From1790to180038.67per cent."1800"18104.49""1810"182029.55""1820"183028.47""1830"184027.87""1840"185034.09""1850"186025.71"
In 1790 the population of Virginia was 748,318; in 1820, 1,065,129, and in 1860, 1,596,318. In 1790 the population of Pennsylvania was 434,373; in 1820, 1,348,233, and in 1860, 2,906,115. Thus, from 1790 to 1820, before the inauguration of the protective policy, the relative increase of the population of Pennsylvania, as compared with Virginia, was very far greater than from 1820 to 1860. It is quite clear, then, that the tariff had no influence in depressing the progress of Virginia as compared with Pennsylvania.
Having shown how much the material progress of Virginia has been retarded by slavery, let us now consider its effect upon her moral and intellectual development.
Newspapers and Periodicals.—The number of newspapers and periodicals in Pennsylvania in 1860 was 367, of which 277 were political, 43 religious, 25 literary, 22 miscellaneous; and the total number of copies circulated in 1860 was 116,094,480. (Census Tables, Nos. 15, 37.) The number in Virginia was 139, of which 117 were political, 13 religious, 3 literary, 6 miscellaneous; and the number of copies circulated in 1860 was 26,772,568, being much less than one fourth that of Pennsylvania. The number of copies of monthly periodicals circulated in Pennsylvania in 1860 was 464,684; and in Virginia, 43,900; or much more than ten to one in favor of Pennsylvania.
As regards schools, colleges, academies, libraries, and churches, I must take the Census of 1850, those tables for 1860 not being yet arranged or printed. The number of public schools in Pennsylvania in 1850 was 9,061; teachers, 10,024; pupils, 413,706; colleges, academies, &c., pupils, 26,142; attending school during the year, as returned by families, 504,610; native adults of the State who cannot read or write, 51,283; public libraries, 393; volumes, 363,400; value of churches, $11,853,291; percentage of native free, population (adults) who cannot read or write, 4.56. (Comp. Census of 1850.)
The number of public schools in Virginia in 1850 was 2,937; teachers, 3,005; pupils, 67,438; colleges, academies, &c., pupils, 10,326; attending school, as returned by families, 109,775; native white adults of the State who cannot read or write, 75,868; public libraries, 54; volumes, 88,462; value of churches, $2,902,220; percentage of native free adults of Virginia who cannot read or write, 19.90. (Comp. Census of 1850.) Thus, the church and educational statistics of Pennsylvania, and especially of free adults who cannot read or write, is as five to onenearly in favor of Pennsylvania. When we recollect that nearly one third of the population of Pennsylvania are of the great German race, and speak the noble German language, to which they are greatly attached, and hence the difficulty of introducing commonEnglishpublic schools in the State, the advantage, in this respect, of Pennsylvania over Virginia is most extraordinary.
These official statistics enable me, then, again to say that slavery is hostile to the progress ofwealthandeducation, toscienceandliterature, toschools,colleges, anduniversities, tobooksandlibraries, tochurchesandreligion, to thePRESS, and therefore toFREE GOVERNMENT; hostile to thepoor, keeping them inwantandignorance; hostile toLABOR, reducing it toservitudeand decreasingtwo thirdsthe value of its products; hostile tomorals, repudiating among slaves themaritalandparentalcondition, classifying them by law asCHATTELS,darkeningtheimmortal soul, and making it acrimeto teach millions ofhuman beingstoreadorwrite.
And yet, there are desperate leaders of the Peace party of Pennsylvania, desecrating the name ofDemocrats, but, in fact, Tories and traitors, who would separate that glorious old commonwealth from the North, and bid her sue in abject humiliation for admission as one of the Slave States of the rebel confederacy. Shades of Penn and Franklin, and of the thousands of martyred patriots of Pennsylvania who have fallen in defence of the Union from 1776 to 1863, forbid the terrible degradation.
Sultry and wearisome the day had been in that Tennessee valley, and after drill, we had laid around under the trees—tall, noble trees they were—and the fresh grass was green and soft under them as on the old 'Campus,' and we had been smoking and talking over a wide, wide range of subjects, from deep Carlyleism—of which Carlyle doubtless never heard—to the significance of the day's orders. It was not an inharmonious picture—Camp Alabama, so we had named it—for it was with a 'here we rest' feeling that a dozen days before we had marched in at noon. The ground sloped to the eastward—a single winding road of yellow sand crept over the slope into the horizon, a mile or more away; north, a hill rose with some abruptness; south and west, a grove of wonderful beauty skirted the valley. A single building—an old but large log farmhouse—stood near the tent, whose fluttering banner indicated headquarters. This old house was well filled with commissary stores, and, following that incomprehensible Tennessee policy, four companies of our regiment, the twenty-third, had been detached to guard them under Major Fanning—'a noble soldier he, but all untried.' We had never yet seen active service, and our tents were still white and unstained. The ground had been once the lawn of the deserted house—in the long ago probably the home of a planter of some pretension; and, as we lay there under the trees watching the boys over the fires, kindled for their evening meal, the blue smoke curling up among the trees, it made, as I have said, a most harmonious picture.
That fair June evening! I can never forget it, and I wish I were an artist that I could show you the sloping valley, the white tents, flushing like a girl's cheek to the good-night kisses of the sun, the curling smoke wreaths,and far, far above the amethystine heaven, from which floated over all a dim purple tint. I was the youngest commissioned officer in the regiment, having been promoted to a vacancy a week or two before through Major Fanning's influence.
We were all invited that evening to supper with our commanding officer and his wife—who had been with him for a few days. A fresh breeze stirred the trees at sunset, and, after slight attention to our toilette, we dropped by twos and threes into the neighborhood of the major's tent. A little back from the rows of other tents, a few fine oaks made a temple in front, worthy even of its presiding genius, Grace Fanning—but I amnotgoing to rhapsodize. She was a fair, modest, young thing, with the girl rose yet fresh on her wife's cheek. I had known her from childhood; very nearly of the same age, and the children of neighbors, we had been inseparable; of course in my first college vacation, finding her grown tall and womanly, I had entertained for her a devoted boyish passion, and had gone from her presence, one August night, mad with rejection, and wild with what I called despair. Butthatpassed, and we had been good friends ever since—she the confidential one, to whom I related my varied college love affairs, listening ever with a tender, genial sympathy. I had no sister, and Grace Jones (I am sorry, but her namewasJones) was dear to me as one. Two years of professional study had kept me away from my village home, and a few words came once in a long while, in my mother's letters 'to assure me of Grace's remembrance and regard.' A little of the elder sister's advising tone amused my one and twenty years and my incipient moustache amazingly; and I resolved, when I saw her, to convince her of my dignity—to patronize her. But the notes that called me home were too clarion-like for a relapse into puppyism. My country spoke my name, and I arose a man, and 'put away childish things.' I came home to say farewell. A regiment was forming there, I enlisted, and a few days before our departure, I stood in the village church, looking and listening while Grace promised eternal fidelity to Harry Fanning. I was a stranger to him. He had come to Danville after my departure, winning from all golden opinions, and from Grace a woman's priceless heart. She gave him freely to his country, and denied not her hand to his parting prayer. I had had time only to say farewell to her, and the old footing had not been restored, but Ithinkshe spoke to the major of me, for he soon sought me, giving me genial friendship and sympathy, and procuring for me, as I have related, my commission. I had seen her but once since she came to Camp Alabama, and she gave me warm and kindly welcome as I came in, the last of the group, having found in my tent some unexpected employment. Being a soldier, I shall not shock my fair readers if I confess that it was—buttons. Ah! me, I am frivolous. But I linger in the spirit of that happy hour. Grace's chair was shaded by a gracefully draped flag; the major stood near her, his love for her as visible in his eye as his cordial kindness for us. To me, in honor of my 'juniority,' as Mrs. Fanning said, was assigned a place near her. The others had choice between campstools and blankets on the grass. And the oddest but most respectable of contrabands served us soon with our supper, so homelike that we suspected 'Mrs. Major's' fair hands of interference.
