain outline of its hills. The bridge and the shores are deserted; Istanbul is asleep; the solitude and silence make the scene feel more profound. The sky starts to turn golden behind the Scutari hills. Against that glowing strip, the dark tops of the cypress trees in the vast cemetery emerge, like a line of giants standing on the heights; and from one end of the Golden Horn to the other, a shimmering light shines, faint as the first sounds of the waking city. Then, behind the cypresses on the Asian shore, a fire-like eye appears, and suddenly the white tops of the four minarets of Saint Sophia are painted with a deep rose color. In just a few minutes, from hill to hill, from mosque to mosque, down to the end of the Golden Horn, all the minarets turn rose-colored one after another; each dome is silvered one by one, the blush descends from terrace to terrace, the shimmering light spreads, the great veil melts away, and all of Stamboul appears, rosy and radiant on its heights, blue and violet along the shores, fresh and youthful, as if just risen from the waters.
As the sun rises, the delicacy of the first tints vanishes in an immense illumination, and everything remains bathed in white light until toward evening. Then the divine spectacle begins again. The air is so limpid that from Galata one can see clearly every distant tree, as far as Kadi-Kioi. The whole of the immense profile of Stamboul stands out against the sky with such a clearness of line and rigor of color, that every minaret, obelisk, and cypress-tree can be counted, one by one, from Seraglio Point to the cemetery of Eyub. The Golden Horn and the Bosphorus assume a wonderful ultramarine color; the heavens, the color of amethyst in the East, are afire behind Stamboul, tinting the horizon with infinite lights of rose and carbuncle, that make one think of the first day of the creation; Stamboul darkens, Galata becomes golden, and Scutari, struck by the last rays of the setting sun, with every pane of glass giving back the glow, looks like a city on fire.
As the sun rises, the soft hues of dawn disappear in a bright light, and everything stays wrapped in white light until evening. Then the stunning view starts again. The air is so clear that from Galata, you can see every distant tree all the way to Kadi-Kioi. The entire impressive skyline of Stamboul stands out against the sky with such sharpness of shape and vivid colors that you can count every minaret, obelisk, and cypress tree from Seraglio Point to the Eyub cemetery. The Golden Horn and the Bosphorus take on a beautiful ultramarine color; the eastern sky, colored like amethyst, glows behind Stamboul, lighting up the horizon with endless shades of pink and red that remind one of the first day of creation. Stamboul grows dark, Galata turns golden, and Scutari, touched by the last rays of the setting sun, with every window reflecting the light, looks like a city on fire.
And this is the moment to contemplate Constantinople. There is one rapid succession of the softest tints, pallid gold, rose and lilac, which quiver and float over the sides of the hills and the water, every moment giving and taking away the prize of beauty from each part of the city, and revealing a thousand modest graces of the landscape that have not dared to show themselves in the full light. Great melancholy suburbs are lost in the shadow of the valleys; little purple cities smile upon the heights; villages faint as if about to die; others die at once like extinguished flames; others, that seemed already dead, revive, and glow, and quiver yet a moment longer under the last ray of the sun. Then there is nothing left but two resplendent points upon the Asiatic shore,--the summit of Mount Bulgurlu, and the extremity of the cape that guards the entrance to the Propontis; they are at first two golden crowns, then two purple caps, then two rubies; then all Constantinople is in shadow, and ten thousand voices from ten thousand minarets announce the close of the day.
And now is the time to reflect on Constantinople. There’s a rapid display of the softest colors—pale gold, pink, and lilac—fluttering and drifting over the hills and water, each moment giving and taking away beauty from different parts of the city, revealing countless subtle charms of the landscape that haven’t dared to show themselves in bright light. Big, melancholy suburbs fade into the shadows of the valleys; small purple towns smile from the heights; some villages look like they’re about to faint; others die suddenly like snuffed-out flames; and some that seemed already gone come back to life, glowing and quivering for just a moment longer under the final rays of the sun. Then all that’s left are two brilliant points on the Asian shore—the peak of Mount Bulgurlu and the tip of the cape that protects the entrance to the Propontis. They begin as two golden crowns, then turn into two purple caps, then two rubies; then all of Constantinople is in shadow, and ten thousand voices from ten thousand minarets announce the end of the day.
RESEMBLANCES
In the first days, fresh as I was from the perusal of Oriental literature, I saw everywhere the famous personages of history and legend, and the figures that recalled them resembled sometimes so faithfully those that were fixed in my imagination, that I was constrained to stop and look at them. How many times have I seized my friend by the arm, and pointing to a person passing by, have exclaimed: "It is he, cospetto! do you not recognize him?" In the square of the Sultana Validé, I frequently saw the gigantic Turk who threw down millstones from the walls of Nicaea on the heads of the soldiers of Baglione; I saw in front of a mosque Umm Djemil, that old fury that sowed brambles and nettles before Mahomet's house; I met in the book bazaar, with a volume under his arm, Djemaleddin, the learned man of Broussa, who knew the whole of the Arab dictionary by heart; I passed quite close to the side of Ayesha, the favorite wife of the Prophet, and she fixed upon my face her eyes, brilliant and humid, like the reflection of stars in a well; I have recognized, in the At-Meidan, the famous beauty of that poor Greek woman killed by a cannon ball at the base of the serpentine column; I have been face to face, in the Fanar, with Kara-Abderrahman, the handsome young Turk of the time of Orkhan; I have seen Coswa, the she-camel of the Prophet; I have encountered Kara-bulut, Selim's black steed; I have met the poor poet Fignahi, condemned to go about Stamboul tied to an ass for having pierced with an insolent distich the Grand Vizier of Ibrahim; I have been in the same café with Soliman the Big, the monstrous admiral, whom four robust slaves hardly succeeded in lifting from the divan; Ali, the Grand Vizier, who could not find in all Arabia a horse that could carry him; Mahmoud Pasha, the ferocious Hercules that strangled the son of Soliman; and the stupid Ahmed Second, who continually repeated "Koso! Koso!" (Very well, very well) crouching before the door of the copyists' bazaar, in the square of Bajazet. All the personages of the 'Thousand and One Nights,' the Aladdins, the Zobeides, the Sindbads, the Gulnares, the old Jewish merchants, possessors of enchanted carpets and wonderful lamps, passed before me like a procession of phantoms.
In the first days, fresh from reading Oriental literature, I spotted the famous figures from history and legend everywhere. Sometimes they looked so much like the images in my mind that I had to stop and stare. How many times did I grab my friend's arm and point at someone walking by, exclaiming, "It's him, cospetto! Don’t you recognize him?" In the square of the Sultana Validé, I often saw the giant Turk who dropped millstones from the walls of Nicaea onto the heads of Baglione's soldiers; I saw Umm Djemil, that fierce old woman who planted brambles and nettles in front of Mahomet's house, in front of a mosque; I bumped into Djemaleddin, the scholar from Broussa, with a book under his arm, who knew the entire Arab dictionary by heart, in the book bazaar; I passed right by Ayesha, the Prophet’s favorite wife, who looked at me with her brilliant, moist eyes, like stars reflecting in a well; I recognized the famous beauty of that poor Greek woman who was killed by a cannonball at the base of the serpentine column in the At-Meidan; I faced Kara-Abderrahman, the handsome young Turk from the time of Orkhan, in the Fanar; I saw Coswa, the she-camel of the Prophet; I encountered Kara-bulut, Selim's black horse; I met the unfortunate poet Fignahi, who was forced to wander Stamboul tied to a donkey for having insulted the Grand Vizier of Ibrahim with a rude verse; I was in the same café as Soliman the Big, the massive admiral, who could barely be lifted from the divan by four strong slaves; there was Ali, the Grand Vizier, who couldn’t find a horse in all of Arabia that could support him; Mahmoud Pasha, the fierce Hercules who choked the son of Soliman; and the dim-witted Ahmed Second, who repeated “Koso! Koso!” (Very well, very well) while crouching in front of the copyists' bazaar at the Bajazet square. All the characters from the 'Thousand and One Nights'—the Aladdins, the Zobeides, the Sindbads, the Gulnares, and the old Jewish merchants with their enchanted carpets and magical lamps—passed by me like a procession of ghosts.
BIRDS
Constantinople has one grace and gayety peculiar to itself, that comes from an infinite number of birds of every kind, for which the Turks nourish a warm sentiment and regard. Mosques, groves, old walls, gardens, palaces, all resound with song, the whistling and twittering of birds; everywhere wings are fluttering, and life and harmony abound. The sparrows enter the houses boldly, and eat out of women's and children's hands; swallows nest over the café doors, and under the arches of the bazaars; pigeons in innumerable swarms, maintained by legacies from sultans and private individuals, form garlands of black and white along the cornices of the cupolas and around the terraces of the minarets; sea-gulls dart and play over the water; thousands of turtle-doves coo amorously among the cypresses in the cemeteries; crows croak about the Castle of the Seven Towers halcyons come and go in long files between the Black Sea and the Sea of Marmora; and storks sit upon the cupolas of the mausoleums. For the Turk, each one of these birds has a gentle meaning, or a benignant virtue: turtle-doves are favorable to lovers, swallows keep away fire from the roofs where they build their nests, storks make yearly pilgrimages to Mecca, halcyons carry the souls of the faithful to Paradise. Thus he protects and feeds them, through a sentiment of gratitude and piety; and they enliven the house, the sea, and the sepulchre. Every quarter of Stamboul is full of the noise of them, bringing to the city a sense of the pleasures of country life, and continually refreshing the soul with a reminder of nature.
Constantinople has a unique charm and liveliness that comes from countless birds of every kind, which the Turks hold dear. Mosques, groves, ancient walls, gardens, and palaces echo with the songs, whistles, and chirps of birds; wings are flapping everywhere, and life and harmony are abundant. Sparrows boldly enter homes, eating from the hands of women and children; swallows nest above café doors and under the arches of the bazaars; countless pigeons, supported by legacies from sultans and individuals, create a mix of black and white along the edges of the cupolas and around the terraces of the minarets; seagulls flutter and play over the water; thousands of turtle doves coo sweetly among the cypresses in the cemeteries; crows caw around the Castle of the Seven Towers; halcyons travel in long lines between the Black Sea and the Sea of Marmara; and storks perch on the domes of the mausoleums. For the Turk, each of these birds carries a gentle significance or a positive attribute: turtle doves are good for lovers, swallows protect roofs from fire, storks make annual journeys to Mecca, and halcyons guide the souls of the faithful to Paradise. Thus, he nurtures and cares for them out of gratitude and piety; in return, they bring life to the home, the sea, and the graves. Every neighborhood of Stamboul is filled with their sounds, bringing the city the joy of country life and continually refreshing the spirit with reminders of nature.
CORDOVA
For a long distance the country offers no new aspect to the feverish curiosity of the tourist. At Vilches there is a vast plain, and beyond there the open country of Tolosa, where Alphonso VIII., King of Castile, gained the celebrated victory "de las Navas" over the Mussulman army. The sky was very clear, and in the distance one could see the mountains of the Sierra de Segura. Suddenly, there comes over one a sensation which seems to respond to a suppressed exclamation of surprise: the first aloes with their thick leaves, the unexpected heralds of tropical vegetation, rise on both sides of the road. Beyond, the fields studded with flowers begin to appear. The first are studded, those which follow almost covered, then come vast stretches of ground entirely clothed with poppies, daisies, lilies, wild mushrooms, and ranunculuses, so that the country (as it presents itself to view) looks like a succession of immense purple, gold, and snowy-hued carpets. In the distance, among the trees, are innumerable blue, white, and yellow streaks, as far as the eye can reach; and nearer, on the banks of the ditches, the elevations of ground, the slopes, and even on the edge of the road are flowers in beds, clumps, and clusters, one above the other, grouped in the form of great bouquets, and trembling on their stalks, which one can almost touch with his hand. Then there are fields white with great blades of grain, flanked by plantations of roses, orange groves, immense olive groves, and hillsides varied by a thousand shades of green, surmounted by ancient Moorish towers, scattered with many-colored houses; and between the one and the other are white and slender bridges that cross rivulets hidden by the trees.
For a long stretch, the landscape doesn’t offer anything new to the restless curiosity of the tourist. At Vilches, there’s a vast plain, and beyond that is the open countryside of Tolosa, where Alphonso VIII, the King of Castile, won the famous victory "de las Navas" over the Muslim army. The sky was very clear, and in the distance, you could see the Sierra de Segura mountains. Suddenly, a feeling washes over you that seems to echo a suppressed exclamation of surprise: the first aloes with their thick leaves, the unexpected signs of tropical vegetation, rise on both sides of the road. Beyond that, fields dotted with flowers begin to appear. The first fields are speckled with blooms, those that follow are almost covered, then come vast stretches of land completely dressed in poppies, daisies, lilies, wild mushrooms, and ranunculuses, so the landscape (as it unfolds) looks like a series of immense purple, gold, and white carpets. In the distance, among the trees, are countless blue, white, and yellow patches as far as the eye can see; and closer, on the banks of ditches, the rises of land, the slopes, and even along the edge of the road are flowers in beds, clumps, and clusters, layered one on top of another, grouped like large bouquets, gently swaying on their stems, which you can almost touch. Then there are fields white with large blades of grain, bordered by rose gardens, orange groves, vast olive groves, and hills marked by a thousand shades of green, capped by ancient Moorish towers, sprinkled with colorful houses; and between the two are delicate white bridges that span over streams hidden by the trees.
