Many like phenomena has authorship: a certain class of otherwisehumanized and well-intentioned people begin to regard your scribe as a monster—not a so-called "lion" to be sought, but some strange creature to be dreaded: Perdition! what if he should be cogitating a novel or a play, and means to make free with our characters? what if that libellous cöpartnership of Saunders and Ottley is permitted to display our faults and foibles, flimsily disguised, before a mocking world? Disappointed maidens that hover on the verge of forty, and can sympathize with Jephtha's daughter in her lonely mournings, causelessly begin to fear that a mischievous author may appropriate their portraits; venerable bachelors, who have striven to earn some little local notoriety by the diligent use of an odd phrase, a quaint garment, or an eccentric fling in the peripatetic, dread a satirist's powers of retributive burlesque; table orators suddenly grow dumb, for they suspect such a caitiff intends cold-blooded plagiarisms from their eloquence; the twinkling stars of humble village spheres shun him for an ominous comet, whose very trail robs them of light, or as paling glow-worms hide away before some prying lantern; and all who have in one way or another prided themselves on some harmless peculiarity, avoid his penetrating glance as the eye of a basilisk. Then, again, those casual encounters of witlings in the world authorial, so anticipated by a hostess, so looked-forward-to by guests! In most cases, how forlorn they be! how dull; constrained, suspicious! like rival traders, with pockets instinctively buttoned up, and glaring each upon the other with most uncommunicative aspects; not brothers at a banquet, but combatants and wrestlers, watching for solecisms in the other's talk, or toiling to drag in some laboured witticism of their own, after the classical precedent of Hercules and Cerberus: those feasts of reason, how vapid! those flows of soul, how icily congealing! those Attic nights, how dim and dismal! Once more; and, remember me, I speak in a personated character of the general, and not experimentally; so, flinging self aside, let me speak what I have seen: grant that the world-without crown a man with bays, and lead him to his Theban home with tokens of rejoicing; is the victor there set on high, chapleted, and honoured as Nemean heroes should be or does he not rather droop instantly again into the obscure unit among a level mass, only the less welcome for having stood up, a Saul or a Musæus, with his head above his fellows? Verily, no man is a proph—Enough, enough! for ours is a prerogative, a glorious calling, and the crown of barren leaves is costlier than his of Rabbah; enough, enough! sing we the praises, count we well the pleasures of fervent,overflowing authorship. There, in perfect shape before the eyes—there, well born in beauty—there perpetually (so your fondness hopes) to live—slumbers in her best white robe the mind's own fairest daughter; the Minerva has sprung in panoply from that parental aching head, and stands in her immortal independence; an Eve, his own heart's fruit, welcomes delighted Adam. You have made something, some good work, bodily; your communion has commenced with those of times to come; your mind has produced a witness to its individuality; there is a tablet sacred to its memory standing among men for ever.
A thinker is seldom great in conversation, and the glib talkers who have silenced such a one frequently in clamorous argument, founder in his deep thoughts, blundering, like Stephanos and Trinculos—(let Caliban be swamped;) such generous revenge is sweet: a writer often unexplained, because speaking little, and that little foolishly mayhap, and lightly for the holiday's sake of an unthoughful rest, finds his opportunities in printing, and gives the self-expounding that he needs; such heart-emptyings yield heart-ease: an author, who has done his good work well—for such a one alone we speak—while, privately, he scarce could have refreshed mankind by petty driblets—in the perpetuity, publicity, and universal acceptation of his high and honourable calling, does good by wholesale, irrigates countries, and gladdens largely the large heart of human society. And are not these unbounded pleasures, spreading over life, and comforting the struggles of a death-bed? Yes: rising as Ezekiel's river from ankle to knee, from knee to girdle, from girdle to the overflowing flood—far beyond those lowest joys, which many wise have trampled under foot, of praise, and triumph, and profit—the authorship of good, that has made men better; that has consoled sorrow, advanced knowledge, humbled arrogance, and blest humanity; that has sent the guilty to his prayers, and has gladdened the Christian in his praises—the authorship of good, that has shown God in his loveliness, and man in his dependence; that has aided the cause of charity, and shamed the face of sin—this high beneficence, this boundless good-doing, hath indeed a rich recompense, a glorious reward!