It was a happy evening. Merry laughter at our camp stories rang silverly from her fair lips. Or we listened eagerly to her as she told us of the homes we had left, and the bonny maidens there, sobered since our departure into patriotic industry. Stories of touching self-denial, with a wholesome pathos, and sometimes from her dainty musical talk she dropped, pebble-like, a name, as 'Fanny,' 'Carry,''Maggie,' and responsive blushes rippled up over sunburned, honest faces, and a soft mist brightened for a second resolute eyes. Presently the band—a part only of the regiment's—began to play soft, well-known tunes. Through a few marches and national airs, I looked and listened as a year before, in the village church at home. And as the 'Star-Spangled Banner' rose inspiringly, I felt the coincidence strangely, and could scarcely say which scene was real: the church aisle and the bridal party, in white robes and favors, with mellow organ-tones rising in patriotic strains concerning the 'dear old flag,' or the group under the oaks; the young wife in her gray travelling dress, and the uniformed figures gathered around her; the moon-rise over the hill, lighting softly the drooping flag, the major's dark hair, and Mrs. Fanning's sunny braids, the wild notes of the same beloved melody overswelling all. But voices near aroused me, and we joined in the chorus, and in the following tune, 'Sweet Home,' the usual finale of our evening programme. Then, as the tones died, Grace lifted her voice and sang with sweet, pure soprano tones, an old-time ballad of love and parting and reunion.
We had a wild little battle song in 'Our Mess,' written by Charlie Marsh, our fair-haired boy-poet soldier, speaking of home, and the country's need, and victory, and possible deaths in ringing notes. We sang it there in the light of the slowly rising moon. The chorus was like this:
'Our country's foe before us,Our country's banner o'er us,Our country to deplore us,These are a soldier's needs.'
As we closed, Grace caught the strain, and with soft, birdlike notes sang:
'Your country's flag above you,Your country's true hearts love you—So let your country move youTo brave, undying deeds.'
More songs followed, and happy words of cheer in distress, of self-consecration, of past and future victory; but Major Fanning was unusually silent. Hardly sad, for he flung into our conversation occasional cheerful words; but gravely quiet, his dark eye following every motion of his fair young wife. Finally we called on Captain Carter, our 'oldest man,' a grave bachelor of forty-five, and to our surprise, who knew him harsh and sometimes profane, he sang, with a voice not faultless, but soft and expressive, that exquisite health of Campbell's:
'Drink ye to her that each loves best,And if you nurse a flameThat's told but to her mutual breast,We will not ask her name.'And far, far hence be jest or boast,From hallowed thoughts so dear;But drink to her that each loves most,As she would love to hear.'
Then silence for a little space; and the moonlight full and fair in soldiers' faces, young and old, but all firm and true, and fair and full on Grace Fanning's fresh, young brow. Then 'good-nights,' mingled with expressions of enjoyment, and plans for the morrow. I left them last.
'I am glad you are here, Robert,' said the major; 'Grace would not be all alone, even if I'—
Her white hand flashed to his lips, where a kiss met it, and laughingly we parted. A few rods away, I paused and turned. They stood there under the flag. Her bright head on his bosom, his arms about her, and the silver moonlight over all. Fair Grace Fanning! Have I named my story wrongly, pretty reader? I called it 'Camp Sketch,' and it reads too like a love story. 'Ah! gentle girl, seeking adventure in fiction, but shrinking really from even a cut finger, there is enough of battle even in my little story, though you slept peacefully and happily that fair June night, or waltzed yourself weary to the sound of the sea at the 'Ocean House.'
A few 'good nights' commendatoryof our hostess and our evening greeted me as I sought my tent and made ready for sleep. I was very happy, no memory of our talk was sullied by coarse or unlovely thought; pure as herself had been our enjoyment of Mrs. Fanning's society, and I slept sweetly.
The long roll! None but those who have heard it when it means instant danger and possible death, can conceive the thrill with which I sprang from deep slumber, and made hasty preparation for action. Quick as I was, others had been before me, and I found the half-dressed men drawn up in battle line before the encampment. I took my place.
Behind us lay the camp, a wide, street-like space, fringed with a double row of tents—at its foot the old log mansion; near that, a little in front, but at one side, the flag of headquarters—this behind. Before us the major—the western wood, and the flashing sabres of a band of hostile cavalry. They came on heedless of the fast-emptying saddles, on,on, and more following from the wood, the moon in the mid heaven, clear like day.
A gallant charge—a firm repulse. Major Fanning's clear voice on the night air, rallying the men to attack the furious foe. They sweep their horses around to left, but calmly the major wheels his battalion, still unflanked; again those fierce steeds try the first point of attack; again we front them undaunted. In our turn, with lifted level bayonets we charge; the enemy falls back—a shout threads along our lines, changing suddenly into a wail, for, calling us on, our leader falls. Pitiless to his noble valor, a well-aimed carbine-shot lays him low. They lift him, some brave soldiers near; and, his young face bathed in blood, they bear him to his waiting bride; he opens his eyes, as he passes.
'Courage! victory! my boys!' he calls; then, seeing me: 'Go! tell her, Robert.'
I call my orderly to my place, and before they have pierced our lines with their beloved burden, I am at the tent door. She stands there waiting, a little pistol in her hand—a light wrapper about her, and her fair hair streaming over her shoulders. I look at her mutely; she knows there is something terrible for her, and while I seek words, her eye goes on, resting where down the moonlit trees they are bringing him. A moment, she is by his side, and tearless and white, her hand on his unanswering heart, she moves beside him. The soldiers lay their leader on the ground under his flag, and her imperious gesture sends them back to their places in the battle. And then she, sinking beside him, cries out:
'Oh, Robert! will he never speak to me again? Help him!'
My two years at lectures had not been passed in vain, and surgery had been my hobby. I knelt and strove to aid him. It was a cruel wound. I asked for bandages. She tore them from her garments wildly. I stilled the trickling crimson stream, and going into the tent, found some restoratives. I poured the wine down his throat, and, soon opening his eyes, he spoke:
'Grace!'