On the horizon appear the snowy caps of the Sierra Nevada; under that white streak lie the undulating blue ones of the nearer mountains. The country becomes more varied and flourishing; Arjonilla lies in a grove of olives, whose boundary one cannot see; Pedro Abad, in the midst of a plain, covered with vineyards and fruit-trees; Ventas di Alcolea, on the last hills of the Sierra Nevada, peopled with villas and gardens. We are approaching Cordova, the train flies along, we see little stations half hidden by trees and flowers, the wind carries the rose leaves into the carriages, great butterflies fly near the windows, a delicious perfume permeates the air, the travelers sing; we pass through an enchanted garden, the aloes, oranges, palms, and villas grow more frequent; and at last we hear a cry--"Here is Cordova!"
On the horizon, the snowy peaks of the Sierra Nevada come into view; beneath that white line are the rolling blue shapes of the closer mountains. The landscape becomes more diverse and lush; Arjonilla sits in a grove of olives, with boundaries that are hard to see; Pedro Abad is in the middle of a plain filled with vineyards and fruit trees; Ventas di Alcolea is on the last hills of the Sierra Nevada, dotted with villas and gardens. We are getting closer to Cordova, and the train speeds along, passing small stations partly hidden by trees and flowers. The wind brings rose petals into the carriages, big butterflies flutter near the windows, and a delightful fragrance fills the air as travelers sing; we move through a magical garden where aloes, oranges, palms, and villas become more common; and finally, we hear a shout—“Here’s Cordova!”
How many lovely pictures and grand recollections the sound of that name awakens in one's mind! Cordova,--the ancient pearl of the East, as the Arabian poets call it,--the city of cities; Cordova of the thirty suburbs and three thousand mosques, which inclosed within her walls the greatest temple of Islam! Her fame extended throughout the East, and obscured the glory of ancient Damascus. The faithful came from the most remote regions of Asia to banks of the Guadalquivir to prostrate themselves in the marvelous Mihrab of her mosque, in the light of the thousand bronze lamps cast from the bells of the cathedrals of Spain. Hither flocked artists, savants, poets from every part of the Mahometan world to her flourishing schools, immense libraries, and the magnificent courts of her caliphs. Riches and beauty flowed in, attracted by the fame of her splendor. From here they scattered, eager for knowledge, along the coasts of Africa, through the schools of Tunis, Cairo, Bagdad, Cufa, and even to India and China, in order to gather inspiration and records; and the poetry sung on the slopes of the Sierra Morena flew from lyre to lyre, as far as the valleys of the Caucasus, to excite the ardor for pilgrimages. The beautiful, powerful, and wise Cordova, crowned with three thousand villages, proudly raised her white minarets in the midst of orange groves, and spread around the valley a voluptuous atmosphere of joy and glory.
How many beautiful images and amazing memories the sound of that name brings to mind! Cordova—the ancient jewel of the East, as the Arabian poets call it—the city of cities; Cordova with its thirty suburbs and three thousand mosques, which housed the greatest temple of Islam within its walls! Its fame spread throughout the East, overshadowing the glory of ancient Damascus. Believers traveled from the farthest corners of Asia to the banks of the Guadalquivir to bow down in the stunning Mihrab of her mosque, illuminated by a thousand bronze lamps made from the bells of cathedrals in Spain. Artists, scholars, and poets from all over the Muslim world flocked to her thriving schools, vast libraries, and the grand courts of her caliphs. Wealth and beauty poured in, drawn by the allure of her magnificence. From here, they dispersed, eager for knowledge, across the coasts of Africa, through the schools of Tunis, Cairo, Baghdad, Kufa, and even to India and China, to gather inspiration and records; and the poetry sung on the slopes of the Sierra Morena traveled from lyre to lyre, reaching as far as the valleys of the Caucasus, stirring up the spirit for pilgrimages. The beautiful, powerful, and wise Cordova, crowned with three thousand villages, proudly raised her white minarets amidst orange groves and filled the valley with a lush atmosphere of joy and glory.
I leave the train, cross a garden, look around me. I am alone. The travelers who were with me disappear here and there; I still hear the noise of a carriage which is rolling off; then all is quiet. It is midday, the sky is very clear, and the air suffocating. I see two white houses; it is the opening of a street; I enter and go on. The street is narrow, the houses as small as the little villas on the slopes of artificial gardens, almost all one story in height, with windows a few feet from the ground, the roofs so low that one could almost touch them with a stick, and the walls very white. The street turns; I look, see no one, and hear neither step nor voice. I say to myself:--"This must be an abandoned street!" and try another one, in which the houses are white, the windows closed, and there is nothing but silence and solitude around me. "Why, where am I?" I ask myself. I go on; the street, which is so narrow that a carriage could not pass, begins to wind; on the right and left I see other deserted streets, white houses, and closed windows. My step resounds as if in a corridor. The whiteness of the walls is so vivid that even the reflection is trying, and I am obliged to walk with my eyes half closed, for it really seems as if I were making my way through the snow. I reach a small square; everything is closed, and no one is to be seen. At this point a vague feeling of melancholy seizes me, such as I have never experienced before; a mixture of pleasure and sadness, similar to that which comes to children when, after a long run, they reach a lonely rural spot and rejoice in their discovery, but with a certain trepidation lest they should be too far from home. Above many roofs rise the palm-trees of inner gardens. Oh, fantastic legends of Odalisk and Caliph! On I go from street to street, and square to square; I begin to meet some people, but they pass and disappear like phantoms. All the streets resemble each other; the houses have only three or four windows; and not a spot, scrawl, or crack is to be seen on the walls, which are as smooth and white as a sheet of paper. From time to time I hear a whisper behind a blind, and see, almost at the same moment, a dark head, with a flower in the hair, appear and disappear. I look in at a door....
I get off the train, cross a garden, and look around. I’m alone. The other travelers with me have vanished here and there; I can still hear the noise of a carriage rolling away, and then everything goes quiet. It’s midday, the sky is clear, and the air feels suffocating. I see two white houses; it’s the entrance to a street, so I step in and keep going. The street is narrow, and the houses are as small as the little villas on the slopes of artificial gardens, mostly one story high, with windows just a few feet off the ground, roofs so low you could almost touch them with a stick, and the walls are very white. The street bends; I look around but see no one and hear neither footsteps nor voices. I think to myself, "This must be an abandoned street!" and try another one, where the houses are white, windows shut, and nothing but silence and solitude surrounds me. "Where am I?" I wonder. I move on; the street, too narrow for a carriage to fit, begins to twist. On either side, I see other deserted streets, white houses, and closed windows. My footsteps echo as if I’m in a corridor. The brightness of the walls is so intense that even the reflection is blinding, and I have to walk with my eyes half closed, as it feels like I’m trudging through snow. I reach a small square; everything is shut, and no one is around. At this moment, a vague sense of melancholy hits me, a mix of pleasure and sadness, similar to what children feel when, after a long run, they find themselves in a lonely rural area and are excited about their discovery, but a bit anxious that they’re too far from home. Palm trees rise above many roofs. Oh, fantastic legends of Odalisk and Caliph! I wander from street to street and square to square; I start to encounter some people, but they pass by and disappear like ghosts. All the streets look alike; the houses have just three or four windows; and there are no marks, scratches, or cracks on the walls, which are as smooth and white as a blank sheet of paper. From time to time, I hear a whisper behind a blind and see, almost at the same moment, a dark head with a flower in the hair appear and vanish. I peek through a door...
A patio! How shall I describe a patio? It is not a court, nor a garden, nor a room; but it is all three things combined. Between the patio and the street there is a vestibule. On the four sides of the patio rise slender columns, which support, up to a level with the first floor, a species of gallery inclosed in glass; above the gallery is stretched a canvas, which shades the court. The vestibule is paved with marble, the door flanked by columns, surmounted by bas-reliefs, and closed by a slender iron gate of graceful design. At the end of the patio there is a fountain; and all around are scattered chairs, work-tables, pictures, and vases of flowers. I run to another door: there is another patio, with its walls covered with ivy, and a number of niches holding little statues, busts, and urns. I look in at a third door: here is another patio, with its walls worked in mosaics, a palm in the centre, and a mass of flowers all around. I stop at a fourth door: after the patio there is another vestibule, after this a second patio, in which one sees other statues, columns, and fountains. All these rooms and gardens are so neat and clean that one could pass his hand over the walls and on the ground without leaving a trace; and they are fresh, odorous, and lighted by an uncertain light, which increases their beauty and mysterious appearance.
A patio! How can I describe a patio? It's not just a courtyard, a garden, or a room; it's a blend of all three. There's a vestibule between the patio and the street. Slender columns rise on all four sides of the patio, supporting a glass-enclosed gallery up to the first floor; above the gallery is a shade canvas that covers the courtyard. The vestibule has marble flooring, the door is flanked by columns and adorned with bas-reliefs, topped off with a delicate iron gate. At the far end of the patio is a fountain, and scattered around are chairs, work tables, artwork, and vases of flowers. I dash to another door: there’s another patio, its walls draped in ivy, with niches displaying small statues, busts, and urns. I peek through a third door: here’s yet another patio, featuring mosaic walls, a palm tree in the center, and an abundance of flowers all around. I pause at a fourth door: beyond the patio is another vestibule, leading to a second patio filled with more statues, columns, and fountains. All these rooms and gardens are so tidy and clean that you could run your hand over the walls and floors without leaving a mark; they feel fresh, fragrant, and are illuminated by a soft, diffused light that enhances their beauty and adds a touch of mystery.
On I go at random from street to street. As I walk, my curiosity increases and I quicken my pace. It seems impossible that a whole city can be like this; I am afraid of stumbling across some house or coming into some street that will remind me of other cities, and disturb my beautiful dream. But no, the dream lasts; for everything is small, lovely, and mysterious. At every hundred steps I reach a deserted square, in which I stop and hold my breath; from time to time there appears a cross-road, and not a living soul is to be seen; everything is white, the windows closed, and silence reigns on all sides. At each door there is a new spectacle; there are arches, columns, flowers, jets of water, and palms; a marvelous variety of design, tints, light, and perfume; here the odor of roses, there of oranges, farther on of pinks; and with this perfume a whiff of fresh air, and with the air a subdued sound of women's voices, the rustling of leaves, and the singing of birds. It is a sweet and varied harmony, that without disturbing the silence of the streets, soothes the ear like the echo of distant music. Ah! it is not a dream! Madrid, Italy, Europe, are indeed far away! Here one lives another life, and breathes the air of a different world,--for I am in the East.
On I go randomly from street to street. As I walk, my curiosity grows, and I pick up my pace. It's hard to believe that a whole city can be like this; I worry about stumbling upon a house or a street that will remind me of other cities and ruin my beautiful dream. But no, the dream continues; everything is small, charming, and mysterious. Every hundred steps, I reach an empty square where I stop and catch my breath; occasionally, a crossroad appears, and there's not a single person in sight; everything is white, the windows are shut, and silence surrounds me. At each door, there’s a new sight; arches, columns, flowers, fountains, and palm trees; a stunning variety of designs, colors, light, and scents; here the smell of roses, there oranges, further on pinks; and with this fragrance comes a breeze of fresh air, along with soft sounds of women’s voices, rustling leaves, and birds singing. It’s a sweet and diverse harmony that, without breaking the silence of the streets, calms the ear like the echo of distant music. Ah! It’s not a dream! Madrid, Italy, Europe, are indeed far away! Here, one lives another life and breathes the air of a different world—because I am in the East.
THE LAND OF PLUCK
Whoever looks for the first time at a large map of Holland wonders that a country so constituted can continue to exist. At the first glance it is difficult to see whether land or water predominates, or whether Holland belongs most to the continent or to the sea. Those broken and compressed coasts; those deep bays; those great rivers that, losing the aspect of rivers, seem bringing new seas to the sea; that sea which, changing itself into rivers, penetrates the land and breaks it into archipelagoes; the lakes, the vast morasses, the canals crossing and recrossing each other, all combine to give the idea of a country that may at any moment disintegrate and disappear. Seals and beavers would seem to be its rightful inhabitants; but since there are men bold enough to live in it, they surely cannot ever sleep in peace.
Whoever looks at a large map of Holland for the first time wonders how a country like this can even exist. At first glance, it's hard to tell if land or water is more dominant, or if Holland is more a part of the continent or the sea. Those jagged and compressed coastlines; those deep bays; those huge rivers that, losing their river-like appearance, seem to be bringing new seas to the sea; that sea which, turning into rivers, flows into the land and breaks it into islands; the lakes, the vast marshes, the canals crisscrossing each other—all of these create the impression of a country that could fall apart and vanish at any moment. Seals and beavers seem like the rightful inhabitants; but since there are people brave enough to live here, they must never find peace.
A DUTCH GIRL.
Photogravure from Painting by H. Vogka.
A DUTCH GIRL.
Photogravure from Painting by H. Vogka.
What sort of a country Holland is, has been told by many in few words. Napoleon said it was an alluvion of French rivers,--the Rhine, the Scheldt, and the Meuse,--and with this pretext he added it to the Empire. One writer has defined it as a sort of transition between land and sea. Another, as an immense crust of earth floating on the water. Others, an annex of the old continent, the China of Europe, the end of the earth and the beginning of the ocean, a measureless raft of mud and sand; and Philip II. called it the country nearest to hell.
What kind of country Holland is has been described by many in just a few words. Napoleon claimed it was a deposit of French rivers—the Rhine, the Scheldt, and the Meuse—and with that excuse, he added it to the Empire. One writer described it as a kind of transition between land and sea. Another described it as a massive piece of earth floating on water. Others called it an extension of the old continent, the China of Europe, the end of the earth and the start of the ocean, an endless raft of mud and sand; and Philip II referred to it as the country closest to hell.
But they all agreed upon one point, and all expressed it in the same words:--Holland is a conquest made by man over the sea; it is an artificial country: the Hollanders made it; it exists because the Hollanders preserve it; it will vanish whenever the Hollanders shall abandon it.
But they all agreed on one thing, and they all said it the same way:—Holland is a victory of human effort over the sea; it’s a man-made country: the Dutch created it; it exists because the Dutch maintain it; it will disappear whenever the Dutch stop caring for it.
