The Works of the Right Honorable Edmund Burke.Revised Edition. Vols. I.-III. Boston: Little, Brown, & Co.
The Works of the Right Honorable Edmund Burke.Revised Edition. Vols. I.-III. Boston: Little, Brown, & Co.
It is interesting to know that Burke was not really accounted among the attractive orators of his day, and that people had a habit of going out of Parliament when he rose to his feet. It illustrates the compensations of time, atoning to the literary man for the immediate superiorities of the public speaker. Fox said, that, the better a man spoke, the harder it usually was for him to compose; and that brilliant orator now lingers only as a name, while his laborious adversary still holds his own in literature, and resumes his career in this admirable American edition.
It shows the intellectual comprehensiveness of our people, that they are ready to be taught by this great man, so resolute an opponent of our most fundamental ideas. Everything that American institutions affirm Burke denied, except the spirit of truth and faith which alone give any institutions their value. Grattan said of him, that, so great was his love for arbitrary power, he could not sleep comfortably on his pillow, unless he thought the king had a right to take it from under him. He demonstrated to his own satisfaction that it was far more congenial to the human mind to yield to the will of one ruler than of a majority, and stated it as a "ridiculous" theory, that "twenty-four millions should prevail over two hundred thousand." Regarding it as the very essence of property that it should be unequal, he could conceive of no safeguard for it but that it should be "out of all proportion predominant in the representation."
Yet, so vast were his natural abilities, his acquirements, and his aims, that he is instructive even as an antagonist, and has, moreover, left much that can now be quoted on the right side of every great question. If he can also be quoted on the other side, no matter. For instance, Buckle claims for him, that "he insisted on an obedience to the popular wishes which no man before him had paid, and which too many statesmen since have forgotten." Yet Burke himself boasted, at the time of his separation from Fox, that he was "the first man who, on the hustings, at a popular election, rejected the authority of instructions from constituents, or who in any place has argued so fully against it."
Songs of Seven.ByJean Ingelow. Illustrated. Boston: Roberts Brothers.
Songs of Seven.ByJean Ingelow. Illustrated. Boston: Roberts Brothers.
The sweet female singer who has been so warmly welcomed of late in England and America deserves to be "illustrated." "Songs of Seven" is one of her best pieces, but not her best. The "High Tide on the Coast of Lincolnshire" is certainly worthy of the special honor here accorded to the "Songs of Seven"; and we are somewhat surprised at the selection, by her American publishers, of these particular verses for illustration.
The wood-cuts in "Songs of Seven" vary materially, and are not in harmony throughout. Some are of the first order of excellence, while some are weak and inadequate. Nearly all thesquareblocks show artistic thought and skill, and reallyillustratethe poem. Those by another hand (the artists' names are not given) betray paucity of mind, as well as uncertain fingers.
The most attractive merit of this volume is the printer's part of it. The red borders are as beautiful in their way as any ornamental inclosures can be; and we have only to compare them with some others in books published this year in America to note how superior they are in every respect. The University Press, to which belongs the credit of this work, has justly won to itself the first praise where printing is appreciated as a fine art. We have recently seen an edition of the King's-Chapel Liturgy, with rubrics, from this press, which must rank among the best-printed books of our time.
A Chronological History of the Boston Watch and Police, from 1631 to 1865; together with the Recollections of a Boston Police-Officer, or Boston by Daylight and Gaslight.From the Diary of an Officer Fifteen Years in the Service. ByEdward H. Savage. Boston: Published and sold by the Author.
A Chronological History of the Boston Watch and Police, from 1631 to 1865; together with the Recollections of a Boston Police-Officer, or Boston by Daylight and Gaslight.From the Diary of an Officer Fifteen Years in the Service. ByEdward H. Savage. Boston: Published and sold by the Author.
This book can hardly be characterized as an important addition to elegant or learnedliterature; nor, indeed, does it aspire to any such distinction. We notice it, in passing, as giving us a glimpse into that world within the world, over whose surface we walk every day, scarcely conscious of its existence; and we accept also the opportunity to make due and honorable mention of the services of that class of men through whose sagacity, integrity, and steadfastness the rest of us are enabled to become sleek-headed men and such as sleep o' nights. It is well occasionally to recollect how far the safety and order of the city depend upon a brave, vigilant, and trustworthy police, that a due recognition of the fact may serve both as acknowledgment for the past and increased security for the future.