But we must speed on, and sear these hydra-necks, or we shall have as many heads to our discourse, and as puzzling, as any treatise of the Puritan divinity. Let us hasten to be practical; let us not so long forget the promised title-pages; let it at length satisfy to show, more than theoretically, how authorship stirs up the mind to daily-teeming projects, and then casts out its half-made progeny; how scraps of paper come tobe covered with the cabala of half-written thoughts, thenceforward doomed to suffer the dispersion-fate of Sibylline leaves; how stores of mingled information gravitate into something of order, each seed herding with its fellows; and how every atom of mixed metal, educationally held in solution by the mind, is sought out by a keen precipitating test, gregariously building up in time its own true crystal.
Hereabouts, therefore, and hereafter, in as frank a fashion as heretofore, artlessly, too, and, but for crowding fancies, briefly shall follow a full and free confession of the embryo circulating library now in the book-case of my brain; only premising, for the last of all last times, that while I know it to be morally impossible that all should be pleased herewith, I feel it to be intellectually improbable that any one mind should equally be satisfied with each of the many parts of a performance so various, inconsistent, and unusual; premising, also, that wherein I may have stumbled upon other people's titles, it is unwittingly and unwillingly; for the age breeds books so quickly, that a man must read harder than I do to peruse their very names; and premising this much farther, that I profess to be a sort of dog in the manger, neither using up my materials myself, nor letting any one else do so; and that, whether I shall happen or not, at any time future to amplify and perfect any of these matters, I still proclaim to all bookmakers and booksellers,steal not; for so surely as I catch any one thus behaving—and truly, my masters, the temptation is but small—I will stick a "Sic vos, non vobis," on his brazen forehead.
Wait! there remaineth yet a moment in which to say out the remnant of my mind, "an author's mind," its last parting speech, its dying utterances before extreme unction. I owe all the world apologies; I would pray a catholic forgiveness. Authors and reviewers, critics, and the undiscriminating many, fair women, honest men, I cry your pardons universally! I do confess the learning of my mind to lie, strangely and Pisa-like, inveterately as at Welsh Caérphilli, out of the perpendicular of truth; it is my disposition to make the most of all things, for good or for evil; I write, speak, and think, as if I were but an unhallowed special pleader; I colour highly, and my outlines are too strong; I am guilty on all sides of unintentional misstatements, consequent on the powerful gusts of feeling that burst upon my irritable breast; my heart is no smooth Dead Sea, but the still vexed Bermoothes: therefore I would print my penitence; I would publish my confessions; I would not hide my humbleness; and it pleases me to pour out in sonnet-form my unconventional
—For I have sinn'd; oh! grievously and often;Exaggerated ill, and good denied;Blacken'd the shadows only born to soften;And Truth's own light unkindly misapplied:Alas! for charities unloved, uncherish'd,When some stern judgment, haply erring wide,Hath sent my fancy forth, to dream and tellOther men's deeds all evil! Oh, my heart!Renew once more thy generous youth, half perish'd;Be wiser, kindlier, better than thou art!And first, in fitting meekness, offer wellAll earnest, candid prayers, to be forgivenFor worldly, harsh, unjust, unlovableThoughts and suspicions against man and Heaven!
Friends all, let this be my best amendment: bear with the candour, homely though it may be, of your author's mind; and suffer its further revelations of unborn manuscript with charitable listening; for they would come forth in real order of time, the first having priority, and not the best, ungarnished, unweeded, uncared-for, humbly, and without any further flourish of trumpets.