To comprehend this truth, we must imagine Holland as it was when first inhabited by the first German tribes that wandered away in search of a country.
To understand this truth, we need to picture Holland as it was when the first German tribes settled there, having ventured off in search of a new land.
It was almost uninhabitable. There were vast tempestuous lakes, like seas, touching one another; morass beside morass; one tract after another covered with brushwood; immense forests of pines, oaks, and alders, traversed by herds of wild horses, and so thick were these forests that tradition says one could travel leagues passing from tree to tree without ever putting foot to the ground. The deep bays and gulfs carried into the heart of the country the fury of the northern tempests. Some provinces disappeared once every year under the waters of the sea, and were nothing but muddy tracts, neither land nor water, where it was impossible either to walk or to sail. The large rivers, without sufficient inclination to descend to the sea, wandered here and there uncertain of their way, and slept in monstrous pools and ponds among the sands of the coasts. It was a sinister place, swept by furious winds, beaten by obstinate rains, veiled in a perpetual fog, where nothing was heard but the roar of the sea and the voices of wild beasts and birds of the ocean. The first people who had the courage to plant their tents there, had to raise with their own hands dikes of earth to keep out the rivers and the sea, and lived within them like shipwrecked men upon desolate islands, venturing forth at the subsidence of the waters in quest of food in the shape of fish and game, and gathering the eggs of marine birds upon the sand.
It was nearly unlivable. There were vast, stormy lakes, like seas, touching each other; swamps next to swamps; one area after another covered in brush; huge forests of pines, oaks, and alders, crossed by herds of wild horses, so dense that legend says you could travel miles from tree to tree without ever stepping on the ground. The deep bays and gulfs brought the rage of northern storms deep into the land. Some regions would disappear under the sea every year and turned into muddy areas, neither land nor water, where it was impossible to walk or sail. The large rivers, lacking enough slope to flow to the sea, meandered aimlessly, settling into massive pools and ponds among the coastal sands. It was a grim place, battered by strong winds, persistent rains, shrouded in constant fog, where all you could hear was the roar of the sea and the calls of wild animals and ocean birds. The first people brave enough to set up their tents there had to build dirt dikes with their own hands to keep out the rivers and the sea, living within them like shipwrecked survivors on lonely islands, venturing out when the waters receded to search for food in the form of fish and game, and collecting the eggs of seabirds on the sand.
Caesar, passing by, was the first to name this people. The other Latin historians speak with compassion and respect of these intrepid barbarians who lived upon a "floating land," exposed to the intemperance of a cruel sky and the fury of the mysterious northern sea; and the imagination pictures the Roman soldiers, who, from the heights of the uttermost citadels of the empire, beaten by the waves, contemplated with wonder and pity those wandering tribes upon their desolate land, like a race accursed of heaven.
Caesar, as he passed through, was the first to identify this group of people. Other Latin historians talk about these brave barbarians with sympathy and respect, who lived on a "floating land," vulnerable to the harshness of a brutal sky and the raging of the mysterious northern sea. One can easily imagine the Roman soldiers, from the heights of the farthest fortresses of the empire, battered by the waves, gazing in wonder and pity at those wandering tribes on their bleak land, as if cursed by the heavens.
Now, if we remember that such a region has become one of the most fertile, wealthiest, and best regulated of the countries of the world, we shall understand the justice of the saying that Holland is a conquest made by man. But, it must be added, the conquest goes on forever.
Now, if we remember that this area has become one of the most fertile, wealthiest, and best managed in the world, we can understand why it's said that Holland is a victory achieved by humans. However, it should also be noted that this victory is ongoing.
To explain this fact--to show how the existence of Holland, in spite of the great defensive works constructed by the inhabitants, demands an incessant and most perilous struggle--it will be enough to touch here and there upon a few of the principal vicissitudes of her physical history, from the time when her inhabitants had already reduced her to a habitable country.
To explain this fact—to show how Holland's existence, despite the extensive defensive structures built by its residents, requires a constant and incredibly dangerous fight—it’s enough to highlight a few key events in its physical history, starting from when its inhabitants had already turned it into a livable country.
Tradition speaks of a great inundation in Friesland in the sixth century. From that time every gulf, every island, and it may be said every city, in Holland has its catastrophe to record. In thirteen centuries, it is recorded that one great inundation, beside smaller ones, has occurred every seven years; and the country being all plain, these inundations were veritable floods. Towards the end of the thirteenth century, the sea destroyed a part of a fertile peninsula near the mouth of the Ems, and swallowed up more than thirty villages. In the course of the same century, a series of inundations opened an immense chasm in northern Holland, and formed the Zuyder Zee, causing the death of more than eighty thousand persons. In 1421 a tempest swelled the Meuse, so that in one night the waters overwhelmed seventy-two villages and one hundred thousand inhabitants. In 1532 the sea burst the dikes of Zealand, destroying hundreds of villages, and covering forever a large tract of country. In 1570 a storm caused another inundation in Zealand and in the province of Utrecht; Amsterdam was invaded by the waters, and in Friesland twenty thousand people were drowned. Other great inundations took place in the seventeenth century; two terrible ones at the beginning and the end of the eighteenth; one in 1825 that desolated North Holland, Friesland, Over-Yssel, and Gueldres; and another great one of the Rhine, in 1855, which invaded Gueldres and the province of Utrecht, and covered a great part of North Brabant. Beside these great catastrophes, there happened in different centuries innumerable smaller ones, which would have been famous in any other country, but which in Holland are scarcely remembered: like the rising of the lake of Haarlem, itself the result of an inundation of the sea; flourishing cities of the gulf of Zuyder Zee vanished under the waters; the islands of Zealand covered again and again by the sea, and again emerging; villages of the coast, from Helder to the mouths of the Meuse, from time to time inundated and destroyed; and in all these inundations immense loss of life of men and animals. It is plain that miracles of courage, constancy, and industry must have been accomplished by the Hollanders, first in creating and afterwards in preserving such a country. The enemy from which they had to wrest it was triple: the sea, the lakes, the rivers. They drained the lakes, drove back the sea, and imprisoned the rivers.
Tradition tells of a massive flood in Friesland during the sixth century. Since then, every gulf, every island, and almost every city in Holland has a disaster to remember. Over thirteen centuries, records show that a major flood, along with smaller ones, occurred every seven years; and since the land is all flat, these floods were true deluges. By the late thirteenth century, the sea destroyed part of a fertile peninsula near the mouth of the Ems, engulfing more than thirty villages. During the same century, a series of floods opened up a huge gap in northern Holland, creating the Zuyder Zee and resulting in the deaths of over eighty thousand people. In 1421, a storm caused the Meuse to swell, and in just one night, the waters overwhelmed seventy-two villages and one hundred thousand residents. In 1532, the sea breached the dikes in Zealand, wiping out hundreds of villages and permanently covering a large area of land. In 1570, a storm caused another flood in Zealand and the province of Utrecht; Amsterdam was hit by the waters, and twenty thousand people drowned in Friesland. Other major floods occurred in the seventeenth century; two devastating ones at the start and end of the eighteenth century; one in 1825 that devastated North Holland, Friesland, Over-Yssel, and Gueldres; and another major one of the Rhine in 1855, which flooded Gueldres and the province of Utrecht, inundating much of North Brabant. Besides these major disasters, there were countless smaller ones across various centuries that would have been notable in any other country but are barely remembered in Holland: the rising of the lake of Haarlem, itself caused by a sea flood; thriving cities in the Zuyder Zee drowned beneath the waters; the islands of Zealand repeatedly submerged by the sea and then resurfacing; coastal villages from Helder to the mouths of the Meuse occasionally flooded and destroyed; and countless deaths of humans and animals during these floods. It’s clear that the Dutch must have shown incredible courage, resilience, and effort in creating and preserving such a land. The threats they faced were threefold: the sea, the lakes, and the rivers. They drained the lakes, pushed back the sea, and contained the rivers.
To drain the lakes the Hollanders pressed the air into their service. The lakes, the marshes, were surrounded by dikes, the dikes by canals; and an army of windmills, putting in motion force-pumps, turned the water into the canals, which carried it off to the rivers and the sea. Thus vast tracts of land buried under the water saw the sun, and were transformed, as if by magic, into fertile fields, covered with villages, and intersected by canals and roads. In the seventeenth century, in less than forty years, twenty-six lakes were drained. At the beginning of the present century, in North Holland alone, more than six thousand hectares (or fifteen thousand acres) were thus redeemed from the waters; in South Holland, before 1844, twenty-nine thousand hectares; in the whole of Holland, from 1500 to 1858, three hundred and fifty-five thousand hectares. Substituting steam-mills for windmills, in thirty-nine months was completed the great undertaking of the draining of the lake of Haarlem, which measured forty-four kilometres in circumference, and forever threatened with its tempests the cities of Haarlem, Amsterdam, and Leyden. And they are now meditating the prodigious work of drying up the Zuyder Zee, which embraces an area of more than seven hundred square kilometres.
To drain the lakes, the Dutch utilized air power. The lakes and marshes were bordered by dikes, which were surrounded by canals; a network of windmills powered force-pumps that channeled water into the canals, which then directed it to the rivers and the sea. As a result, vast areas of land that were once underwater were transformed, almost magically, into fertile fields dotted with villages, crisscrossed by canals and roads. In the seventeenth century, in less than forty years, twenty-six lakes were drained. At the start of the current century, over six thousand hectares (or fifteen thousand acres) were reclaimed from the waters in North Holland alone; in South Holland, before 1844, twenty-nine thousand hectares were drained; and throughout Holland, from 1500 to 1858, a total of three hundred fifty-five thousand hectares were recovered. By replacing windmills with steam-powered mills, the significant project of draining the Haarlem lake, which had a circumference of forty-four kilometers and constantly posed a threat with its storms to the cities of Haarlem, Amsterdam, and Leyden, was completed in just thirty-nine months. They are currently contemplating the monumental task of drying up the Zuyder Zee, which covers an area of more than seven hundred square kilometers.
The rivers, another eternal enemy, cost no less of labor and sacrifice. Some, like the Rhine, which lost itself in the sands before reaching the sea, had to be channeled and defended at their mouths, against the tides, by formidable cataracts; others, like the Meuse, bordered by dikes as powerful as those that were raised against the ocean; others, turned from their course; the wandering waters gathered together; the course of the affluents regulated; the waters divided with rigorous measure in order to retain that enormous mass of liquid in equilibrium, where the slightest inequality might cost a province; and in this way all the rivers that formerly spread their devastating floods about the country were disciplined into channels and constrained to do service.
The rivers, another constant enemy, required just as much effort and sacrifice. Some, like the Rhine, which got lost in the sands before reaching the sea, needed to be redirected and protected at their mouths, against the tides, by powerful waterfalls; others, like the Meuse, were lined with dikes as strong as those built against the ocean; some were diverted from their natural paths; the wandering waters were gathered together; the paths of the tributaries were regulated; the waters were divided with strict measures to keep that vast amount of liquid in balance, where even the slightest difference could cost a province; and in this way, all the rivers that once spread their destructive floods across the land were channeled and made to serve a purpose.
But the most tremendous struggle was the battle with the ocean. Holland is in great part lower than the level of the sea; consequently, everywhere that the coast is not defended by sand banks it has to be protected by dikes. If these interminable bulwarks of earth, granite, and wood were not there to attest the indomitable courage and perseverance of the Hollanders, it would not be believed that the hand of man could, even in many centuries, have accomplished such a work. In Zealand alone the dikes extend to a distance of more than four hundred kilometres. The western coast of the island of Walcheren is defended by a dike, in which it is computed that the expense of construction added to that of preservation, if it were put out at interest, would amount to a sum equal in value to that which the dike itself would be worth were it made of massive copper. Around the city of Helder, at the northern extremity of North Holland, extends a dike ten kilometres long, constructed of masses of Norwegian granite, which descends more than sixty metres into the sea. The whole province of Friesland, for the length of eighty-eight kilometres, is defended by three rows of piles sustained by masses of Norwegian and German granite. Amsterdam, all the cities of the Zuyder Zee, and all the islands,--fragments of vanished lands,--which are strung like beads between Friesland and North Holland, are protected by dikes. From the mouths of the Ems to those of the Scheldt, Holland is an impenetrable fortress, of whose immense bastions the mills are the towers, the cataracts are the gates, the islands the advanced forts; and like a true fortress, it shows to its enemy, the sea, only the tops of its bell-towers and the roofs of its houses, as if in defiance and derision.
But the greatest struggle was the battle with the ocean. Much of Holland is below sea level; therefore, wherever the coast isn't protected by sandbanks, it has to be secured by dikes. If these endless barriers of earth, granite, and wood weren’t there to demonstrate the unyielding bravery and determination of the Dutch people, it would be hard to believe that humans could achieve such a feat over many centuries. In Zealand alone, the dikes stretch for over four hundred kilometers. The western coast of the island of Walcheren is protected by a dike, which is estimated to have construction and maintenance costs that, if invested, would be equivalent to the value of the dike itself if it were made of solid copper. Around the city of Helder, at the northern tip of North Holland, there’s a ten-kilometer-long dike built from large Norwegian granite blocks that descend more than sixty meters into the sea. The entire province of Friesland is protected for eighty-eight kilometers by three rows of piles supported by large Norwegian and German granite. Amsterdam, all the cities around the Zuyder Zee, and the islands—remnants of lost lands—that are lined up like beads between Friesland and North Holland, are all safeguarded by dikes. From the mouths of the Ems to the Scheldt, Holland stands as an impenetrable fortress, where the massive bastions are represented by windmills, the waterfalls act as gates, and the islands serve as forward outposts; and like a true fortress, it only reveals the tops of its bell towers and the roofs of its houses to its enemy, the sea, as if in mockery and defiance.