The brief chronological sketch at the beginning of the book furnishes many curious and interesting facts of old as well as new time, some of which we should, on the whole, be rather glad to forget. Without confessing that we were sinners above others, we yet are not so clean given over to mutual admiration as to take special pleasure in learning that Hugh Bowett was banished for maintaining that he was free from original sin, (though in our day we generally find such saints disagreeable enough to deserve banishment,)—nor that Oliver Holmes was whipped for being a Baptist,—nor that William Robinson and Marmaduke Stevenson were hung on the Common as Antinomians and heretics,—nor that a Frenchman, who wassuspectedof setting a fire near the dock, which consumed eighty buildings, was sentenced to stand in the pillory, to have both ears cut off, pay charges of court, give five hundred pounds bonds with sureties, and stand committed till sentence was performed. We must also suspect the early English traveller, Mr. Ward, of a little Old-Country prejudice, when he writes of Boston,—"The buildings, like their women, are neat and handsome; and their streets, like the hearts of their men, are paved with pebbles. They have four churches, built with clapboards and shingles, and supplied with four ministers,—one a scholar, one a gentleman, one a dunce, and one a clown. The captain of a ship met his wife in the street after a long voyage, and kissed her, for which he was fined ten shillings. What a happiness, thought I, do we enjoy in Old England, where we can not only kiss our own wives, but other men's, without a danger of penalty!" Unquestionably Boston was no place for Mr. Ward, and Mr. Ward not at all the man for Boston. Yet, with an occasional blemish and many a casualty, the record is also one of good works and alms-deeds.
Reading the Police Recollections is like peering down through a crevice into some subterranean cavern, where an intense convulsive activity prevails without ceasing, day and night. The actors seem scarcely to be men and women, but such puppets as dance on electric machines, of movements too swift and sudden for human beings, too reckless, eccentric, and apparently inconsequent for moral beings. A certain phenomenal life they have, a fitful flare of gusty, fierce existence, and then the instant flicker and fading into extinction. Yet the philanthropist remembers, with a sigh, that these are living souls, children of the same Father as himself, amenable to the same laws, accountable at the same judgment-seat; and the practical question bears down upon him with ever-increasing force, How shall these outcasts of society be brought into the Father's house?
More hopeless than the Pariahs are the Brahmins of our heathenism,—those miserable men whose corrupt lives are glossed over with a varnish of respectability. Church, assembly, and drawing-room see the outer surface; the police know the under side, and a sorry side it seems too often to be. The solid man of Boston bears himself loftily to wife, child, and neighbor; but the bluecoat on the corner perceives a shameful secret of crime and guilt lurking under the fair outward seeming. These are the spots in our feasts of charity.
There are kind hearts for sorrow, as well as sharp eyes for crime, among our policemen, as many a deed of charity and humanity bears witness; and their varied duties bring them into contact with human nature in its oddest manifestations. At a large fire they were obliged to carry out by main strength "an old lady weighing nearly two hundred pounds, very much against her will.... When told that her life was in danger, she replied, 'It is all bosh that ye tell me. Has not my landlord repeatedly told me that the house was insured?' Kitty Quadd was very much delighted that her trunk had been found. 'It's not the value of me clothing, Sir, but it's me character that's there,—me character it is'; and, hurrying her hand into the pocket of an old dress, as she lifted it from the trunk, she drew forth a dirty piece of paper with much apparent satisfaction. 'This is it, an' sure enough it's safe it is, and it's yerself thatshall read it too, for yer kindness,' said she. I unfolded the paper, and read as follows:—
"'This certifies that Kitty Quadd is a good domestic, capable of doing all kinds of work;but she will get drunkwhen opportunity offers.
"'(Signed)Mrs. S——.'"
The Life of Michael Angelo.ByHerman Grimm. Translated, with the Author's Sanction, byFanny Elizabeth Bunnétt. Two Volumes, Boston; Little, Brown, & Co.