I stepped away—near enough for call, not near enough for intrusion. Looking at the lines of dark forms topped by the light glimmer of stray bayonets, I saw with dismay that our men were retreating before those heavy charges; in thick, dense masses they moved back, nearing us. I thought of our soldier chief, crushed under those wild hoofs; I thought of Grace, unprotected in her youth and widowed, desolate beauty, and sprang to her side, ready with my life for her.
The major saw it all, and, faint as he was, rose on his elbow, watching. Charge after charge, wild and impetuous, break the slowly retreating battalions. In vain I heard Carter's stern oaths (may the angel of tears forgive him!), and Charlie Marsh's boyish calls. The men are facing us. The enemy,cheering, and in the background huge torches flaming with pitch, are ready for incendiarism.
'Grace! Grace! Imustrally them, let me go!' and I see Major Fanning straggling in her arms. I clasp him also.
'It is certain death,' I say to her, mad with fright and misery.
'And this is worse, worse, Grace; you might better kill me!' his voice was harsh—cruel even.
Suddenly she was gone, and I held him alone; catching his sword, she sprang like a flash of lightning into the open space before the log house, and, lifting the bare blade with naked, slender arm, its loose sleeve floating from her shoulder like a wing, she faced those panic-stricken men.
'For shame!' she cried; but her weak voice was lost; then, stern as the angel of death, she stepped forward.
'The first man that passes me shall die!' and she swung the flashing blade up, ready to fall. A moment's halt, and then, she spoke to them with wonderful strange words. I cannot recall them; with inspired eloquence she spoke, a slight, white-robed figure in the clear moonlight, and the rout was stayed, and they turned bravely to meet the foe. Then she came faint and weak to her husband's side again. He looked up with glad, eager eyes.
'Darling!'
Infinite love, soul-recognition, shone on both faces, and then blank unconsciousness crept over his. Firmly our boys met the charging steeds now. That moment had restored to them their courage. Emptied saddles were frequent, but still fresh forces dashed from the wood. Is there no hope for us? Must we be overpowered? Is all this valor vain? Grace from her husband's side looks mutely up to heaven. I find my place among the men. Little hope remains. Some one calls 'retreat.' 'Just once more,' cries Charlie, and falls before us. But listen; above the battle din comes a new, an approaching sound from the eastward.
Along the yellow road pours swiftly a force of cavalry, behind the rumble of cannon almost flying over the ground, and high in air, reeling from the swift motion of its bearer's steed, the banner of the free. We are saved! A wild shout rings along our lines. Among the enemy, frightened consultation followed by flight; another second, and our friends are with us and beyond us in hot pursuit.
Brief question and answer told us of the friendly warning in the distant camp, the hasty march to aid us. The rest we saw. Then, 'A surgeon for Major Fanning.' The man of the green sash had not grown callous. There were tears in his eyes as he rose from his vain endeavors, saying only:
'I can do nothing here; I am needed elsewhere.'
Our young hero was dead!
They composed his limbs, laying him on a blanket under the trees, and Grace sat down beside him, tearless still, but pale as her dress, or the white hand lying cold over the soldier's pulseless heart.
'Robert, send them away,' she said to me, as sympathizing strangers pressed round; and they left us alone with the dead. I spoke at last the commonplaces of consolation, suggested and modified by the hour and my soldier feelings.
'Yes, Robert,' she answered, 'I gave him long ago.Godwill comfort me for my hero—in time. Do not speak to me just yet. Do not let any one come.'
The tears came now, and she wept bitterly, silently, under the starry banner, beside the dead. I heard the hum of many voices, and now and then a cry of pain, and knew they were all helping the sufferers. Then I turned to her again. Her streaming hair swept the ground, golden in the light. Her fair face was hidden on the cold dead face. And I dared not speak to her. Oh, that picture! Poor Grace Fanning! and the silver, silver moonlight over all.
'Oh, deem not in this world of strife,An idle art the Poet brings;Let high Philosophy control,And sages calm the stream of life;'Tis he refines its fountain springs,The nobler passions of the soul.'
In the annals of literature, Poetry antedates Prose. Creation precedes Providence, not merely in the order of sequence, but what is usually called intellectual and physical grandeur. So in genius and taste, Poetry transcends prose. In the work of Creation the Almighty broke the awful stillness of Eternity, by His first creative fiat, and angels were the first-born of God. They took their thrones in the galleries of the universe, and in silent contemplation sat. They spoke not; for words, as signs of thought or will or emotion, were not then conceived, and, consequently, then unborn. They gazed in rapture on one another, and in solemn silence thought. Their emotions bodied forth the Anthem of Creation.
Human words being created breath, and breath being air in motion, prior to these language was impossible. And as the deaf are always dumb, language, like faith, comes by hearing. But hearing itself is a pensioner, waiting upon a speaker; consequently, it must ever be contingent on a cause alike antecedent and extrinsic of itself. It is, therefore, equally an oracle of reason and of faith that, however God may have communicated to angels, tomanHe spoke in articulate sounds, before man articulated a thought, a feeling, or an emotion of his soul. And as an emotional soul is but a harp of many strings, a hand there must have been to play upon its chords, before melody and harmony, twins-born of Heaven, had either a local habitation or a name.
But, it may be asked—Is there not in the regions of Poetry an æolian harp, found in the cave of Æolus, on which the winds of heaven played many a celestial symphony, without the skill or touch of human hand? Grant all that the Poetic Muse assumes, and then we ask—Who made the harp? And whence directed came the musing sylvan Zephyrus and his choir? Came they not from a land of images and dreams?
But we are inquiring for originals. Images and originals are the poles apart. An original without an image is possible; but an image without an original is alike impossible and inconceivable. Hence, alike philosophically and logically, we conclude thatneither man nor angel addressed each other until they themselves had been addressed by their Creator. Then they intercommunicated thought, sentiment, and emotion with one another as God had communicated to them.
The mystery of language and Poetry is insoluble but on the admission of a revelation or communication of some sort, unconceived by the human mind, unexecuted by the human hand. If invention and creation be the grand characteristics of the Poet, Moses, if uninspired, was a greater Poet than Homer, or Milton, or Shakspeare, on the hypothesis that he invented the drama which he wrote. The first chapter of Genesis is the greatest and most splendid Poem ever conceived by human imagination, or written by human hand.
All Poets, ancient and modern, are mere plagiarists, if Moses was uninspired. We prove his Divine Legationby the intrinsic and transcendent merits of the Poem which he wrote. Imagination originates nothing absolutely new. It merely imitates and combines. It is regarded as the creative faculty of man; but its material is already furnished. The portrait of an unreal Adam is as conceivable as a child without a father, or an effect without a cause.