Holland is a fortress, and her people live as in a fortress, on a war footing with the sea. An army of engineers, directed by the Minister of the Interior, spread over the country, and, ordered like an army, continually spy the enemy, watch over the internal waters, foresee the bursting of the dikes, order and direct the defensive works. The expenses of the war are divided,--one part to the State, one part to the provinces; every proprietor pays, beside the general imposts, a special impost for the dikes, in proportion to the extent of his lands and their proximity to the water. An accidental rupture, an inadvertence, may cause a flood; the peril is unceasing; the sentinels are at their posts upon the bulwarks; at the first assault of the sea, they shout the war-cry, and Holland sends men, material, and money. And even when there is no great battle, a quiet, silent struggle is forever going on. The innumerable mills, even in the drained districts, continue to work unresting, to absorb and turn into the canals the water that falls in rain and that which filters in from the sea. Every day the cataracts of the bays and rivers close their gigantic gates against the high tide trying to rush into the heart of the land. The work of strengthening dikes, fortifying sand-banks with plantations, throwing out new dikes where the banks are low, straight as great lances, vibrating in the bosom of the sea and breaking the first impetus of the wave, is forever going on. And the sea eternally knocks at the river-gates, beats upon the ramparts, growls on every side her ceaseless menace, lifting her curious waves as if to see the land she counts as hers, piling up banks of sand before the gates to kill the commerce of the cities, forever gnawing, scratching, digging at the coast; and failing to overthrow the ramparts upon which she foams and fumes in angry effort, she casts at their feet ships full of the dead, that they may announce to the rebellious country her fury and her strength.
Holland is like a fortress, and its people live as if in a fortress, always ready to battle the sea. An army of engineers, led by the Minister of the Interior, is spread throughout the country, organized like a military force, constantly monitoring for threats, overseeing the internal waters, anticipating dike failures, and managing defensive construction. The costs of this effort are shared—one part by the State, the other by the provinces; every landowner pays, in addition to general taxes, a special levy for the dikes based on the size of their land and how close it is to the water. An unexpected breach or a careless mistake can lead to flooding; the danger is constant; the watchmen stand vigilant on the walls; at the first sign of an attack from the sea, they raise the alarm, and Holland responds with personnel, materials, and funds. Even when there’s no major conflict, a quiet, ongoing battle persists. Countless windmills, even in drained areas, tirelessly work to pump rainwater and inflowing sea water into the canals. Every day, the powerful currents of the bays and rivers close their massive gates against the high tide trying to invade the land. The efforts to reinforce dikes, strengthen sandbanks with plantings, and build new dikes where the banks are low—long and straight like great lances—continue indefinitely, absorbing the initial force of the waves. The sea continuously pounds at the river gates, crashes against the walls, and threatens from all sides with its relentless menace, raising its curious waves as if to inspect the land it claims, piling up sandbanks before the gates to disrupt the cities' trade, and endlessly eroding, scraping, and digging at the coast. When it fails to breach the defenses, it throws defeated ships at their feet, filled with the dead, as if to show the defiant country its wrath and power.
In the midst of this great and terrible struggle Holland is transformed: Holland is the land of transformations. A geographical map of that country as it existed eight centuries ago is not recognizable. Transforming the sea, men also are transformed. The sea, at some points, drives back the land; it takes portions from the continent, leaves them and takes them again; joins islands to the mainland with ropes of sand, as in the case of Zealand; breaks off bits from the mainland and makes new islands, as in Wieringen; retires from certain coasts and makes land cities out of what were cities of the sea, as Leuvarde; converts vast tracts of plain into archipelagoes of a hundred islets, as Biisbosch; separates a city from the land, as Dordrecht; forms new gulfs two leagues broad, like the gulf of Dollart; divides two provinces with a new sea, like North Holland and Friesland. The effect of the inundations is to cause the level of the sea to rise in some places and to sink in others; sterile lands are fertilized by the slime of the rivers, fertile lands are changed into deserts of sand. With the transformations of the waters alternate the transformations of labor. Islands are united to continents, like the island of Ameland; entire provinces are reduced to islands, as North Holland will be by the new canal of Amsterdam, which is to separate it from South Holland; lakes as large as provinces disappear altogether, like the lake of Beemster; by the extraction of peat, land is converted into lakes, and these lakes are again transformed into meadows. And thus the country changes its aspect according to the violence of nature or the needs of men. And while one goes over it with the latest map in hand, one may be sure that the map will be useless in a few years, because even now there are new gulfs in process of formation, tracts of land just ready to be detached from the mainland, and great canals being cut that will carry life to uninhabited districts.
In the middle of this huge and terrible struggle, Holland is transformed: Holland is the land of changes. A geographical map of the country from eight centuries ago is unrecognizable. As the sea is reshaped, people are also changed. The sea, at some points, pushes the land back; it takes parts from the continent, leaves them, and then takes them again; connects islands to the mainland with sand, as seen in Zealand; breaks off pieces from the mainland to create new islands, like Wieringen; retreats from certain coasts, turning what used to be cities by the sea, like Leuvarde, into inland cities; changes vast plains into clusters of a hundred little islands, like Biisbosch; isolates a city from the land, like Dordrecht; creates new gulfs two leagues wide, like the Gulf of Dollart; and separates two provinces with a new sea, like North Holland and Friesland. The floods cause the sea level to rise in some areas and drop in others; barren land is enriched by river sediment, while fertile land turns into sandy deserts. With the shifting waters come changes in labor. Islands connect to continents, like Ameland; entire provinces become islands, as North Holland will by the new Amsterdam canal that will separate it from South Holland; large lakes the size of provinces vanish completely, like Lake Beemster; through peat extraction, land turns into lakes, which are then transformed back into meadows. Thus, the country changes its appearance according to the force of nature or human needs. As one reviews it with the latest map in hand, one can be sure that the map will soon be outdated, because even now new gulfs are forming, plots of land are about to detach from the mainland, and major canals are being dug to bring life to uninhabited areas.
But Holland has done more than defend herself against the waters; she has made herself mistress of them, and has used them for her own defense. Should a foreign army invade her territory, she has but to open her dikes and unchain the sea and the rivers, as she did against the Romans, against the Spaniards, against the army of Louis XIV., and defend the land cities with her fleet. Water was the source of her poverty, she has made it the source of wealth. Over the whole country extends an immense network of canals, which serves both for the irrigation of the land and as a means of communication. The cities, by means of canals, communicate with the sea; canals run from town to town, and from them to villages, which are themselves bound together by these watery ways, and are connected even to the houses scattered over the country; smaller canals surround the fields and orchards, pastures and kitchen-gardens, serving at once as boundary wall, hedge, and road-way; every house is a little port. Ships, boats, rafts, move about in all directions, as in other places carts and carriages. The canals are the arteries of Holland, and the water her life-blood. But even setting aside the canals, the draining of the lakes, and the defensive works, on every side are seen the traces of marvelous undertakings. The soil, which in other countries is a gift of nature, is in Holland a work of men's hands. Holland draws the greater part of her wealth from commerce; but before commerce comes the cultivation of the soil; and the soil had to be created. There were sand-banks interspersed with layers of peat, broad downs swept by the winds, great tracts of barren land apparently condemned to an eternal sterility. The first elements of manufacture, iron and coal, were wanting; there was no wood, because the forests had already been destroyed by tempests when agriculture began; there was no stone, there were no metals. Nature, says a Dutch poet, had refused all her gifts to Holland; the Hollanders had to do everything in spite of nature. They began by fertilizing the sand. In some places they formed a productive soil with earth brought from a distance, as a garden is made; they spread the siliceous dust of the downs over the too watery meadows; they mixed with the sandy earth the remains of peat taken from the bottoms; they extracted clay to lend fertility to the surface of their lands; they labored to break up the downs with the plow: and thus in a thousand ways, and continually fighting off the menacing waters, they succeeded in bringing Holland to a state of cultivation not inferior to that of more favored regions. That Holland, that sandy, marshy country which the ancients considered all but uninhabitable, now sends out yearly from her confines agricultural products to the value of a hundred millions of francs, possesses about one million three hundred thousand head of cattle, and in proportion to the extent of her territory may be accounted one of the most populous of European States.
But Holland has done more than just protect herself from the waters; she has taken control of them and used them for her own defense. If a foreign army were to invade her land, she only needs to breach her dikes and unleash the sea and rivers, just as she did against the Romans, the Spaniards, and the army of Louis XIV., and defend her cities with her fleet. Water was once the cause of her poverty, but she has turned it into a source of wealth. The entire country is covered by a vast network of canals, which serve both for irrigating the land and for transportation. The cities connect to the sea through canals; there are canals linking towns and from those to villages, which are tied together by these waterways, even reaching the houses scattered throughout the countryside; smaller canals surround the fields, orchards, pastures, and kitchen gardens, acting as boundaries, hedges, and pathways; every house is like a small port. Ships, boats, and rafts move in all directions, just like carts and carriages do in other places. The canals are the lifeblood of Holland, and water is her essence. But even without considering the canals, the draining of lakes, or the defensive works, everywhere you can see the signs of incredible endeavors. The soil, which in other countries is a natural gift, in Holland is a product of human effort. Holland derives most of her wealth from commerce; but before commerce can flourish, the land must be cultivated, and the land had to be created. There were sandbanks mixed with layers of peat, wide open spaces swept by winds, and vast stretches of barren land seemingly condemned to eternal sterility. The basic elements for manufacturing, like iron and coal, were lacking; there were no trees, as the forests had already been destroyed by storms before agriculture began; there were no stones or metals. Nature, as a Dutch poet said, had denied all her gifts to Holland; the Dutch had to work against nature. They began by enriching the sand. In some areas, they created productive soil by bringing in earth from far away, like making a garden; they spread the sandy dust from the dunes over the overly wet meadows; they mixed the sandy soil with peat remnants from the bottoms; they dug up clay to enhance the fertility of their land; they toiled to cultivate the dunes with plows: and thus, in countless ways, while constantly battling the encroaching waters, they managed to bring Holland to a level of cultivation comparable to that of more favorable regions. That Holland, that sandy, marshy land which the ancients deemed nearly uninhabitable, now annually exports agricultural products worth a hundred million francs, has about one million three hundred thousand cattle, and, relative to its size, is considered one of the most densely populated states in Europe.
It may be easily understood how the physical peculiarities of their country must influence the Dutch people; and their genius is in perfect harmony with the character of Holland. It is sufficient to contemplate the monuments of their great struggle with the sea in order to understand that their distinctive characteristics must be firmness and patience, accompanied by a calm and constant courage. That glorious battle, and the consciousness of owing everything to their own strength, must have infused and fortified in them a high sense of dignity and an indomitable spirit of liberty and independence. The necessity of a constant struggle, of a continuous labor, and of perpetual sacrifices in defense of their existence, forever taking them back to a sense of reality, must have made them a highly practical and economical people; good sense should be their most salient quality, economy one of their chief virtues; they must be excellent in all useful arts, sparing of diversion, simple even in their greatness; succeeding in what they undertake by dint of tenacity and a thoughtful and orderly activity; more wise than heroic; more conservative than creative; giving no great architects to the edifice of modern thought, but the ablest of workmen, a legion of patient and laborious artisans. And by virtue of these qualities of prudence, phlegmatic activity, and the spirit of conservatism, they are ever advancing, though by slow degrees; they acquire gradually, but never lose what they have gained; holding stubbornly to their ancient customs; preserving almost intact, and despite the neighborhood of three great nations, their own originality; preserving it through every form of government, through foreign invasions, through political and religious wars, and in spite of the immense concourse of strangers from every country that are always coming among them; and remaining, in short, of all the northern races, that one which, though ever advancing in the path of civilization, has kept its antique stamp most clearly.
It’s easy to see how the unique traits of their country shape the Dutch people; their character perfectly matches Holland’s identity. Just looking at the monuments from their great struggle against the sea shows that their defining traits are firmness and patience, along with steady and unwavering courage. This monumental fight, along with the belief that they owe everything to their own strength, must have instilled in them a strong sense of dignity and an unbreakable spirit of freedom and independence. The need for constant struggle, ongoing work, and continual sacrifices to defend their way of life keeps them grounded in reality, making them practical and frugal. Common sense should be their most prominent quality, and thriftiness one of their key virtues; they likely excel in all useful skills, indulge in few distractions, and maintain simplicity even in their achievements. They succeed in their endeavors through persistence and organized action; they’re more wise than heroic, more conservative than innovative, not producing many great architects of modern thought but rather being skilled laborers, a host of patient and hardworking artisans. Because of these traits—caution, steady activity, and a conservative mindset—they continue to progress, albeit slowly; they gain gradually but never lose what they’ve achieved, holding tightly to their traditions; they preserve their uniqueness and, despite being surrounded by three major nations, maintain it through all forms of government, foreign invasions, political and religious wars, and the constant influx of foreigners from all over the world. Ultimately, they remain the northern race that, while continually advancing in civilization, has retained its ancient identity most clearly.
It is enough also to remember its form in order to comprehend that this country of three millions and a half of inhabitants, although bound in so compact a political union, although recognizable among all the other northern peoples by certain traits peculiar to the population of all its provinces, must present a great variety. And so it is in fact. Between Zealand and Holland proper, between Holland and Friesland, between Friesland and Gueldres, between Groningen and Brabant, in spite of vicinity and so many common tics, there is no less difference than between the more distant provinces of Italy and France; difference of language, costume, and character; difference of race and of religion. The communal regime has impressed an indelible mark upon this people, because in no other country does it so conform to the nature of things. The country is divided into various groups of interests organized in the same manner as the hydraulic system. Whence, association and mutual help against the common enemy, the sea; but liberty for local institutions and forces. Monarchy has not extinguished the ancient municipal spirit, and this it is that renders impossible a complete fusion of the State, in all the great States that have made the attempt. The great rivers and gulfs are at the same time commercial roads serving as national bonds between the different provinces, and barriers which defend old traditions and old customs in each.