Serjeant Ion—I beg his pardon, Talfourd—somewhere gives it as his opinion, that most people, in any way troubled with a mind, have at some time or other meditated a tragedy. Truly, too, itisa fine vehicle for poetical solemnities, a stout-built vessel for an author's graver thoughts; and the bare possibility of seeing one's own heart-stirring creation visually set before a crowded theatre, the preclusive echoes of anticipated thundering applause, the expected grilling silence attendant on a pet scene or sentiment, all the tangible, accessories of painting and music, clever acting and effective situation, and beyond and beside these the certain glories of the property-wardrobe, make most young minds press forward to the little-likely prize of successful tragedy. That at one weak period I was bitten, my honesty would scorn to deny; but fortunately for my peace of mind, "Melpomene looked upon me with an aspect of little favour," and sturdy truth-telling Tacitus made me at last but lightly regardful of my subject. Moreover, my Pegasus was visitedwith a very abrupt pull-up from other causes; it has been my fatality more than once or twice, as you will ere long see, to drop upon other people's topics—for who can find any thing new under the sun?—and I had already been mentally delivered of divers fag-ends of speeches, stinging dialogues, and choice tit-bits of scenes, (all of which I will mercifully spare you,) when a chance peep into Johnson's 'Lives of the Poets' showed me mine own fine subject as the work of some long-forgotten bard! This moral earthquake demolished in a moment my goodly aërial fabric; the fair plot burst like a meteor; and an after-recollection of a certain French tragedy-queen, Agrippina, showed me that the ground was still further preoccupied. But it is high time to tell the destined name of my abortive play; in four letters, then,
And now, in pity to an afflicted parent, hear for a while his offspring's Roscian capabilities. First of all, however, (and you know how I rejoice in all things preliminary,) let me clear my road by explanations: we must pioneer away a titular objection, "in seven scenes," and an assumed merit, in the term "classical." I abhor scene-shifters; at least, their province lies more among pantomimes, farces, and comedies, than in the region of the solemn tragic muse; her incidents should rather partake of the sculpture-like dignity oftableaux. My unfashionable taste approves not of a serious story being cut up into a vast number of separate and shuffled sections; and the whistle and sliding panels detract still more from the completeness of illusion: I incline as much as is possible to the Classic unities of time, place, and circumstances, wishing, moreover, every act to be a scene, and every scene an act; with a comfortable green curtain, that cool resting-place for the haggard eye, to be the grass-like drop, mildly alternating with splendid crime and miserable innocence: away with those gaudy intermediates, and, still worse, some intruded ballet; bring back Garrick's baize, and crush the dynasty of head-aches.
But onward: let me further extenuate the term, seven scenes; the utterance seven "acts" would sound horrific, full of extremities of weariness; but my meaning actually is none other than seven acts ofone scene each: for the number seven, there always have been decent reasons, and ours may best appear as we proceed, less than a brief seven seeming insufficient, and more, superfluous; again, so mystical a number has a staid propriety, and a due double climax of rise and fall. Now, as to our adjective "classical:" Why not, in heroic drama, have something a-kin to the old Greek chorus, with its running comment upon motives and moralities, somewhat as the mighty-master has set forth in his truly patriotic 'Henry the Fifth?'—However, taking other grounds, the epithet is justified, both by the subject and the proposed unmodern method of its treatment: but of all this enough, for, on second thoughts, perhaps we may do without the chorus.
It is obvious that no historical play can strictly preserve the true unity of time; cause and effect move slower in the actual machinery of life, than the space of some three hours can allow for: we must unavoidably clump them closer; and so long as a circumstance might as well have happened at one time as at another, I consider that the poet is justified in crowding prior events as near as he may please towards the goal of their catastrophe. If then any slight inaccuracy as to dates arrests your critical ken, believe that it is not ignorantly careless, but learnedly needful. One other objection, and I have done. No man is an utter inexcusable, irremediable villain; there is a spot of light, however hidden, somewhere; and, notwithstanding the historian's picture, it may charitably be doubted whether we have made due allowance for his most reasonable prejudice even in Nero's case. Human nature has produced many monsters; but, amongst a thousand crimes, there has proverbially lingered in each some one seedling of a virtue; and when we consider the corruption of manners in old Rome, the idolatrous flatteries hemming in the prince, the universal lie that hid all things from his better perceptions, we can fancy some slight extenuation for his mad career. Not that it ever was my aim, in modern fashion, to excuse villany, or to gild the brass brow of vice; and verily, I have not spared my odious hero; nevertheless, in selecting so unamiable a subject, (or rather emperor,) I wished not to conceal that even in the worst of men there is a soil for hope and charity; and that if despotism has high prerogatives, its wealth and state are desperate temptations, whose dangers mightily predominate, and whose necessary influences, if quite unbiased, tend to utter misery.