Thus we are obliged, by an inseparable necessity, to admit the credibility of the Poem which he wrote. And what does Moses say? Nothing more than thatGod spoke, and the universe was!This is the sublime of true Poetry. This is more than the logic of the proposition,God was, therefore we are!It is more than the philosophy,ex nihilo, nihil fit!or than, thatnothingcannot be the parent ofsomething.
But we must place our foot on a higher round of the ladder, before we can stand on such an eminence as to see, in all its fair proportions, the column on which the Muses perch themselves.
Job, and not Moses, shall be our guide, and the oracle alike of our reason and our imagination. But who is Job? There is not much poetry in the name, Job. But Rome and its vulgate vulgarized this hallowed name, and Britain followed Rome. His name in Chaldee, Syriac, and Arabic, is Jobab. There is more poetry in this. There is no metre, no poetry in a monotone or monosyllable. Born among rocks and mountains, the proper theatre of a heaven-inspired Muse—not in Arabia the Happy, but in Arabia the Rocky—he was a heart-touching, a soul-stirring, emotional Bard. In such a case the clouds that overshadow the era of the man only enhance the genius and inspiration of the Poet.
In internal and external evidence, according to our calendar of the Muses, he is the first-born of the Poets that yet survive the wasteful ravages of hoary Time. He sings not, indeed, of Chaos and Eternal Night. But as one inspired by a heaven-born Muse, he echoes the chorus of the Angelic Song, when on the utterance of the firstfiatthe Morning Stars sang together and all the sons of God shouted for joy. Hence we argue, that Poetry is not only prior to prose, but that language, its intellectual and emotional embodiment, is heaven-conceived, and heaven-born.
But in a short essay it would be out of place and in bad taste to attempt a discourse upon the broad field of ancient or modern Poetry. We merely attempt to suggest one idea on this rich and lofty theme. Our radical conception of the essential and differential attribute of Poetry, as contradistinguished from prose, however chaste, pure, beautiful, and philosophic, is not mere art, nor science, butcreation.
The universe itself is a grand Heroic Poem. Hence its instrument is that power usually called Imagination. Buthumanimagination is not first, second, or third in rank on the scale of the universe. God Himself imagined the universe before He created it. His imagination is infinite. The Cherubim and Seraphim have wings that elevate them above our zenith. And angels, too, excel us in this creative faculty, and therefore veil their faces before the Majesty of heaven and earth. Still, man has an humble portion of it, and can turn it to a good account.
But there is another idea essential to the character of Poetry, as good or evil in its spirit and adornings. We need scarcely say, for we are anticipated by every reflecting mind, that this is thespiritof the Poem. Poetry, in the abstract, is not necessarily good or evil. It may be Christian, Jewish, Pagan, or Infidel in its spirit and tendencies. It may corrupt or purify the heart. It may save or ruin the reader in fortune or in fame. Hence, as Poetry is powerful to elevate or degrade, to purify or to corrupt a people, much depends on the spirit of the Poetry which they may put into the hands of the youth of a country; as well observed by aneminent moralist: 'Let me write the poems or ballads of a people, and I care but little who enacts their laws.'
The genius of a Poet is a rare genius. And most happily it is so; for elevated taste and high-toned morality are not, by any means, the common heritage of man. Anacreon and Burns were genuine Poets. They uttered, in fine style, many truths; and were not merely fluent in their respective languages, but affluent. But, perhaps, like some other men of mighty parts and grand proportions, better for mankind they had never been born. A Cowper and a Byron, in their whole career of song, will exert a very different influence, not only on earth, but in eternity, on the destiny of their amateurs. We need not argue this position as though, among a Christian people, it were a doubtful or debatable position. If the evil spirit, or the melancholy demon, that fitfully possessed the first king of Israel, was expelled by the skilful hand of his successor, even when his youthful fingers awoke the melodies of the lyre, how much more puissant the exquisite Odes of the sweet Psalmist, inspired as they were with sentiments and views alike honorable to God and man, to elevate the conceptions, purify the heart, ennoble the aspirations, and adorn the life of man!
As the cask long retains the odor of the wine put into it, so the moral and religious fragrance of many a fine poetic effusion, securely lodged in the recesses of memory, may yield, and often does yield, a rich repast of pleasurable associations and emotions which, beside their opportune recurrence in some trying or tempting hour or season of adversity, do often energize our souls with a moral heroism to deeds of nobler daring, which result in enterprises full of blessings to ourselves, and not unfrequently to our associates in the walks of life, and radiate through them salutary light for generations to come.
Imagination, like every other faculty, is to be cultivated. But here we are interrogated—'What is Imagination?'
No distinction has given critics more trouble, in the way of definition, than that between Imagination and Fancy. Fancy, it is held, is given to beguile and quicken the temporal part of our nature; Imagination to incite and support the eternal.
It would be vain to enumerate the various definitions of this term, or to attempt to give even an abstract of the diversity of views entertained by philosophers respecting the nature and extent of its operations. It is regarded by some writers as that power or faculty of the mind by which it conceives and forms ideas of things communicated to it by the organs of sense. So defines our encyclopædias. Bacon defined it to be the 'representation of an individual thought.' But Dugald Stewart more philosophically defines it as the 'power of modifying our conceptions, by combining the parts of different ones so as to form new wholes of our own creation.' The Edinburgh Encyclopædia, not satisfied with this, says Webster defines it to be thewill working on the materials of memory, selecting parts of different conceptions, or objects of memory, to form some new whole.
This has long been our cherished view of Imagination. It creates only as a mechanic creates a chest of drawers, a sideboard, a clock, or a watch. It originates not a single material of thought, volition, or action. But, mechanic-like, it works by plumb and rule on all the materials found in the warehouse of memory; and manufactures, out of the same plank of pine, or bar of iron, or wedge of gold, or precious stone, some new utensil, ornament, or adornment never found in Nature. In its present form it is the offspring of the art and contrivance of man. Hence our invulnerable position against Atheism or Deism.No one could have created the idea of a God or of a Christ, withouta special inspiration, any more than he could create a gold watch without the metal called gold.
The deaf are necessarily dumb. The blind cannot conceive of color. A Poet cannot work without language, any more than the nightingale could sing without air. Language and prototypes precede and necessarily antedate writing and prose. Hence the idea of Poetry is preceded by the idea of Prose, as speaking by the idea of hearing. There was reason, and an age of reason, without, and antecedent to, rhyme; and therefore we sometimes find rhyme without reason, as well as reason without rhyme.
Rhyme, however, facilitates memory and recollection. Memory, indeed, is but a printed tablet, and recollection the art and mystery of reading it. Poetry, therefore, is both useful and pleasing. It aids recollection, and soothes and excites and animates the soul of man. It makes deeper, more pungent, more stimulating, more exciting, and more enduring impressions on the mind than prose; and, therefore, greatly facilitates both the acquisition and retention of ideas and impressions. Of it Horace says ('Ars Poetica'):
'Ut pictura, poesis; erit, quæ, si propius stes,Te capiet magis, et quædam, si longius abstes.Hæc amat obscurum; volet hæc sub luce videri,Judicis argutum quæ non formidat acumen:Hæc placuit semel, hæc decies repetita placebit.'