It’s also important to remember its structure to understand that this country with three and a half million people, despite being tightly united politically and distinguishable from other northern nations by specific characteristics unique to its various provinces, must show a lot of diversity. And that’s exactly the case. Between Zealand and Holland proper, between Holland and Friesland, between Friesland and Gueldres, and between Groningen and Brabant, despite their proximity and many shared features, the differences are as significant as between the more distant provinces of Italy and France; differences in language, clothing, and personality; differences in race and religion. The local governance has left a lasting impact on this people because it aligns perfectly with the nature of things in no other country. The land is divided into various interest groups organized like the hydraulic system. This leads to cooperation and mutual support against the common threat, the sea; but also provides freedom for local institutions and strengths. Monarchy hasn’t eradicated the old municipal spirit, and this is what makes a complete unification of the State impossible, unlike in all the major states that have tried. The major rivers and bays also serve as trade routes that connect the different provinces, while also acting as barriers that protect their old traditions and customs.
THE DUTCH MASTERS
The Dutch school of painting has one quality which renders it particularly attractive to us Italians; it is above all others the most different from our own, the very antithesis or the opposite pole of art. The Dutch and Italian schools are the most original, or, as has been said, the only two to which the title rigorously belongs; the others being only daughters or younger sisters, more or less resembling them.
The Dutch school of painting has one quality that makes it especially appealing to us Italians; it is by far the most different from our own, the complete opposite of our art. The Dutch and Italian schools are the most original, or, as it has been said, the only two that truly deserve that title; the others are merely offshoots or younger siblings, more or less similar to them.
Thus even in painting Holland offers that which is most sought after in travel and in books of travel: the new.
Thus, even in painting, Holland provides what is most sought after in travel and travel books: the new.
Dutch painting was born with the liberty and independence of Holland. As long as the northern and southern provinces of the Low Countries remained under the Spanish rule and in the Catholic faith, Dutch painters painted like Belgian painters; they studied in Belgium, Germany, and Italy; Heemskerk imitated Michael Angelo, Bloemart followed Correggio, and "Il Moro" copied Titian, not to indicate others: and they were one and all pedantic imitators, who added to the exaggerations of the Italian style a certain German coarsenesss, the result of which was a bastard style of painting, still inferior to the first, childish, stiff in design, crude in color, and completely wanting in chiaroscuro, but at least not a servile imitation, and becoming, as it were, a faint prelude of the true Dutch art that was to be.
Dutch painting emerged with the freedom and independence of Holland. As long as the northern and southern provinces of the Low Countries were under Spanish rule and adhered to the Catholic faith, Dutch painters worked like Belgian painters; they trained in Belgium, Germany, and Italy. Heemskerk mimicked Michelangelo, Bloemart followed Correggio, and "Il Moro" copied Titian, to name a few: they were all pedantic imitators, who added to the excesses of the Italian style a certain German roughness. The result was a hybrid painting style, still inferior to the original, childish, rigid in design, crude in color, and completely lacking in chiaroscuro. However, it was at least not a slavish imitation and became, in a way, a faint precursor of the true Dutch art that was to come.
With the war of independence, liberty, reform, and painting also were renewed. With religious traditions fell artistic traditions; the nude nymphs, Madonnas, saints, allegory, mythology, the ideal--all the old edifice fell to pieces. Holland, animated by a new life, felt the need of manifesting and expanding it in a new way; the small country, become all at once glorious and formidable, felt the desire for illustration; the faculties which had been excited and strengthened in the grand undertaking of creating a nation, now that the work was completed, overflowed and ran into new channels. The conditions of the country were favorable to the revival of art. The supreme dangers were conjured away; there was security, prosperity, a splendid future; the heroes had done their duty, and the artists were permitted to come to the front; Holland, after many sacrifices, and much suffering, issued victoriously from the struggle, lifted her face among her people and smiled. And that smile is art.
With the war of independence, freedom, reform, and art were revitalized. As religious traditions declined, so did artistic traditions; the naked nymphs, Madonnas, saints, allegories, mythology, and ideals—all the old structures crumbled. Holland, filled with a new energy, felt the need to express and expand this in a different way; the small country, suddenly glorious and powerful, craved recognition; the skills that had been ignited and strengthened during the grand effort to build a nation now overflowed into new avenues. The country's conditions favored a revival of art. The greatest dangers had been banished; there was safety, prosperity, and a bright future; the heroes had done their part, and artists were allowed to step into the spotlight; Holland, after many sacrifices and much suffering, emerged victoriously from the struggle, raised her face among her people, and smiled. And that smile is art.
What that art would necessarily be, might have been guessed even had no monument of it remained. A pacific, laborious, practical people, continually beaten down, to quote a great German poet, to prosaic realities by the occupations of a vulgar burgher life; cultivating its reason at the expense of its imagination; living, consequently, more in clear ideas than in beautiful images; taking refuge from abstractions; never darting its thoughts beyond that nature with which it is in perpetual battle; seeing only that which is, enjoying only that which it can possess, making its happiness consist in the tranquil ease and honest sensuality of a life without violent passions or exorbitant desires;--such a people must have tranquillity also in their art, they must love an art that pleases without startling the mind, which addresses the senses rather than the spirit; an art full of repose, precision, and delicacy, though material like their lives: in one word, a realistic art, in which they can see themselves as they are and as they are content to be.
What that art would likely be is something you could guess even if no example of it remained. A peaceful, hard-working, practical people, constantly brought down to everyday realities by the routines of ordinary life; focusing on reason at the cost of imagination; living, therefore, more in clear ideas than in beautiful images; avoiding abstractions; never letting their thoughts wander beyond the nature they constantly confront; only seeing what exists, enjoying only what they can have, finding happiness in the calm ease and genuine pleasures of a life free from violent passions or excessive desires;—such a people must also have calmness in their art; they must appreciate art that pleases without shocking the mind, which speaks to the senses rather than the soul; art that is full of restfulness, precision, and delicacy, even if it's grounded in the material, just like their lives: in short, a realistic art in which they can see themselves as they are and as they are happy to be.
The artists began by tracing that which they saw before their eyes--the house. The long winters, the persistent rains, the dampness, the variableness of the climate, obliged the Hollander to stay within doors the greater part of the year. He loved his little house, his shell, much better than we love our abodes, for the reason that he had more need of it, and stayed more within it; he provided it with all sorts of conveniences, caressed it, made much of it; he liked to look out from his well-stopped windows at the falling snow and the drenching rain, and to hug himself with the thought, "Rage, tempest, I am warm and safe!" Snug in his shell, his faithful housewife beside him, his children about him, he passed the long autumn and winter evenings in eating much, drinking much, smoking much, and taking his well-earned ease after the cares of the day were over. The Dutch painters represented these houses and this life in little pictures proportionate to the size of the walls on which they were to hang; the bedchambers that make one feel a desire to sleep, the kitchens, the tables set out, the fresh and smiling faces of the house-mothers, the men at their ease around the fire; and with that conscientious realism which never forsakes them, they depict the dozing cat, the yawning dog, the clucking hen, the broom, the vegetables, the scattered pots and pans, the chicken ready for the spit. Thus they represent life in all its scenes, and in every grade of the social scale--the dance, the conversazione, the orgie, the feast, the game; and thus did Terburg, Metzu, Netscher, Dow, Mieris, Steen, Brouwer, and Van Ostade become famous.
The artists started by sketching what they saw in front of them—the house. The long winters, constant rain, dampness, and unpredictable weather made the Dutch spend most of the year indoors. He cherished his little house, his sanctuary, much more than we cherish our homes because he needed it more and spent more time inside it. He equipped it with all sorts of comforts, took care of it, and treasured it; he enjoyed looking out from his well-sealed windows at the falling snow and pouring rain, feeling comforted by the thought, "Let the storm rage, I'm warm and safe!" Cozy in his haven, with his devoted partner beside him and his children around him, he spent the long autumn and winter evenings eating a lot, drinking a lot, smoking a lot, and relaxing after the day's worries. The Dutch painters captured these houses and this lifestyle in small paintings suited to the walls where they would hang; the bedrooms that make you want to sleep, the kitchens, the set tables, the fresh and cheerful faces of the housewives, the men relaxing by the fire; and with their diligent realism, they depicted the dozing cat, the yawning dog, the clucking hen, the broom, the vegetables, the scattered pots and pans, the chicken ready to cook. Thus, they portrayed life in all its scenes and every level of society—the dance, the conversation, the party, the feast, the game; and this is how Terburg, Metzu, Netscher, Dow, Mieris, Steen, Brouwer, and Van Ostade became renowned.
After depicting the house, they turned their attention to the country. The stern climate allowed but a brief time for the admiration of nature, but for this very reason Dutch artists admired her all the more; they saluted the spring with a livelier joy, and permitted that fugitive smile of heaven to stamp itself more deeply on their fancy. The country was not beautiful, but it was twice dear because it had been torn from the sea and from the foreign oppressor. The Dutch artist painted it lovingly; he represented it simply, ingenuously, with a sense of intimacy which at that time was not to be found in Italian or Belgian landscape. The flat, monotonous country had, to the Dutch painter's eyes, a marvelous variety. He caught all the mutations of the sky, and knew the value of the water, with its reflections, its grace and freshness, and its power of illuminating everything. Having no mountains, he took the dikes for background; with no forests, he imparted to a single group of trees all the mystery of a forest; and he animated the whole with beautiful animals and white sails.
After describing the house, they shifted their focus to the countryside. The harsh climate allowed for only a brief time to appreciate nature, but that made Dutch artists admire it even more; they welcomed spring with greater joy and let that fleeting smile of heaven impress itself more deeply on their imagination. The countryside wasn't beautiful, but it was doubly precious because it had been reclaimed from the sea and foreign oppressors. The Dutch artist painted it with love; he represented it simply and sincerely, with a sense of intimacy that was lacking in Italian or Belgian landscapes at that time. To the Dutch painter, the flat and monotonous land had a remarkable variety. He captured all the changes in the sky and understood the value of water, with its reflections, grace, freshness, and ability to illuminate everything. Lacking mountains, he used the dikes as a backdrop; without forests, he granted a single group of trees the mystery of a forest; and he filled the scene with beautiful animals and white sails.
The subjects of their pictures are poor enough,--a windmill, a canal, a gray sky; but how they make one think! A few Dutch painters, not content with nature in their own country, came to Italy in search of hills, luminous skies, and famous ruins; and another band of select artists is the result,--Both, Swanevelt, Pynacker, Breenberg, Van Laer, Asselyn. But the palm remains with the landscapists of Holland; with Wynants the painter of morning, with Van der Neer the painter of night, with Ruysdael the painter of melancholy, with Hobbema the illustrator of windmills, cabins, and kitchen gardens, and with others who have restricted themselves to the expression of the enchantment of nature as she is in Holland.
The subjects of their paintings might seem simple—a windmill, a canal, a gray sky—but they really make you think! A few Dutch painters, not satisfied with the landscapes of their own country, traveled to Italy looking for hills, bright skies, and famous ruins; and this led to another group of notable artists: Both, Swanevelt, Pynacker, Breenberg, Van Laer, Asselyn. However, the true mastery still belongs to the landscape artists of Holland: Wynants, who captures the morning; Van der Neer, who paints the night; Ruysdael, the embodiment of melancholy; Hobbema, the one who illustrates windmills, cottages, and kitchen gardens; along with others dedicated to expressing the beauty of nature as it exists in Holland.
Simultaneously with landscape art was born another kind of painting, especially peculiar to Holland,--animal painting. Animals are the riches of the country; that magnificent race of cattle which has no rival in Europe for fecundity and beauty. The Hollanders, who owe so much to them, treat them, one may say, as part of the population; they wash them, comb them, dress them, and love them dearly. They are to be seen everywhere; they are reflected in all the canals, and dot with points of black and white the immense fields that stretch on every side, giving an air of peace and comfort to every place, and exciting in the spectator's heart a sentiment of Arcadian gentleness and patriarchal serenity. The Dutch artists studied these animals in all their varieties, in all their habits, and divined, as one may say, their inner life and sentiments, animating the tranquil beauty of the landscape with their forms. Rubens, Luyders, Paul de Vos, and other Belgian painters, had drawn animals with admirable mastery; but all these are surpassed by the Dutch artists Van der Velde, Berghem, Karel du Jardin, and by the prince of animal painters, Paul Potter, whose famous "Bull," in the gallery of the Hague, deserves to be placed in the Vatican beside the "Transfiguration" by Raphael.
Simultaneously with landscape art, another type of painting emerged, especially unique to Holland—animal painting. Animals are a significant asset of the country; that incredible breed of cattle has no equal in Europe for fertility and beauty. The Dutch, who owe so much to them, treat these animals as part of their community; they wash them, groom them, dress them, and love them dearly. They can be seen everywhere; they are reflected in all the canals and dotted across the vast fields that extend in every direction, giving a sense of peace and comfort to every place, and stirring in the viewer's heart a feeling of pastoral gentleness and familial tranquility. Dutch artists studied these animals in all their forms and behaviors, capturing, as one might say, their inner lives and emotions, enlivening the serene beauty of the landscape with their presence. Rubens, Luyders, Paul de Vos, and other Belgian painters rendered animals with remarkable skill; however, they are outdone by Dutch artists Van der Velde, Berghem, Karel du Jardin, and by the master of animal painting, Paul Potter, whose renowned "Bull" in the Hague gallery deserves to be displayed in the Vatican alongside Raphael's "Transfiguration."