Now to introduce ourdramatis personæ, with their "cast,"—for better effect—rather unreasonably presumed.Nero—(Macready, who would impersonate him grandly, and who, moreover, whether complimented ornot by the likeness, wears a head the very counterpart of Nero's, as every Numismatist will vouch,)—a naturally noble spirit, warped by sensuality and pride into a very tyrant; liberal in gifts, yet selfish in passion; not incapable of a higher sort of love, yet liable to sudden changes, and at times tempestuously cruel.Nattalis—(say Vandenhoff,)—his favourite and evil genius, originally a Persian slave, and still wearing the Eastern costume: a sort of Iago, spiriting up the willing Nero to all varieties of wickedness, getting him deified, and otherwise mystifying the poor besotted prince with all kinds of pleasure and glory, to subserve certain selfish ends of rapine, power, and licentiousness, and to avenge, perhaps, the misfortunes of his own country on the chief of her destroyers.Marcus Manlius—(who better than Charles Kean?—supposing these artistic combinations not to be quite impossible,)—a fine young soldier, of course loving the heroine, captain of Nero's body-guard, chivalrous, honourable, noble, and faithful to his bad master amid conflicting trials.Publius Dentatus—(anybouldspeaker; besides, it would be rather too much to engage all the actors yet awhile;)—a worthy old Roman, father of the heroine.Galba, the chief mover in the catastrophe, as also the opener of its causes, an intriguing and fierce, but well-intentioned patriot, who ultimately becomes the next emperor. WithCurtiusa tribune, senators, conspirators, soldiers, priests, flamens, &c. And so, after the ungallant fashion of theatrical play-wrights, as to a class inferior to the very &c. of masculines—(of less intention withal than one of those &cs. of crabbed Littleton, like an old shoe fricasséed into savourings of all things by its inimitable Coke,)—come we to the women-kind.Agrippina, (one of the school of Siddons,) empress-mother, a strong-minded, Lady-Macbeth sort of woman, and the only person in the world who can awe her amiable son.Lucia,(youcannot be spared here, clever Helen Faucit)—the heroine, secretly a Christian affianced to Manlius; a character of martyr's daring and woman's love.Rufa, a haggard old sibyl, with both private and public reasons for detesting Nero and Nattalis: and all the fitting female attendants to conclude the list.
Each scene, in which each act will be included, should be pictorially, so to speak, atableauin the commencement, and atableauof situation in the end. Let us draw up upon scenethe first. Back-ground, Rome burning; in front, ruins of fine Tuscan villa, still smoking; and a terminal altar in the garden. Plebs. running to and fro, full of conventional little speeches, with goods, parents, penates, and other lumber, rescuedfrom the flames; till a tribune, (hight Curtius,) in a somewhat incendiary oration concerning poor men's calamities, and against the powers that be, sends them to the capital with a procession of flamines Diales and vestals, dirging solemnly a Roman hymn [some "Ad Capitolium, Ad Jovis solium," and so forth] to good music. At the end of the train come in Publius and Lucia, to whom from opposite hurriedly walks Galba, full of talk of omens, direful doings, patriotism, and old Rome's ruin. To these let there be added—to speak mathematically—open-hearted Manlius; and let there follow certain disceptatious converse about Nero, Manlius excusing him, extenuating his vices by his temptations, giving military anecdotes of his earlier virtues, and in fact striving to make the most of him, a very gentle monster: Galba throwing in, sarcastically, blacker shadows. After disputation, the father and lovers walk off, leaving Galba alone for a moment's soliloquy; and, from behind the terminal altar, unseen Sibyl hails him Cæsar; he, astonished at the airy voice so coincident with his own feelings, thinks it ideal, chides his babbling thoughts, and so forth: then enter to him suddenly chance-met noble citizens, burnt out of house and home, who declaim furiously against Nero. Sibyl, still unseen from behind the altar, again hails Galba as future Cæsar; who, no longer doubting his ears, and all present taking the omen, they conspire at the altar with drawn swords, and as the Sibyl suddenly presides—tableau—and down drops the soft green baize. This first act, you perceive, is stirring, introductory of many characters; and the picture of the seven-hilled city, seen in a transparent blaze, might give the followers of Stanfield a triumph.