No one ever attained to what is usually calledgood tastewho has not devoted a portion of his time and study to the whole science and art of Poetry. We do not mean good taste in relation to any one manifestation of it.
There is a general as well as a special good taste, but they are distinguishable only as genus and species. There is, it may be alleged, anativeas well as anacquiredtaste. This may also be conceded. There is in some persons a greater innate susceptibility of deriving pleasure from the works of Nature and of Art than is discoverable in others. Still we cannot imagine any one gifted with reason and sensibility to be entirely destitute of it. It is an element of reason and of sense peculiar to man. As a fabulist once represented a cock in quest of barleycorns, scraping for his breakfast, saying to himself, on discovering a precious and brilliant gem: 'If a lapidary were in my place he would now have made his fortune; but as for myself, I prefer one grain of barley to all the precious stones in the world.'
But what man, so feeling and thinking, would not 'blush and hang his head to think himself a man'? Apart from the value of the gem, every man of reason or of thought has pleasure in the contemplation of the beautiful diamond, whether on his own person or on that of another. Taste seems to be as inseparable from reason as Poetry is from imagination. It is not wholly the gift of Nature, nor wholly the gift of Art. It is an innate element of the human constitution, designed to beautify and beatify man. To cultivate and improve it is an essential part of education. The highest civilization known in Christendom is but the result or product of good taste. Even religion and morality, in their highest excellence, are but, so far as society is concerned, developments and demonstrations of cultivated taste. There may, indeed, be a fictitious or chimerical taste without Poetry or Religion; but a genuine good taste, in our judgment, without these handmaids, is unattainable.
But as no interesting landscape—no mountain, hill, or valley, no river, lake or sea—affords us all that charms, excites or elevates our imagination viewed from any one point of vision, so the poetic faculty itself can neither be conceived of nor appreciated, contemplated out of its own family register.
There is in all the 'Fine Arts' a common paternity, and hence a family lineage and a family likeness. To appreciate any one of them we must form an acquaintance with the whole sisterhood—Poetry, Music, Painting, and Sculpture.
And are not all these the genuine offspring of Imagination? Hence they are of one paternity, though not of one maternity. The eye, the ear, and the hand, has each its own peculiar sympathetic nerve. For, as all God's works are perfect, when and where He gives an eye to see or an ear to hear, He gives a hand to execute. This is the law; and as all God's laws are universal as perfect, there is no exception save from accident, or from something poetically styled alusus naturæ—a mere caprice or sport of Nature.
But the philosophy of Poetry is not necessary to its existence any more than the astronomy of the heavens is to the brilliancy of the sun or to the splendors of a comet. A Poet is a creator, and his most perfect creature is a portraiture of any work of God or man; of any attribute of God or man in perfect keeping with Nature or with the original prototype, be it in fact or in fiction, in repose or in operation.
Imitation is sometimes regarded as the test of poetic excellence. But what is imitation but the creation of an image! Alexander Pope so well imitates Homer, that, as an English critic once said, in speaking of his translation of that Prince of Grecian Poets—'a time might come, should the annals of Greece and England be confounded in some convulsion of Nature, when it might be a grave question of debate whether Pope translated Homer, or Homer Pope.'
For our own part, we have never been able to decide to our own entire satisfaction, which excels in the true Heroic style. Pope, in his translation of the exordium of Homer, we think more than equals Homer himself:
'Achilles' wrath, to Greece the direful springOf woes unnumbered, heavenly goddess, sing!That wrath which hurled to Pluto's dark domainThe souls of mighty chiefs in battle slain;Whose limbs, unburied on the fatal shore,Devouring dogs and hungry vultures tore;Since great Achilles and Atrides strove,Such was the sovereign doom and such the will of Jove.'[18]
We opine that Pope, being trammelled with a copy, and consequently his imagination cramped, displays every attribute of poetic genius fully equal, if not superior, to that of the beau ideal of the Grecian Muse.
But Alexander Pope, of England, is not the Pope of English Poetry, a brother Poet being judge, for Dryden says:
'Three Poets, in three distant ages born,Greece, Italy, and England did adorn;The first in majesty of thought surpassed,The next in melody—in both the last:The force of Nature could no further go,To make the third she joined the other two.'
And who awards not to Milton the richest medal in the Temple of the Muses! Not, perhaps, for the elegant diction and sublime imagery of hisParadise Lost, but for his grand conceptions of Divinity in all its attributes, and of humanity in all its conditions, past, present, and future.
We Americans have a peculiar respect for Lyric Poetry. We have not time for the Epic. If anything with us is good, it is superlatively good for being brief. Short sermons, short prayers, short hymns, and short metre are peculiarly interesting. We are, too, a miscellaneous people, and we are peculiarly fond of miscellanies. The age of folios and quartos is forever past with Young America. Octavos are waning, and more in need of brushing than of burnishing. But still we must have Poetry—goodPoetry; for we Americans prefer to live rather in the style of good lyric than in that of grave,elongated hexameter. Variety, too, is with us the spice of life. We are not satisfied with grand prairies, rivers, and cataracts, and even cascades andjet d'eaus!
Collections of miscellaneous Poetry seem alike due to the Poetic Muse and to the American people. We love variety. It is, as we have remarked, the spice of American life; and our country will ever cherish it as being most in harmony with itself. It is, moreover, more in unison with the conditions of human nature and human existence. There is, too, as the wisest of men and the greatest of kings has said, 'a time for every purpose and for every work.' No volume of Poetry or of Prose can, therefore, be popular or interesting to such a nation as we are, that does not adapt itself to the versatile genius of our people, and to the ever-varying conditions of their lives and fortunes.
There is, therefore, a propriety in getting up good selections, because a greater advantage is to be derived from well selected specimens of the Poetic Muse than from the labors of any one of the great masters of the Lyre! Who would not rather visit a rich and extensive museum of the products and arts of civilized life—some well assorted repository of its scientific or artistic developments, than to traverse a whole state or kingdom in pursuit of such knowledge of the wisdom, talents, and contrivances of its population?
Of all kinds of composition, Poetry is that which gives to the lovers of it the greatest and most enduring pleasure. Almost every one of them can heartily respond to the beautiful words of one who was not only a great Poet, but a profound philosopher—Coleridge—who, speaking of the delight he had experienced in writing his Poems, says: 'Poetry has been to me its own exceeding great reward. It has soothed my afflictions; it has multiplied and refined my enjoyments; it has endeared solitude; and it has given me the habit of wishing to discover the Good and the Beautiful in all that meets and surrounds me.'
In no way can the imagination be more effectually or safely exercised and improved than by the constant perusal and study of our best Poets. Poetry appeals to the universal sympathies of mankind. With the contemplative writers, we can indulge our pensive and thoughtful tastes. With the describers of natural scenery, we can delight in the beauties and glories of the external universe. With the great dramatists, we are able to study all the phases of the human mind, and to take their fictitious personages as models or beacons for ourselves. With the great creative Poets, we can go outside of all these, and find ourselves in a region of pure Imagination, which may be as true to our higher instincts—perhaps more so—than the shows which surround us.