In yet another field are the Dutch painters great,--the sea. The sea, their enemy, their power, and their glory, forever threatening their country, and entering in a hundred ways into their lives and fortunes; that turbulent North Sea, full of sinister color, with a light of infinite melancholy upon it, beating forever upon a desolate coast, must subjugate the imagination of the artist. He passes, indeed, long hours on the shore, contemplating its tremendous beauty, ventures upon its waves to study the effects of tempests, buys a vessel and sails with his wife and family, observing and making notes, follows the fleet into battle and takes part in the fight; and in this way are made marine painters like William Van der Velde the elder and William the younger, like Backhuysen, Dubbels, and Stork.
In another area, Dutch painters excel: the sea. The sea — their adversary, their strength, and their pride — constantly threatens their country, infiltrating their lives and fortunes in countless ways. That turbulent North Sea, filled with ominous colors and an endlessly melancholic light, relentlessly crashes against a barren coast, must captivate the artist's imagination. They spend long hours on the shore, admiring its immense beauty, brave the waves to study storm effects, buy a boat to sail with their family, taking notes, and follow the fleet into battle, participating in the fight. This is how marine painters like William Van der Velde the elder and William the younger, as well as Backhuysen, Dubbels, and Stork are created.
Another kind of painting was to arise in Holland, as the expression of the character of the people and of republican manners. A people which without greatness had done so many great things, as Michelet says, must have its heroic painters, if we call them so, destined to illustrate men and events. But this school of painting,--precisely because the people were without greatness, or to express it better, without the form of greatness,--modest, inclined to consider all equal before the country, because all had done their duty, abhorring adulation, and the glorification in one only of the virtues and the triumph of many,--this school has to illustrate not a few men who have excelled, and a few extraordinary facts, but all classes of citizenship gathered among the most ordinary and pacific of burgher life. From this come the great pictures which represent five, ten, thirty persons together, arquebusiers, mayors, officers, professors, magistrates, administrators; seated or standing around a table, feasting and conversing; of life size, most faithful likenesses; grave, open faces, expressing that secure serenity of conscience by which may be divined rather than seen the nobleness of a life consecrated to one's country, the character of that strong, laborious epoch, the masculine virtues of that excellent generation; all this set off by the fine costume of the time, so admirably combining grace and dignity,--those gorgets, those doublets, those black mantles, those silken scarves and ribbons, those arms and banners. In this field stand pre-eminent Van der Helst, Hals, Govaert, Flink, and Bol.
Another type of painting was emerging in Holland, reflecting the character of the people and their republican values. A people that, as Michelet says, accomplished many great things without actually being great themselves, needed heroic painters—if we can call them that—to capture important individuals and events. However, this art movement, precisely because the people lacked greatness or, to put it better, lacked the outward signs of greatness, was modest and inclined to view everyone as equal before the nation, as everyone had fulfilled their duty. They rejected flattery and the glorification of one individual over the many. This school aimed to portray not just a few exceptional individuals and extraordinary events, but all classes of citizens drawn from the most ordinary and peaceful burgher life. This resulted in large paintings depicting groups of five, ten, even thirty people—arquebusiers, mayors, officers, professors, magistrates, administrators—seated or standing around a table, feasting and chatting; life-size and remarkably true to life; serious, open faces that convey a deep sense of peace of mind, hinting at the nobility of a life dedicated to one's country, the character of that strong, hardworking era, the masculine virtues of that admirable generation; all enhanced by the fine attire of the time, which perfectly combined elegance and dignity—those gorgets, doublets, black cloaks, silken scarves and ribbons, arms, and banners. In this arena, the standout artists are Van der Helst, Hals, Govaert, Flink, and Bol.
Descending from the consideration of the various kinds of painting, to the special manner by means of which the artist excelled in treatment, one leads all the rest as the distinctive feature of Dutch painting--the light.
Descending from the discussion of the different styles of painting, when we focus on the particular method by which the artist stood out in their technique, one aspect leads all the others as the defining characteristic of Dutch painting—the light.
The light in Holland, by reason of the particular conditions of its manifestation, could not fail to give rise to a special manner of painting. A pale light, waving with marvelous mobility through an atmosphere impregnated with vapor, a nebulous veil continually and abruptly torn, a perpetual struggle between light and shadow,--such was the spectacle which attracted the eye of the artist. He began to observe and to reproduce all this agitation of the heavens, this struggle which animates with varied and fantastic life the solitude of nature in Holland; and in representing it, the struggle passed into his soul, and instead of representing he created. Then he caused the two elements to contend under his hand; he accumulated darkness that he might split and seam it with all manner of luminous effects and sudden gleams of light; sunbeams darted through the rifts, sunset reflections and the yellow rays of lamp-light were blended with delicate manipulation into mysterious shadows, and their dim depths were peopled with half-seen forms; and thus he created all sorts of contrasts, enigmas, play and effect of strange and unexpected chiaroscuro. In this field, among many, stand conspicuous Gerard Dow, the author of the famous four-candle picture, and the great magician and sovereign illuminator Rembrandt.
The light in Holland, due to its unique qualities, naturally led to a distinct style of painting. A soft light, shifting with incredible fluidity through a misty atmosphere, a constantly and dramatically torn fog, and an ongoing battle between light and shadow—this was the scene that captured the artist’s eye. He began to observe and capture all this turmoil in the skies, this struggle that breathes vibrant and fantastical life into the solitude of nature in Holland; in portraying it, that struggle infused his spirit, and instead of merely depicting, he created. He made the two elements clash under his brush; he built up darkness just to slice through it with all kinds of bright effects and sudden bursts of light; sunbeams pierced through the gaps, sunset reflections blended with golden lamp-light were carefully mixed into mysterious shadows, and their dim depths were filled with barely visible forms; thus he produced all sorts of contrasts, puzzles, and plays of strange and unexpected light and dark. In this realm, among many others, Gerard Dow, known for the famous four-candle painting, and the great master and supreme light artist Rembrandt stand out prominently.
Another marked feature of Dutch painting was to be color. Besides the generally accepted reasons that in a country where there are no mountainous horizons, no varied prospects, no great coup d'oeil,--no forms, in short, that lend themselves to design,--the artist's eye must inevitably be attracted by color; and that this might be peculiarly the case in Holland, where the uncertain light, the fog-veiled atmosphere, confuse and blend the outlines of all objects, so that the eye, unable to fix itself upon the form, flies to color as the principal attribute that nature presents to it,--besides these reasons, there is the fact that in a country so flat, so uniform, and so gray as Holland, there is the same need of color as in southern lands there is need of shade. The Dutch artists did but follow the imperious taste of their countrymen, who painted their houses in vivid colors, as well as their ships, and in some places the trunks of their trees and the palings and fences of their fields and gardens; whose dress was of the gayest, richest hues; who loved tulips and hyacinths even to madness. And thus the Dutch painters were potent colorists, and Rembrandt was their chief.
Another significant aspect of Dutch painting was color. In a country without mountainous horizons, diverse landscapes, or grand views—essentially, without forms that lend themselves to design—the artist's eye naturally gravitates towards color. This is especially true in Holland, where the unpredictable light and foggy atmosphere blur and blend the outlines of objects. As a result, the eye, unable to fixate on form, turns to color as the main feature that nature offers. Additionally, in a place as flat, uniform, and gray as Holland, there’s a need for color similar to the need for shade in southern regions. Dutch artists simply catered to the strong preferences of their fellow countrymen, who adorned their houses and ships in bright colors, and in some areas, even painted the trunks of their trees and the fences in their fields and gardens. Their clothing boasted the most vibrant, richest hues, and there was a passionate love for tulips and hyacinths. Consequently, Dutch painters became master colorists, with Rembrandt being their foremost exponent.
Realism, natural to the calmness and slowness of the Dutch character, was to give to their art yet another distinctive feature,--finish, which was carried to the very extreme of possibility. It is truly said that the leading quality of the people may be found in their pictures; viz., patience. Everything is represented with the minuteness of a daguerreotype; every vein in the wood of a piece of furniture, every fibre in a leaf, the threads of cloth, the stitches in a patch, every hair upon an animal's coat, every wrinkle in a man's face; everything finished with microscopic precision, as if done with a fairy pencil, or at the expense of the painter's eyes and reason. In reality a defect rather than an excellence, since the office of painting is to represent not what is, but what the eye sees, and the eye does not see everything; but a defect carried to such a pitch of perfection that one admires, and does not find fault. In this respect the most famous prodigies of patience were Dow, Mieris, Potter, and Van der Heist, but more or less all the Dutch painters.
Realism, which aligns with the calm and steady nature of the Dutch character, added a unique feature to their art—finish, taken to the extreme of what's possible. It's often said that the main quality of the people is reflected in their pictures: patience. Everything is depicted with the detail of a daguerreotype; every vein in a piece of furniture, every fiber in a leaf, the threads in fabric, the stitches in a patch, every hair on an animal's coat, every wrinkle on a man's face—everything is finished with microscopic precision, as if done with a fairy's pencil or at the cost of the painter's eyesight and sanity. In reality, this is more of a flaw than a strength, since the purpose of painting is to represent not what is, but what the eye perceives, and the eye does not see every detail. Yet, this flaw is taken to such a level of perfection that it earns admiration without criticism. In this regard, the most renowned masters of patience were Dow, Mieris, Potter, and Van der Heist, along with most other Dutch painters.
But realism, which gives to Dutch art so original a stamp and such admirable qualities, is yet the root of its most serious defects. The artists, desirous only of representing material truths, gave to their figures no expression save that of their physical sentiments. Grief, love, enthusiasm, and the thousand delicate shades of feeling that have no name, or take a different one with the different causes that give rise to them, they express rarely, or not at all. For them the heart does not beat, the eyes do not weep, the lips do not quiver. One whole side of the human soul, the noblest and highest, is wanting in their pictures. More: in their faithful reproduction of everything, even the ugly, and especially the ugly, they end by exaggerating even that, making defects into deformities and portraits into caricatures; they calumniate the national type; they give a burlesque and graceless aspect to the human countenance. In order to have the proper background for such figures, they are constrained to choose trivial subjects: hence the great number of pictures representing beer-shops, and drinkers with grotesque, stupid faces, in absurd attitudes; ugly women and ridiculous old men; scenes in which one can almost hear the brutal laughter and the obscene words. Looking at these pictures, one would naturally conclude that Holland was inhabited by the ugliest and most ill-mannered people on the earth. We will not speak of greater and worse license. Steen, Potter, and Brouwer, the great Rembrandt himself, have all painted incidents that are scarcely to be mentioned to civilized ears, and certainly should not be looked at. But even setting aside these excesses, in the picture galleries of Holland there is to be found nothing that elevates the mind, or moves it to high and gentle thoughts. You admire, you enjoy, you laugh, you stand pensive for a moment before some canvas; but coming out, you feel that something is lacking to your pleasure, you experience a desire to look upon a handsome countenance, to read inspired verses, and sometimes you catch yourself murmuring, half unconsciously, "O Raphael!"
But realism, which gives Dutch art such a unique character and remarkable qualities, is also the source of its most serious flaws. The artists, focused solely on depicting material truths, offer their figures no expression beyond their physical feelings. Emotions like grief, love, enthusiasm, and the countless subtle shades of feeling that have no name or change based on their causes are rarely, if ever, expressed. For them, the heart doesn’t beat, the eyes don’t weep, and the lips don’t quiver. They miss portraying a whole aspect of the human soul, the noblest and highest one, in their artwork. Moreover, in their faithful reproduction of everything—even the ugly, especially the ugly—they end up exaggerating it, turning flaws into deformities and portraits into caricatures; they distort the national type and give a grotesque and clumsy look to the human face. To have suitable backgrounds for such figures, they feel forced to choose trivial subjects: hence the abundance of paintings depicting bars, drinkers with silly, dull faces in absurd poses; unattractive women and ridiculous old men; scenes that almost make you hear the loud laughter and crude words. Looking at these paintings, one would naturally think that Holland was home to the ugliest and most ill-mannered people on earth. We won’t discuss the greater, more inappropriate liberties taken. Steen, Potter, and Brouwer, even the great Rembrandt himself, have all painted scenes that are hardly fit for civilized company and certainly shouldn’t be looked at. But even without considering these excesses, the art galleries in Holland contain nothing that lifts the spirit or inspires high and gentle thoughts. You admire, you enjoy, you laugh, and you ponder for a moment before some canvas; but when you leave, you feel that something is missing from your enjoyment, you long to gaze upon a beautiful face, to read inspired poetry, and sometimes you find yourself murmuring, half unconsciously, "O Raphael!"
Finally, there are still two important excellences to be recorded of this school of painting: its variety, and its importance as the expression--the mirror, so to speak--of the country. If we except Rembrandt with his group of followers and imitators, almost all the other artists differ very much from one another; no other school presents so great a number of original masters. The realism of the Dutch painters is born of their common love of nature: but each one has shown in his work a kind of love peculiarly his own; each one has rendered a different impression which he has received from nature; and all, starting from the same point, which was the worship of material truth, have arrived at separate and distinct goals. Their realism, then, inciting them to disdain nothing as food for the pencil, has so acted that Dutch art succeeds in representing Holland more completely than has ever been accomplished by any other school in any other country. It has been truly said that should every other visible witness of the existence of Holland in the seventeenth century--her period of greatness--vanish from the earth, and the pictures remain, in them would be found preserved entire the city, the country, the ports, the ships, the markets, the shops, the costumes, the arms, the linen, the stuffs, the merchandise, the kitchen utensils, the food, the pleasures, the habits, the religious belief and superstitions, the qualities and effects of the people; and all this, which is great praise for literature, is no less praise for her sister art.