Second: The senate scene, producing another monstrous crime of Nero's, also inaccurately dated. In the full august assembly, Nero discovered enthroned, not unmajestic in deportment, yet effeminately chapleted, and holding a lyre: suppose him just returned from Elis, a pancratist, the world's acknowledged champion. Nattalis, ever foremost in flatteries, after praising the prince's exploits in Greece, avows that, like Paris in Troy, and Alexander at Persepolis, Nerohadgloriously fired Rome; he found it wood, and wished to leave it marble; (so, the catafalque at the Invalides of the twice-buried Corsican;) in destroying, as well as blessing, he had asserted his divinity; any after due allusions to Phœnixes, and fire-kingships, andcoups-de-solielfalling from the same Apollo so great upon the guitar, Nattalis moves that Nero should be worshipped, and calls on the priest of Jupiter to set a good example. None dare refuse, and the senate bend before him; whereupon enter, inclerical procession, augurs, and diviners, men at arms with pole-axes, and coronaled white bulls, paraded before sacrifice: all this pandering to present love of splendour and picturesque effect. In the midst of these classical preparations, enters, with a bevy of attendants, the haughty queen-like Agrippina, whom Nero, having sent for to complete his triumph, commands to bend too; but she stoutly refusing, and taking him fiercely to task, objurgating likewise Rome's degenerate gray-beards—great bustle—senate broken up hurriedly—and she, with a "feri ventrem," dragged off to be killed by her son's order. Nero alone with Nattalis by imperial command; his momentary compunction nullified by the wily Iago, who turns off the subject smoothly to a new object of desire: Publius was the only senator not in his place, and Publius has a daughter, the fairest in Rome, Lucia—had not the emperor noticed her among Agrippina's women? Nero, charmed with any scheme of novelty that may change remorseful thoughts, is induced, nothing loth, to attempt the subtle abduction of the heroine; a body-guard, headed as always by Manlius, ready in the vestibule to escort him, and exit. Nattalis, alone for a minute, betrays his own selfish schemes concerning Lucia, who had refused him before, and alludes to his secret reasons for urging on the maddened Nero to the worst excesses.
Third scene(or part, oract, if it must be so), expounds, in fitting contrast to the foregoing, the tender loves of Lucia and Manlius; a gentle home-scene, a villa and its terraced gardens: also, as Lucia is a Christian, we have, poetically, and not puritanically, an insight into her scruples of conscience as to the heathenism of her lover: and also intohisconsistent nobility of character, not willing to surrender the religion of his fathers unconvinced. To them rushes in Publius, who has been warned by friend Galba of the near approach of Nattalis and a guard, to seize Lucia for disreputable Nero: no possible escape, and all urge Lucia to imitate Virginia, Lucretia, and others of like Dian fame, by cowardly self-murder; she is high-principled, and won't: then they—the father and lover—request leave to kill her; conflicting passions and considerable stage effect; Lucia, who with calm courage derides the dastard sacrifice, standing unharmed between those loving thirsty swords: in a grand speech, she makes her quiet departure a test of Manlius' love, and her ultimate deliverance to be a proof to him that her God is the true God, the God who guards the innocent. Manlius, struck with her martyr-like constancy, professes that if indeed she is saved out of this great trouble, he will embrace her faith, renounce his own, and so break down theof wealth and rank, are alike thrown away upon Publius; at last, the prince promises; and when Publius, after a burst of earnest eloquence, proclaims the new pleasure to consist inshowing mercy, Nero's utter wrath, his hurricane of hate, revoking that hasty promise, and hurrying away old Publius to die at the same stake with his daughter.
Seventh: the catastrophe scene lies in the Coliseum amphitheatre; (I mean the older one, anterior to Vespasian's:) bloody games pictured behind, and those "human torches" at fiery intervals. Nero, enthroned in side front, surrounded by a brilliant court, amongst whom are some of the conspirators: at other side Publius and Lucia, tied at one stake in white robes, back to back, to die before Nero's eyes, Manlius and soldiers guarding them: he, Manlius, having nobly resolved to test miraculous assistance to the last, but now tremblingly believing the chance of a Providence interfering, since Lucia's escape from Nero at the golden house. Just as the emperor, after a sarcastic speech, characteristically interlarded with courtier conversation, is commanding the fagot to be lighted, and Lucia's constant faith has bade Manliusdo it—a rush of Nattalis with attendant conspirators and Rufa the Sibyl, up to Nero; Nattalis strikes him, but the sword breaks short off on the hidden armour; Nero's majestic rising for a moment, asserting himself Cæsar still, the inviolable majesty;—suddenly stopped by a centripetal rush of the conspirators; who kill him, (after he has vainly attempted in despair to kill himself,) and Galba sits on the throne, while Nero, unpitied and unhelped, gasps out in the middle his dying speech. Meanwhile, at the other side, Manlius has killed Nattalis for his treachery, cut the bonds of Publius and Lucia, and all ends in moral justice for the triumph of good, and the defeat of evil; Manlius and Lucia, hand in hand, Publius with white head and upraised hands blessing them, Nero, a mangled corpse, Nattalis in his dying agonies persecuted by the vindictive Rufa, and Galba hailed as Cæsar by the assembled Romans. So, upon a magnificenttableau, slowly falls the lawny curtain.