If it be as truthfully as it has been happily expressed by the prince of dramatic Poets, that
'He who has no music in his soulIs fit for treasons, stratagems, and spoils,'
it should be a paramount duty with every one who loves his species, and cultivates a generous philanthropy, to patronize every effort to diffuse widely through society, Poetry of genuine character, and to cultivate a taste for it as an element of a literary, religious, and moral education. We commend, as a standard of appreciation of the true character of the gifts of the Poetic Muse, the following critique from Sheffield, Duke of Buckingham:
''Tis not a flash of fancy, which sometimes,Dazzling our minds, sets off the slightest rhymes,Bright as a blaze, but in a moment done;True wit is everlasting, like the sun,Which, though sometimes behind a cloud retired,Breaks out again, and is by all admired.Number and rhyme, and that harmonious soundWhich not the nicest ear with harshness wound,Are necessary, yet but vulgar arts;And all in rain these superficial partsContribute to the structure of the whole,Without a genius too—for that's the soul;A spirit which inspires the work throughout,As that of Nature moves the world about;A flame that glows amidst conceptions fit;E'en something of divine, and more than wit;Itself unseen, yet all things by it shown,Describing all men, but described by none.'
We neither intend nor desire to institute any invidious comparisons between Old Britain and Young America. We are one people—one in blood, one literature, one faith, one religion, in fact or in profession. Our language girdles the whole earth. Our science and our religion more or less enlighten every land, as our sails whiten every sea, and our commerce, in some degree, enriches every people. There is a magnanimity, a benevolence, a philanthropy, in English Poetry, whether the Muse be English, Scotch, Irish, or American, that thrills the social nerve and warms the kindred hearts of all who think, or speak, or dream in our vernacular. The pen of the gifted Bard is more puissant than the cannon's thundering roar or the warrior's glittering sword; and the soft, sweet melodies of English Poetry, gushing from a Christian Muse, are Heaven's sovereign specifics for a wounded spirit and an aching heart!
By Hon. Robert J. Walker
Dedicated to the Union Army and Navy.
The day our nation's life began,Dawned on the sovereignty of man,His charter then our Fathers signed,Proclaiming Freedom for mankind.May Heaven still guard her glorious sway,Till time with endless years grows gray.Flag of our Union! float unfurled,Thy stars shall light a ransomed world.Americans, your mighty name,With glory floods the peaks of fame;Ye whom our Washington has led,Men who with Warren nobly bled,Who never quailed on land or sea,Your watchword,Death or Liberty!Flag of our Union! float unfurled,Thy stars shall light a ransomed world.It was the Union made us free,Its loss, man's second fall would be.States linked in kindred glory save,Till the last despot finds a grave;And angels hasten here to seeMan break his chains, the whole earth free!Flag of our Union! float unfurled,Thy stars shall light a ransomed world.Ye struggling brothers o'er the sea,Who spurn the chain of tyranny,Like brave Columbus westward steer,Our stars of hope will guide you here,Where States still rising bless our land,And freedom strengthens labor's hand.Flag of our Union! float unfurled,Thy stars shall light a ransomed world.Ye toiling millions, free and brave,Whose shores two mighty oceans lave:Your cultured fields, your marts of trade,Keels by the hand of genius laid,The shuttle's hum, the anvil's ringEcho your voice that God is King.Flag of our Union! float unfurled,Thy stars shall light a ransomed world.Hail! Union Army, true and brave,And dauntless Navy on the wave.Holy the cause where Freedom leads,Sacred the field where patriot bleeds;Victory shall crown your spotless fame,Nations and ages bless your name.Flag of our Union! float unfurled,Thy stars shall light a ransomed world.
I am a banker, and I need hardly say I am in comfortable circumstances. Some of my friends, of whom I have a good many, are pleased to call me rich, and I shall not take it upon myself to dispute their word. Until I was twenty-five, I travelled, waltzed, and saw the best foreign society; from twenty-five to thirty I devoted myself to literature and the art of dining; I am now entered upon the serious business of life, which consists in increasing one's estate. At forty I shall marry, and as this epoch is nine years distant, I trust none of the fair readers of this journal will trouble themselves to address me notes which I really cannot answer, and which it would give me pain to throw in the fire.
Some persons think it beneath a gentleman to write for the magazines or papers. This is a low and vulgar idea. The great wits of the world have found their best friends in the journals; there were some who never learned to write,—who ever hears of them now? I write anonymously of course, and I amuse myself by listening to the remarks that society makes upon my productions. Society talks about them a great deal, and I divide attention with the last novelist, whether an unknown young lady of the South, or a drumhead writer of romances. People say, 'That was a brilliant article of so and so's in the last ——, wasn't it?' You will often hear this remark. I am that gentleman—I wrote that article—it was brilliant, and, though I say it, I am capable of producing others fully equal to it.
Many persons imagine that business disqualifies from the exercise of the imagination. This is a mistake. Alexander was a business man of the highest order; so was Cæsar; so was Bonaparte; so was Burr; so am I. To be sure, none of these distinguished characters wrote poetry; but I take it, poetry is a low species of writing, quite inferior to prose, and unworthy one's attention. Look at the splendid qualities of these great men, particularly in the line in which the imaginative faculties tend. See how they fascinated the ladies, who it is well known adore a fine imagination. How well they talked love, the noblest of all subjects—for a man's idle hours. Then observe the schemes they projected. Conquests, consolidations, empires, dominion, and to include my own project, a bullion bank with a ten-acre vault. It appears that a lack of capital was at the bottom of all their plans. Alexander confessed that he was bankrupt for lack of more worlds, and is reputed to have shed tears over his failure, which might have been expected from a modern dry-goods jobber, but not from Alexander. Cæsar and Bonaparte failed for the want of men: they do not seem to have been aware of the existence of Rhode Island. I think Burr failed for the lack of impudence—he had more than all the rest of the world together, but he needed much more than that to push his projects ahead of his times. As for myself, when I have doubled my capital, I shall found my bullion bank in the face of all opposition. The ten-acre lot at the corner of Broadway and Wall street is already selected and paid for, and I shall excavate as soon as the present crop is off.
There is no question that the occupation of banking conduces to literary pursuits. When I take interest out of my fellow beings, I naturally take interest in them, and so fall to writing about them. I have in my portfolio sketches of all the leading merchants of the age, romantically wrought, andfull of details of their private lives, hopes, fears, and pleasures. These men that go up town every day have had, and still have, little fanciful excursions that are quite amusing when an observer of my talent notes them down. I know all about old Boscobello, the Spanish merchant, of the house of Boscobello, Bolaso & Co. My romance of his life from twenty to forty fills three volumes, and is as exciting as the diaries of those amusing French people whom Bossuet preached to with such small effect. Boscobello has sobered since forty, and begs for loans as an old business man ought to. I think he sees the error of his ways, and is anxious to repair his fortunes to the old point, but it is easier to spend a million than to make it. My cashier reports his account overdrawn the other day, and not made good till late next afternoon. This is a sign of failing circumstances, and must be attended to.