Finally, there are still two important qualities to highlight about this school of painting: its diversity and its significance as an expression—the mirror, so to speak—of the country. If we exclude Rembrandt and his group of followers and imitators, almost all the other artists differ significantly from one another; no other school has such a vast number of original masters. The realism of the Dutch painters comes from their shared love of nature, but each artist has expressed that love in a way that's uniquely their own; each has captured a different impression from nature. Though they all started from the same ideal of valuing material truth, they have reached distinct and separate outcomes. Their realism, which encourages them to embrace everything as potential inspiration, has allowed Dutch art to depict Holland more thoroughly than any other school has managed in any other country. It's been accurately stated that if every other visible sign of Holland’s existence in the seventeenth century—its golden age—were to disappear, the paintings alone would preserve the city, the countryside, the ports, the ships, the markets, the shops, the clothing, the weapons, the linens, the textiles, the goods, the kitchenware, the food, the pleasures, the customs, the religious beliefs and superstitions, the character and effects of the people; and all of this, which is high praise for literature, is equally commendable for its sister art.
HENRI FRÉDÉRIC AMIEL
(1821-1881)
BY RICHARD BURTON
he French have long been writers of what they call 'Pensées,'--those detached thoughts or meditations which, for depth, illumination, and beauty, have a power of life, and come under the term "literature." Their language lends itself to the expression of subjective ideas with lucidity, brilliance, charm. The French quality of mind allows that expression to be at once dignified and happily urbane. Sometimes these sayings take the form of the cynical epigrams of a La Rochefoucauld; are expanded into sententious aphorisms by a La Bruyère; or reveal more earnest and athletic souls, who pierce below the social surface froth to do battle with the demons of the intellect. To this class belong men like the seventeenth-century Pascal and the nineteenth-century Amiel.
The French have long been writers of what they call 'Pensées'—those isolated thoughts or reflections that, for their depth, insight, and beauty, have a vibrant life and fall under the category of "literature." Their language allows for the clear, brilliant, and charming expression of personal ideas. The French way of thinking enables this expression to be both dignified and pleasantly sophisticated. Sometimes these thoughts take the shape of the cynical epigrams of a La Rochefoucauld; are elaborated into insightful aphorisms by a La Bruyère; or reveal more serious and intense individuals who dig deeper than the superficial social layers to confront the challenges of the mind. This group includes figures like the seventeenth-century Pascal and the nineteenth-century Amiel.
The career of Henri Frédéric Amiel illustrates the dubiety of too hasty judgment of a man's place or power in the world. A Genevese by birth, of good parentage, early orphaned, well educated, much traveled, he was deemed, on his return in the springtime of his manhood to his native town as professor in the Academy of Geneva, to be a youth of great promise, destined to become distinguished. But the years slipped by, and his literary performance, consisting of desultory essays and several slight volumes of verse, was not enough to justify the prophecy. His life more and more became that of a bachelor recluse and valetudinarian. When he died, in 1881, at sixty years of age, after much suffering heroically borne, as pathetic entries in the last leaves of his Diary remain to show, there was a feeling that here was "one more faithful failure." But the quiet, brooding teacher in the Swiss city which has at one time or another immured so many rare minds, had for years been jotting down his reflections in a private journal. It constitutes the story of his inner life, never told in his published writings. When a volume of the 'Journal Intime' appeared the year after his taking off, the world recognized in it not only an intellect of clarity and keenness, and a heart sensitive to the widest spiritual problems, but the revelation of a typical modern mood. The result was that Amiel, being dead, yet spoke to his generation, and his fame was quick and genuine. The apparent disadvantage point of Geneva proved, after all, the fittest abiding-place for the poet-philosopher. A second volume of extracts, two years later, found him in an assured place as a writer of 'Pensées.'
The career of Henri Frédéric Amiel shows how easy it is to jump to conclusions about a person's status or influence in the world. Born in Geneva to a good family and orphaned at a young age, he received a solid education and traveled extensively. Upon returning to his hometown in the prime of his life to serve as a professor at the Academy of Geneva, he was seen as a promising young man destined for greatness. However, the years went by, and his literary output, which included scattered essays and a few minor poetry collections, didn't live up to that expectation. He increasingly led the life of a reclusive bachelor and an invalid. When he died in 1881 at the age of sixty, after enduring much suffering, his poignant entries in the last pages of his Diary revealed a poignant sense of "one more faithful failure." Yet, the quiet, contemplative teacher in that Swiss city, which has housed so many brilliant minds, had spent years writing down his thoughts in a private journal. This journal captures the story of his inner life, which was never shared in his published works. When a volume of 'Journal Intime' was published the year after his death, the world recognized not only his clear and sharp intellect and a heart attuned to the most profound spiritual issues but also the expression of a distinctly modern perspective. As a result, Amiel, even in death, resonated with his generation, and his reputation grew quickly and authentically. The seemingly limiting environment of Geneva ultimately proved to be the ideal home for the poet-philosopher. A second volume of excerpts two years later established him as a respected writer of 'Pensées.'
The 'Journal' of Amiel is symptomatic of his time,--perhaps one reason why it met with so sympathetic a response. It mirrors the intellectual doubtings, the spiritual yearnings and despairs of a strenuous and pure soul in a rationalistic atmosphere. In the day of scientific test and of skepticism, of the readjustment of conventions and the overthrow of sacrosanct traditions, one whose life is that of thought rather than of action finds much to perplex, to weary, and to sadden. So it was with the Swiss professor. He was always in the sanctum sanctorum of his spirit, striving to attain the truth; with Hamlet-like irresolution he poised in mind before the antinomies of the universe, alert to see around a subject, having the modern thinker's inability to be partisan. This way of thought is obviously unhealthy, or at least has in it something of the morbid. It implies the undue introspection which is well-nigh the disease of this century. There is in it the failure to lose one's life in objective incident and action, that one may find it again in regained balance of mind and bodily health. Amiel had the defect of his quality; but he is clearly to be separated from those shallow or exaggerated specimens of subjectivity illustrated by present-day women diarists, like Bashkirtseff and Kovalevsky. The Swiss poet-thinker had a vigor of thought and a broad culture; his aim was high, his desire pure, and his meditations were often touched with imaginative beauty. Again and again he flashes light into the darkest penetralia of the human soul. At times, too, there is in him a mystic fervor worthy of St. Augustine. If his dominant tone is melancholy, he is not to be called a pessimist. He believed in the Good at the central core of things. Hence is he a fascinating personality, a stimulative force. And these outpourings of an acute intellect, and a nature sensitive to the Ideal, are conveyed in a diction full of literary feeling and flavor. Subtlety, depth, tenderness, poetry, succeed each other; nor are the crisp, compressed sayings, the happy mots of the epigrammatist, entirely lacking. And pervading all is an impression of character.
The 'Journal' of Amiel reflects the times he lived in, which might explain why it resonated so deeply with readers. It captures the intellectual uncertainties, spiritual desires, and struggles of a dedicated and thoughtful individual in a rational world. In an era focused on scientific evidence and skepticism, where traditions and conventions are being challenged, someone like Amiel—whose life revolves around ideas instead of actions—finds plenty to confuse, exhaust, and sadden them. That was the case with this Swiss professor. He was constantly exploring the depths of his spirit, searching for truth; with a Hamlet-like uncertainty, he contemplated the complexities of the universe, always ready to view a subject from multiple angles, unable to take a firm stand like many modern thinkers. This way of thinking can clearly be unhealthy or, at the very least, has a somewhat morbid aspect to it. It suggests a tendency for excessive self-reflection, which is almost a disease of this century. It indicates a failure to engage fully with life’s events and actions, which could lead to a restored sense of mental balance and physical well-being. Amiel had this flaw in his character; however, he should not be confused with the shallow or extreme forms of subjectivity seen in today's female diarists, like Bashkirtseff and Kovalevsky. The Swiss poet-thinker possessed a vigorous intellect and broad knowledge; his aspirations were lofty, his desires sincere, and often his reflections carried a touch of imaginative beauty. Time and again, he sheds light on the deepest corners of the human soul. At times, he exhibits a mystical intensity worthy of St. Augustine. Although his overall mood may be one of melancholy, he shouldn’t be labeled a pessimist. He believed in an inherent goodness at the core of existence. This makes him a captivating figure and an inspiring presence. His articulate expressions of a sharp intellect and a spirit attuned to ideals are conveyed in a style rich with literary sensibility. Subtlety, depth, tenderness, and poetry flow seamlessly through his writing; he also includes sharp, concise statements, the clever remarks of an epigrammatist, which are not entirely absent. And throughout, there is a strong sense of character present.
Like Pascal, Amiel was a thinker interested above all in the soul of man. He was a psychologist, seeking to know the secret of the Whence, the Why, and the Whither. Like Joubert, whose journal resembled his own in its posthumous publication, his reflections will live by their weight, their quality, their beauty of form. Nor are these earlier writers of "Pensées" likely to have a more permanent place among the seed-sowers of thought. Amiel himself declared that "the pensée-writer is to the philosopher what the dilettante is to the artist. He plays with thought, and makes it produce a crowd of pretty things of detail; but he is more anxious about truths than truth, and what is essential in thought, its sequence, its unity, escapes him.... In a word, the pensée-writer deals with what is superficial and fragmentary." While these words show the fine critical sense of the man, they do an injustice to his own work. Fragmentary it is, but neither superficial nor petty. One recognizes in reading his wonderfully suggestive pages that here is a rare personality, indeed,--albeit "sicklied o'er with the pale cast of thought."
Like Pascal, Amiel was a thinker primarily focused on the human soul. He was a psychologist trying to uncover the secrets of Where we come from, Why we’re here, and Where we’re going. Similar to Joubert, whose journal was published after his death and mirrored Amiel’s, his reflections will endure because of their depth, quality, and aesthetic appeal. These earlier writers of "Pensées" are unlikely to have a more lasting influence among the pioneers of thought. Amiel himself stated that "the pensée-writer is to the philosopher what the dilettante is to the artist. He plays with ideas, producing a variety of pretty details; but he cares more about ideas than the truth, and what is essential in thought—its progression and unity—eludes him... In short, the pensée-writer engages with what is superficial and fragmented." While these words illustrate the man's keen critical insight, they undermine his own work. It may be fragmented, but it is anything but superficial or trivial. One can clearly see in his remarkably insightful writing that he possesses a truly unique personality, even if it's "sicklied o'er with the pale cast of thought."
In 1889 an admirable English translation of Amiel by Mrs. Humphry Ward, the novelist, appeared in London. The introductory essay by Mrs. Ward is the best study of him in our language. The appended selections are taken from the Ward translation.
In 1889, a fantastic English translation of Amiel by Mrs. Humphry Ward, the novelist, was published in London. Mrs. Ward's introductory essay is the best analysis of him in our language. The selections included are from the Ward translation.
EXTRACTS FROM AMIEL'S JOURNAL
October 1st, 1849.--Yesterday, Sunday, I read through and made extracts from the Gospel of St. John. It confirmed me in my belief that about Jesus we must believe no one but Himself, and that what we have to do is to discover the true image of the Founder behind all the prismatic refractions through which it comes to us, and which alter it more or less. A ray of heavenly light traversing human life, the message of Christ has been broken into a thousand rainbow colors, and carried in a thousand directions. It is the historical task of Christianity to assume with every succeeding age a fresh metamorphosis, and to be forever spiritualizing more and more her understanding of the Christ and of salvation.
October 1st, 1849.--Yesterday, Sunday, I read through and took notes on the Gospel of St. John. It strengthened my belief that when it comes to Jesus, we should trust no one but Him, and our task is to uncover the true image of the Founder behind all the different interpretations through which it reaches us, which change it to some extent. Like a ray of heavenly light passing through human life, the message of Christ has been scattered into a thousand rainbow colors, heading in all kinds of directions. It is the ongoing mission of Christianity to adapt and transform with each generation, continuously deepening its understanding of Christ and of salvation.
I am astounded at the incredible amount of Judaism and formalism which still exists nineteen centuries after the Redeemer's proclamation, "It is the letter which killeth"--after his protest against a dead symbolism. The new religion is so profound that it is not understood even now, and would seem a blasphemy to the greater number of Christians. The person of Christ is the centre of it. Redemption, eternal life, divinity, humanity, propitiation, incarnation, judgment, Satan, heaven and hell,--all these beliefs have been so materialized and coarsened that with a strange irony they present to us the spectacle of things having a profound meaning and yet carnally interpreted. Christian boldness and Christian liberty must be reconquered; it is the Church which is heretical, the Church whose sight is troubled and her heart timid. Whether we will or no, there is an esoteric doctrine--there is a relative revelation; each man enters into God so much as God enters into him; or, as Angelus, I think, said, "The eye by which I see God is the same eye by which He sees me."
I am amazed at the incredible amount of Judaism and formalism that still exists nineteen centuries after the Redeemer's proclamation, "It is the letter that kills"—after his protest against lifeless symbolism. The new religion is so deep that it’s still not understood today, and would likely seem blasphemous to most Christians. The figure of Christ is at the center of it all. Redemption, eternal life, divinity, humanity, atonement, incarnation, judgment, Satan, heaven, and hell—all these beliefs have been so materialized and simplified that, ironically, they present us with the spectacle of things having a profound meaning yet being interpreted in a very earthly way. Christian courage and Christian freedom must be reclaimed; it is the Church that is heretical, the Church whose vision is clouded and whose heart is fearful. Whether we like it or not, there is an esoteric doctrine—there is a relative revelation; each person connects with God to the extent that God connects with them; or, as Angelus possibly said, "The eye by which I see God is the same eye by which He sees me."
Duty has the virtue of making us feel the reality of a positive world while at the same time detaching us from it.
Duty has the quality of helping us appreciate the reality of a good world while also pulling us away from it.