The Life of Michael Angelo.ByHerman Grimm. Translated, with the Author's Sanction, byFanny Elizabeth Bunnétt. Two Volumes, Boston; Little, Brown, & Co.
Although it is impossible, in the short space usually allotted to book-notices, to criticize such an important work as M. Grimm's Life of Michael Angelo, a concise description of its contents may still be desirable. The work may be taken as an example of the great advance made in the art of writing biography since the commencement of the present century. Old biographies, like old histories, are little else than gossiping chronicles of events, interspersed with vague moral reflections, which usually have as much to do with every other subject in the realm of thought as with the subject especially under consideration. The present generation, however, has produced histories, like those of Buckle and Draper, which, whether successfully or not, have endeavored to exhibit the causal relation of events to one another. In them, historic occurrences are viewed as the evidence, confirmatory or illustrative, of certain laws of progress, the elucidation of which is the main object of the work. A similar change has occurred in the manner of writing biography. The Life of Robespierre, and the still more elaborate and finished Life of Goethe, by Mr. Lewes, have aimed at presenting the circumstances which influenced the development of their heroes,—at showing us the steps by which they have obtained, the one an infamous and horrible notoriety, the other the love and veneration of mankind, both now and as long as mankind shall endure. The work of M. Grimm is in some respects similar to these. The author is not content with telling us when the great Michael Angelo was born, when he died, who his parents were, what he painted, wrote, sculptured, and builded, where he lived, and how many feet and inches he measured in his stockings. He aims at more than this. He presents us with a vivid picture of the life and manners, the opinions and feelings of Italian men at the time when this great creative genius lived. He sets before us the circumstances which guided his career, the occurrences upon which his intellect was brought to bear, and the objects with which his imagination was nurtured. In short, he shows us Michael Angelo in his environment. The life of Michael Angelo is, indeed, peculiarly susceptible of such a treatment. To a far greater extent in him than in most creators can be traced the influence of external circumstances. His long life, extending over nearly a century, was affected for good or ill by very many of the great political events contemporaneously occurring,—and few other ages have been more fruitful in great events. Born in 1475, in the good old days of Florentine freedom under the earlier Medici, when the Arabs still ruled from the Alhambra the fairest portion of Spain, when America was yet undiscovered, and before England had recovered from the civil wars of the Roses, his life extended to 1564, to the times of Elizabeth, of Philip II., and of William the Silent. He saw the end of the Middle Ages and the beginning of modern times. He beheld the rise and fall of Savonarola; the invasions of Naples by Charles VIII. and Louis XII., and its conquest by Gonsalvo; the struggle for supremacy between Charles V. and Francis I.; the rise of Protestantism and the establishment of the Inquisition; the horrible sack of Rome by the troops of De Bourbon; and the extinction of liberty in his native city,—the robbing of the Florentine Peter in 1530 to reimburse the Roman Paul for damages sustained in 1527. In the last fearful struggle of the Florentines for their liberty Michael Angelo took an important part. The city-walls were fortified under his direction, and not a day of the dreadful siege saw him absent from his post on San Miniato. Before that, he had been connected with the proceedings of Savonarola; and his marvellous group of the Mourning Madonna and the Dead Christ is supposed by Grimm to have been called forth by the sad occurrences of 1498. He was connected with Lorenzo de' Medici, Piero his son, Julius II., Leo X., Clement VII, Paul III., Paul IV., and Pius IV.; and the complicated affairs of each of these rulers affected at every turn his life, and not unfrequently gave to his labors an entirely new direction.
It is M. Grimm's great merit to have described all these events so that they appearwith the vividness of contemporaneous history, and to have clearly indicated their effect upon the life of his hero. He has given us a charming history of the sixteenth century, with Michael Angelo as its colossal central figure. The work contains much else that is admirable: reflections upon Grecian and Venetian art, and a sketch of the history of design in later times.—But to discuss or even to enumerate all its beauties, and to criticize its few defects, would be here impossible. We will therefore dismiss the subject, hoping that M. Grimm may gratify and instruct us by still further productions of the nature of that which has already rendered him so illustrious.
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