When Boscobello comes in about half past two of an afternoon for the usual loan of a hundred dollars to enable him to go on, I amuse myself by talking to him while I look over his securities. He has two or three loans to pay up before three o'clock, in different parts of the town, and we cannot blame him for being in a hurry, but this is no concern of mine. If hewillget into a tight place, one may surely take one's time at helping him out: and really it does require some little time to investigate the class of securities he brings, and which are astonishingly varied. For instance, he brought me to-day as collateral to an accommodation, a deed to a South Brooklyn block, title clouded; a Mackerelville second mortgage; ten shares of coal-oil stock; an undivided quarter right in a guano island, and the note of a President of the Unterrified Insurance Company. 'How much was the cartage, Bos?' said I, for you see my great mind descends to the smallest particulars, and I was benevolent enough to wish to deduct his expenses from the bonus I was about to charge him for the loan. 'Never mind the cartage,' said he, 'that's a very strong list, and will command the money any day in Wall street, but I have a particular reason for getting it of you.' 'The particular reason being,' said I, 'that you can't get it anywhere else. Jennings,' I continued to my cashier, 'give Mr. Boscobello ninety-five dollars Norfolk or Richmond due-bills, and take his check payable in current funds next Saturday for a hundred.'
Poor old Boscobello! A man at forty ought not to look old, but Bos had often seen the sun rise before he went to bed, and hehadbeen gay, so all my aunts said. Some stories Bos has told me himself, o' nights at my house, after having in vain endeavored to induce me to take shares in the guano island, or 'go into' South Brooklyn water lots. 'I'm too old for that sort of a thing, Bos,' I say; 'it's quite natural for you to ask me, and I don't blame you for trying it on, but you must find some younger man. Tell me about that little affair with the mysterious Cuban lady; when you only weighed a hundred and forty pounds, and never went out without a thousand dollars in your pocket—in the blooming days of youth, Bos, when you went plucking purple pansies along the shore.'
Boscobello weighs over two hundred now, and would have a rush of blood to the head if he were to stoop to pluck pansies. Mysterious Cuban ladies, in fact ladies of any description, would pass him by as a middle-aged person of a somewhat distressed appearance, and the dreams of his youth are quite dreamed out. Nevertheless, when he warms with my white Hermitage, the colors of his old life come richly out into sight, and the romantic adventures of wealth and high spirits overpower, though in the tame measures of recital, all the adverse influences of the present hour. But as the evening wanes, the colors fadeagain; his voice assumes a dreary tone; and I once more feel that I am with a man who has outlived himself, and who, having never learned where the late roses blow, is now too old to learn.
The reader will perceive I am sorry for Boscobello. If I am remarkable for anything, it is for my humanity, consideration, and sympathy.
These qualities of my constitution lead me to enter into the affairs of my clients with feeling and sincerity, but I fear I am sometimes misunderstood. Not long ago I issued an order to my junior partners to exercise more compassion for those unfortunate men with whom we decline business, and not to tumble them down the front steps so roughly. Let six of the porters attend with trestles, I said, and carry them out carefully, and dump them with discretion in some quiet corner, where, as soon as they recover their faculties, they may get up and walk away. I put it to the reader if this was not a very humane idea, and yet there are those who have stigmatized it as heartless.
I wish I was better acquainted with the way in which common people live. I can see how I have made mistakes in consequence of not understanding the restricted means and the exigencies of these people, who are styled respectable merchants. Thus when Boscobello has made some more than ordinarily piteous application, I have said, 'Boscobello, dismiss about fifty of your servants;' or, 'Boscobello, sell a railroad and put the money back again into your business;' or, 'Boscobello, my good friend, limit your table, say, to turtle soup, champagne, and truffles; live more plainly, and don't take above ten quarts of strawberries a day during the winter,—the lower servants don't really need them;' or, 'Boscobello, if you are really short, send around a hundred or so of your fast trotters to my stables, and I'll pay you a long figure for them, if they are warranted under two minutes.' Boscobello has never made any very definite replies to such advice, and I have attributed his silence to his nervousness; but I begin to suspect he has'nt quite understood me on such occasions. Then again, when Twigsmith declared he was a ruined man, in consequence of my refusal of further advances, and that he should be unable to provide for his family, I said: 'Why, Twigsmith, retire to one of your country seats, and live on the interest of some canal or other, or discount bonds and mortgages for the country banks.' Actually, I heard Twigsmith mutter as he went out, that it wasn't right to insult a man's poverty. Now I hadn't the remotest idea of injuring Twigsmith's feelings, for he was a very clever fellow, and we made a good thing out of him in his time, but it seems that my advice might not have been properly grounded.
It begins to occur to me that theremaybe such a case as that a man may want something, and not be able to get it; and again, that at such a time a weak mind may complain, and grow discouraged, and make itself disagreeable to others.
There is a set of old fellows who call themselves family men, and apply for discounts as if they had a right to them, by reason of their having families to provide for. I have never yet been able to see the logical sequence of their conclusions, and so I tell them. What right does it give anybody to my money that he has a wife, six children, and lives in a large house with three nursery-maids, a cook, and a boy to clean the knives? 'Limit your expenses,' I say to these respectable gentlemen, 'do as I do. When Jennings comes to me on Monday morning, and reports that the receipts of the week will be eighty millions, exclusive of the Labrador coupons, which, if paid, will be eighty millions more, I say, 'Jennings, discount seventy, and don't encroach upon the reserves; you may however let Boscobello have ten on call.' This is true philosophy; adapt your outlay toyour income, and you will never be in trouble, or go begging for loans. If the Bank of England had always managed in this way, they wouldn't have been obliged to call on our house for assistance during the Irish famine.'
These family men invite me to their wives' parties, constantly, unremittingly. The billets sometimes reach my desk, although I have given orders to put them all into the waste basket unopened. I went to one of these parties, only one, I give you my honor as a gentleman, and after Twigsmith and his horrid wife had almost wrung my hand off, I was presented to a young female, to whom Nature had been tolerably kind, but who was most shamefully dressed. In fact her dress couldn't have cost over a thousand dollars—one of my chambermaids going to a Teutonia ball is better got up. This young person asked me 'how I liked the Germania?' Taking it for granted that such a badly dressed young woman must be a school teacher, with perhaps classical tastes, I replied that it was one of the most pleasing compositions of Tacitus, and that I occasionally read it of a morning. 'Oh, it's not very taciturn,' she replied; 'I mean the band.' 'Very true,' said I, 'he saysagmen, which you translate band very happily, though I might possibly say 'body' in a familiar reading.' 'Oh dear,' she replied, blushing, 'I'm sure I don't know what kind of men they are, nor anything about their bodies, but they certainly seem very respectable, and they play elegantly; oh, don't you think so?' 'I am glad you are pleased so easily,' I answered; 'Tacitus describes their performances as indeed fearful, and calculated to strike horror into the hearts of their enemies. But,' continued I, endeavoring to make my retreat, for I began to think I was in company with an inmate of a private lunatic hospital, 'they were devoted to the ladies.' 'Indeed they are,' said she,'and the harpist issogallant, and gets so many nice bouquets.' It then flashed across my mind that she meant the Germania musicians. 'They might do passably well, madame,' said I, 'for a quadrille party at a country inn, but for a dress ball or a dinner you would need three of them rolled into one.' 'Oh, you gentlemen are so hard to please,' she replied; and catching sight of the Koh-i-noor on my little finger, she began to smile so sweetly that I fled at once.