February 20th, 1851.--I have almost finished these two volumes of [Joubert's] 'Pensées' and the greater part of the 'Correspondance.' This last has especially charmed me; it is remarkable for grace, delicacy, atticism, and precision. The chapters on metaphysics and philosophy are the most insignificant. All that has to do with large views, with the whole of things, is very little at Joubert's command: he has no philosophy of history, no speculative intuition. He is the thinker of detail, and his proper field is psychology and matters of taste. In this sphere of the subtleties and delicacies of imagination and feeling, within the circle of personal affections and preoccupations, of social and educational interests, he abounds in ingenuity and sagacity, in fine criticisms, in exquisite touches. It is like a bee going from flower to flower, a teasing, plundering, wayward zephyr, an aeolian harp, a ray of furtive light stealing through the leaves. Taken as a whole, there is something impalpable and immaterial about him, which I will not venture to call effeminate, but which is scarcely manly. He wants bone and body: timid, dreamy, and clairvoyant, he hovers far above reality. He is rather a soul, a breath, than a man. It is the mind of a woman in the character of a child, so that we feel for him less admiration than tenderness and gratitude.
February 20th, 1851.--I have almost finished these two volumes of [Joubert's] 'Pensées' and most of the 'Correspondance.' The latter has particularly captivated me; it stands out for its grace, delicacy, sharpness, and precision. The chapters on metaphysics and philosophy are the least impressive. Joubert doesn't have much to say about broad perspectives or the big picture; he lacks a philosophy of history and speculative insight. He focuses on details, and his true strength lies in psychology and aesthetic matters. In this realm of the subtleties and nuances of imagination and emotion, within the realm of personal connections, concerns, and social and educational interests, he excels in cleverness and insight, with sharp critiques and delicate touches. It's like a bee flitting from flower to flower, a playfully wandering breeze, an aeolian harp, a fleeting ray of light slipping through the leaves. Overall, there's something intangible and ethereal about him, which I won't call effeminate, but it's hardly masculine. He lacks substance and strength: shy, dreamy, and insightful, he floats far above reality. He's more of a spirit, a breath, than a man. It's the mind of a woman in the form of a child, so we feel more tenderness and gratitude for him than admiration.
November 10th, 1852.--How much have we not to learn from the Greeks, those immortal ancestors of ours! And how much better they solved their problem than we have solved ours! Their ideal man is not ours; but they understood infinitely better than we, how to reverence, cultivate, and ennoble the man whom they knew. In a thousand respects we are still barbarians beside them, as Béranger said to me with a sigh in 1843: barbarians in education, in eloquence, in public life, in poetry, in matters of art, etc. We must have millions of men in order to produce a few elect spirits: a thousand was enough in Greece. If the measure of a civilization is to be the number of perfected men that it produces, we are still far from this model people. The slaves are no longer below us, but they are among us. Barbarism is no longer at our frontiers: it lives side by side with us. We carry within us much greater things than they, but we ourselves are smaller. It is a strange result. Objective civilization produced great men while making no conscious effort toward such a result; subjective civilization produces a miserable and imperfect race, contrary to its mission and its earnest desire. The world grows more majestic, but man diminishes. Why is this?
November 10th, 1852.--How much there is for us to learn from the Greeks, our timeless ancestors! And how much better they addressed their challenges than we have with ours! Their ideal of a person isn't ours, but they understood so much better than we do how to respect, nurture, and elevate the people they knew. In countless ways, we are still barbarians compared to them, as Béranger told me with a sigh in 1843: barbarians in education, in speaking, in public life, in poetry, in art, and so on. We need millions of people to create a few exceptional individuals: a thousand was enough for Greece. If the measure of a civilization is the number of perfected people it produces, we are still far from that ideal society. The slaves are no longer beneath us, but among us. Barbarism is no longer just beyond our borders: it exists right alongside us. We hold within us much greater potential than they did, but we are diminished ourselves. It's a puzzling outcome. Objective civilization produced great individuals without any conscious effort toward that outcome; subjective civilization, on the other hand, creates a weak and flawed race, which goes against its mission and its sincere hopes. The world is becoming more magnificent, yet humanity is shrinking. Why is that?
We have too much barbarian blood in our veins, and we lack measure, harmony, and grace. Christianity, in breaking man up into outer and inner, the world into earth and heaven, hell and paradise, has decomposed the human unity, in order, it is true, to reconstruct it more profoundly and more truly. But Christianity has not yet digested this powerful leaven. She has not yet conquered the true humanity; she is still living under the antinomy of sin and grace, of here below and there above. She has not penetrated into the whole heart of Jesus. She is still in the narthex of penitence; she is not reconciled, and even the churches still wear the livery of service, and have none of the joy of the daughters of God, baptized of the Holy Spirit.
We have too much barbaric blood in our veins, and we lack balance, harmony, and grace. Christianity, by dividing man into outer and inner, and the world into earth and heaven, hell and paradise, has disrupted human unity to reconstruct it more deeply and truly. But Christianity hasn’t fully absorbed this powerful change. It hasn’t yet embraced true humanity; it’s still caught in the conflict between sin and grace, between the world here and the world above. It hasn’t fully understood the heart of Jesus. It’s still at the narthex of repentance; it hasn’t found reconciliation, and even the churches still wear the robes of servitude, lacking the joy of the daughters of God, who are baptized by the Holy Spirit.
Then, again, there is our excessive division of labor; our bad and foolish education which does not develop the whole man; and the problem of poverty. We have abolished slavery, but without having solved the question of labor. In law, there are no more slaves--in fact, there are many. And while the majority of men are not free, the free man, in the true sense of the term, can neither be conceived nor realized. Here are enough causes for our inferiority.
Then again, there’s our extreme division of labor, our poor and misguided education that doesn’t nurture the whole person, and the issue of poverty. We’ve eliminated slavery, but we haven’t addressed the question of labor. Legally, there are no more slaves—yet in reality, many still exist. And while most people aren’t free, a truly free individual can’t be imagined or achieved. These are enough reasons for our shortcomings.
November 12th, 1852.--St. Martin's summer is still lingering, and the days all begin in mist. I ran for a quarter of an hour round the garden to get some warmth and suppleness. Nothing could be lovelier than the last rosebuds, or the delicate gaufred edges of the strawberry leaves embroidered with hoar-frost, while above them Arachne's delicate webs hung swaying in the green branches of the pines,--little ball-rooms for the fairies, carpeted with powdered pearls, and kept in place by a thousand dewy strands, hanging from above like the chains of a lamp, and supporting them from below like the anchors of a vessel. These little airy edifices had all the fantastic lightness of the elf-world, and all the vaporous freshness of dawn. They recalled to me the poetry of the North, wafting to me a breath from Caledonia or Iceland or Sweden, Frithjof and the Edda, Ossian and the Hebrides. All that world of cold and mist, of genius and of reverie, where warmth comes not from the sun but from the heart, where man is more noticeable than nature,--that chaste and vigorous world, in which will plays a greater part than sensation, and thought has more power than instinct,--in short, the whole romantic cycle of German and Northern poetry, awoke little by little in my memory and laid claim upon my sympathy. It is a poetry of bracing quality, and acts upon one like a moral tonic. Strange charm of imagination! A twig of pine-wood and a few spider-webs are enough to make countries, epochs, and nations live again before her.
November 12th, 1852.--St. Martin's summer is still hanging on, and the days all start out foggy. I jogged around the garden for about fifteen minutes to warm up and loosen up. Nothing could be more beautiful than the last rosebuds or the fine, frosted edges of the strawberry leaves glistening with frost, while delicate spider webs swayed in the green branches of the pines—little ballrooms for the fairies, carpeted with powdered pearls, held in place by a thousand dewy strands, hanging down like a lamp’s chains, and supporting them from below like a ship’s anchors. These airy little structures had all the whimsical lightness of an elf’s world and the fresh vaporiness of dawn. They reminded me of the poetry of the North, sending me a breath from places like Caledonia, Iceland, or Sweden, Frithjof and the Edda, Ossian and the Hebrides. That entire world of cold and mist, of creativity and daydreaming, where warmth comes not from the sun but from the heart, where humans are more prominent than nature—this pure and vigorous world, where willpower dominates over sensation, and thought holds more weight than instinct—in short, the whole romantic cycle of German and Northern poetry slowly came back to me and claimed my sympathy. It’s a poetry that invigorates and acts like a moral tonic. Strange power of imagination! Just a twig of pine and a few spider webs are enough to bring entire countries, eras, and nations back to life before her.
January 6th, 1853.--Self-government with tenderness,--here you have the condition of all authority over children. The child must discover in us no passion, no weakness of which he can make use; he must feel himself powerless to deceive or to trouble us; then he will recognize in us his natural superiors, and he will attach a special value to our kindness, because he will respect it. The child who can rouse in us anger, or impatience, or excitement, feels himself stronger than we, and a child respects strength only. The mother should consider herself as her child's sun, a changeless and ever radiant world, whither the small restless creature, quick at tears and laughter, light, fickle, passionate, full of storms, may come for fresh stores of light, warmth, and electricity, of calm and of courage. The mother represents goodness, providence, law; that is to say, the divinity, under that form of it which is accessible to childhood. If she is herself passionate, she will inculcate in her child a capricious and despotic God, or even several discordant gods. The religion of a child depends on what its mother and its father are, and not on what they say. The inner and unconscious ideal which guides their life is precisely what touches the child; their words, their remonstrances, their punishments, their bursts of feeling even, are for him merely thunder and comedy; what they worship--this it is which his instinct divines and reflects.
January 6th, 1853.--Self-governance with care is the key to all authority over children. The child must see no passion or weakness in us that they could exploit; they need to feel unable to deceive or upset us. Only then will they recognize us as their natural leaders and value our kindness because they will respect it. A child who can stir up our anger, impatience, or excitement feels more powerful than we are, and a child only respects strength. A mother should see herself as her child's sun, a constant and ever-bright presence where the small, restless creature—quick to tears and laughter, light, changeable, passionate, and full of storms—can come for renewed light, warmth, and energy, calm, and courage. The mother embodies goodness, guidance, and law; in other words, the divine in a way that a child can understand. If she is passionate herself, she will teach her child about a capricious and controlling God, or even multiple conflicting gods. A child's religion stems from who their parents are, not just what they say. The deep, unconscious ideals that guide their lives are what truly resonate with the child; their words, scoldings, punishments, and even emotional outbursts are merely noise and drama to the child. What they genuinely worship is what their instinct perceives and reflects.
The child sees what we are, behind what we wish to be. Hence his reputation as a physiognomist. He extends his power as far as he can with each of us; he is the most subtle of diplomatists. Unconsciously he passes under the influence of each person about him, and reflects it while transforming it after his his own nature. He is a magnifying mirror. This is why the first principle of education is, Train yourself; and the first rule to follow, if you wish to possess yourself of a child's will, is, Master your own.
The child sees who we really are, not just who we want to be. That's why he's considered a great observer of character. He influences each of us as much as he can; he's the most skilled negotiator. Without even realizing it, he absorbs what he sees from those around him and reflects it back, adapting it to his own nature. He's like a magnifying mirror. This is why the first rule of education is to work on yourself; and the most important guideline, if you want to gain a child's trust, is to have control over yourself.
December 17th, 1856.--This evening was the second quartet concert. It stirred me much more than the first; the music chosen was loftier and stronger. It was the quartette in D minor of Mozart, and the quartette in C major of Beethoven, separated by a Spohr concerto.
December 17th, 1856.--This evening was the second quartet concert. It moved me much more than the first; the music selected was more elevated and powerful. It featured Mozart's quartet in D minor and Beethoven's quartet in C major, with a Spohr concerto in between.
The work of Mozart, penetrated as it is with mind and thought, represents a solved problem, a balance struck between aspiration and executive capacity, the sovereignty of a grace which is always mistress of itself, marvelous harmony and perfect unity. His quartette describes a day in one of those Attic souls who prefigure on earth the serenity of Elysium.
The work of Mozart, filled with intellect and contemplation, represents a solved problem, a balance achieved between ambition and skill, the mastery of a grace that always remains in control, incredible harmony, and complete unity. His quartet illustrates a day in one of those Athenian souls who reflect on earth the calm of paradise.
In Beethoven's, on the other hand, a spirit of tragic irony paints for you the mad tumult of existence, as it dances forever above the threatening abyss of the infinite. No more unity, no more satisfaction, no more serenity! We are spectators of the eternal duel between the two great forces, that of the abyss which absorbs all finite things, and that of life which defends and asserts itself, expands, and enjoys.
In Beethoven's work, a sense of tragic irony captures the chaotic nature of existence, as it continuously dances above the looming abyss of the infinite. There’s no longer unity, satisfaction, or peace! We watch the endless struggle between two powerful forces: the abyss that consumes all finite things, and life which fights back, asserting itself, growing, and reveling in its existence.
The soul of Beethoven was a tormented soul. The passion and the awe of the infinite seemed to toss it to and fro from heaven to hell. Hence its vastness. Which is the greater, Mozart or Beethoven? Idle question! The one is more perfect, the other more colossal. The first gives you the peace of perfect art, beauty at first sight. The second gives you sublimity, terror, pity, a beauty of second impression. The one gives that for which the other rouses a desire. Mozart has the classic purity of light and the blue ocean. Beethoven the romantic grandeur which belongs
The soul of Beethoven was a troubled one. The passion and awe of the infinite seemed to throw it back and forth between heaven and hell. Hence its vastness. Which is greater, Mozart or Beethoven? A pointless question! One is more perfect, the other is more immense. The first provides the peace of perfect art, beauty that captivates at first glance. The second offers sublimity, terror, pity, a beauty that reveals itself over time. One provides what the other stirs a longing for. Mozart possesses the classic purity of light and the vast blue ocean. Beethoven has the romantic grandeur that belongs
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