It was at that party that I perspired. I had heard doctors talk about perspiration, and I had seen waiters at a dinner with little drops on their faces, but I supposed it was the effect of a spatter, or that some champagne had flown into their eyes, or something of that sort. But at this party I happened to pass a mirror, and did it the honor to look into it. I saw there the best dressed man in America, but his face was flushed, and there were drops on it. This is fearful, thought I; I took mymouchoirand gently removed them. They dampened the delicate fabric, and I shook with agitation. The large doors were open, and after a struggle of an hour and three quarters, I reached them, and promising the hostess to send myvaletin the morning to make my respects, which the present exigency would not allow me to stay to accomplish, I was rapidly whirled homeward. I can hardly pen the details, but on the removal of my linen, it was found—can I go on?—tumbled, and here and there the snowy lawn confessed a small damp spot, or fleck of moisture. Remorse and terror seized me. Medical attendance was called, and I passed the night in a bath of attar of roses delicately medicated withaqua pura. Of course, I have never again appeared at a party.
People haven't right ideas of entertainment. What entertainment is it to stand all the evening in a set of sixteen-by-twenty parlors, jammed in among all sorts of strange persons, and stranger perfumes, deafened with a hubbub of senseless talk, and finally be led down to feed at a long table wherethe sherry is hot, and the partridges are cold? Very probably some boy or other across the table lets off a champagne cork into your eyes, and the fattest men in the roomwilltread on your toes. One might describe such scenes of torture at length, but the recital of human follies and miseries is not agreeable to my sensibilities.
I dare say the reader might find himself gratified at one of my little fètes. The editors of this journal attend them regularly, and have done me the honor to approve of them. You enter on Twelfth avenue; a modest door just off Nine-and-a-half street opens quietly, and you are ushered by a polite gentleman—one of our city bank presidents, who takes this means to increase his income—into an attiring room. Here you are dressed by the most accomplished Schneider of the age, in your own selections from an unequalledrepertoireof sartorialchef d'ouvres, and your old clothes are sent home in an omnibus.
I might delight you with a description of the ball room, but the editors have requested me to the contrary. Some secrets of gorgeous splendor there are which are wisely concealed from the general gaze. But a floor three hundred feet square, and walls as high as the mast of an East Boston clipper, confer ample room for motion; and the unequalled atmosphere of the saloon is perhaps unnecessarily refreshed by fountains of rarest distilled waters. This is also my picture gallery, where all mythology is exhausted by the great painters of the antique; and modern art is thoroughly illustrated by the famous landscapes of both hemispheres. The luxuriant fancy of my favorite artist has suggested unique collocations of aquaria and mossy grottoes in the angles of the apartment, where the vegetable wealth of the tropics rises in perfect bounty and lawless exuberance, and fishes of every hue and shape flash to and fro among the tangled roots, in the light of a thousand lamps. In the centre, I have caused the seats of the orchestra to be hidden at the summit of a picturesque group of rocks, profusely hung with vegetation, and gemmed with a hundred tiny fountains that trickle in bright beads and diamonds into the reservoir at the base. From this eminence, the melody of sixty unequalled performers pervades the saloon, justly diffused, and on all sides the same; unlike the crude arrangements of most modern orchestras, where at one end of the room you are deluged with music, and at the other extremity you distinguish the notes with pain or difficulty. The ceiling, by a rare combination of mechanical ingenuity and artistic inspiration, displays, so as to quite deceive the senses, the heavens with all their stars moving in just and harmonious order. Here on summer nights you see Lyra and Altair triumphantly blazing in the middle sky as they sweep their mighty arch through the ample zenith; and low in the south, the Scorpion crawls along the verge with the red Antares at his heart, and the bright arrows of the Archer forever pursuing him. Here in winter, gazing up through the warm and perfumed air, you behold those bright orbs that immemorially suggest the icy blasts of January: Aldebaran; the mighty suns of Orion; diamond-like Capella; and the clear eyes of the Gemini. Under such influences, with the breath of the tropics in your nostrils, and your heart stirred by the rich melodies of the invisible orchestra, waltzing becomes a sublime passion, in which all your faculties dilate to utmost expansion, and you float out into happy forgetfulness of time and destiny.
Rarely at these fêtes do we dance to other measures than those of the waltz, though at times we find a relief from the luxuriance of that divine rhythm in the cooler cadences of the Schottish. By universal consent and instinct, we banish the quadrille, stiff and artificial; the polka, inelegant and essentially vulgar; and the various hybrid measureswith which the low ingenuity of professors has filled society. But we move like gods and goddesses to the sadly joyful strains of Strauss and Weber and Beethoven and Mozart, and the mighty art of these great masters fills and re-creates all our existence.
Sometimes in these divine hours, thrilled by the touch of a companion whose heart beats against and consonantly with mine, I catch glimpses of the possibilities of a free life of the spirit when it shall be released from earth and gravitation, and I conjecture the breadth of a future existence. This will only seem irrational to such as have squeezed out their souls flat between the hard edges of dollars, or have buried them among theologic texts which they are too self-wise to understand. History and the experience of the young are with me.
From twelve to four you sup, when, and as, and where, you will. A succession of little rooms lie open around an atrium, all different as to size and ornament, yet none too large for a single couple, and none too small for the reunion of six. What charming accidents of company and conversation sometimes occur in these Lucullian boudoirs! You pass and repass, come and go, at your own pleasure. Waltzing, and Burgundy, and Love, and Woodcock are here combined into a dramatic poem, in which we are all star performers, and sure of applause. These hours cannot last forever, and the first daybeams that tell of morning, are accompanied by those vague feelings of languor that hint to us that we are mortal. Then we pause, and separate before these faint hints of our imperfection deepen into distasteful monitions, and before our fulness of enjoyment degenerates into satiety. Antiquity has conferred an immortal blessing upon us in bequeathing to us that golden legend,Ne quid nimis;[19]a legend better than all the teachings of Galen, or than all the dialogues of Socrates. For in these brief words are compressed the experiences of the best lives, and Alcibiades and Zeno might equally profit by them. They contain the priceless secret of happiness; and do you, reader, wisely digest them till we meet again.