Patient reader, what think you of my long-winded tragedy? No quibbling about Nero having really died in a drain, four years after the murder of Aggrippina; no learned disquisitions, if you please, as to his innocence of Rome's fire, a counterpart to our slander on the Papacy in the matter of London's; spare me, I pray you, learned pundit, your suspicions about Galba's too probablealibiin Spain. Tell me rather this: do I falsify history in any thing more important than mere accidentalanachronisms and anatopisms? do I make an untrue delineation of character, blackening the good, or white-washing the wicked? Do I not, by introducing Nero's three greatest crimes so near upon his assassination, merely accelerate the interval between causes and effect? And is not tragic dignity justified in varnishing, with other compost than the dregs of Rome, the exit of the last true Cæsar of the Augustan family? For all the rest, good manager, provide me actors, and I am even now uncertain—such is my weakness—whether this skeleton might not at some time be clad with flesh and skin, and a decent Roman toga. I fear it will yet haunt me as a 'Midsummer Night's Dream,' destroying my quiet with involuntary shreds and patches of long-metred blank; the notion is still vivacious, albeit scotched: Alexandrine though the synopsis appear, it must not be thrown on the highroad as a dead snake; nay, let me cherish it yet on my hearth, and not hurl it away like abonum waviatum; a little more boiling up of Roman messes in my brain, and my tragedy might flow forth spontaneously as lava. What if this book be, after all, a sort of pilot-balloon, to show my huge Nassau the way the wind blows—a feeler as to which and which may please? Whether or not this be so, I will still confess on, emptying my brain of booklets, and, if by happy possibility I can keep my secret, shall hear unsuspected, friend,yourverdict.
I must rather hope, than expect, that my next bit of possible authorship is not like the last, a subject forestalled. Scribbling as I find myself for very listlessness in a dull country-house, there's not a publisher's index within thirty miles; so, for lack of evidence to the contrary, I may legitimately, for at least a brief period of self-delusion, imagine the intoxicating field my own. And yet so fertile, important, interesting a subject, cannot have been quite overlooked by the corps of professed literary labourer's: the very title-page would insure five thousand readers (especially with a Brunswicker death's-head and marrow-bones added underneath).
standing alone in single blackiness: Opium, a magnificent theme, warranted to fill a huge octavo: and certain, from sheer variety of information, to lead into the captivity of admiring criticism minds of everycalibre. Its natural history, with due details of all manner of poppies, their indigenous habitats, botanical characters, ratios of increase, and the like; its human history, discovery as a drug; how, when, where, and by whom cultivated; dissertations as to the possibility of Chaldean, Pharaonic, Grecian, or Roman opium eating, with most erudite extracts out of all sorts of scribes, from Sanchoniathon down to Juvenal, on these topics; its medicinal uses, properties, accidents, and abuses; as to whether it might not be used homœopathically or in infinitesimal doses, to infuse a love of the pleasures of imagination into clodpoles, lawyers' clerks, and country cousins; its intellectual possibilities of usefulness, stimulating the brain; its moral ditto, allaying irritability; together with a dreadful detail of its evils in excess, idiotizing, immoralizing, ruining soul and body. Plenty of stout unquestionable statistics, from all crannies of the globe, to corroborate all the above to the extreme satisfaction of practical men, with causes and consequences of its insane local popularity. All this, moreover, at present, with especial reference to China and the East; added to the moral bearings of the Opium-war, and our national responsibilities relative to that unlucky traffic. The metaphysical question stated and answered, whether or not prohibition of any thing does not lead to its desire; showing the increasing appetency of those sottish Serics for the forbidden vice, and illustrating Gay's fable of the foolish young cock, who ne'er had been in that condition, but for his mother's prohibition: moreover, how is it, that so captivating a form of intoxication is so little rife among our drunken journeymen? queries, however, as to this; and whether or not the humbug of teetotalism (a modern speculation, got up by and for the benefit of grocers and sugar-planters on the one side, schismatics and conspiring demagogues on the other,) has already substituted opium-eating, drinking, or smoking, for the wholesomer toddies, among factory folk and the finest pisantry. Millions of anecdotes regarding Eastern Rajahs, Western Locofocos, Southern Moors, and North-country Muscovites, as to the drug in its abuses: strange cures (if any) of strange ailments of mind or body by its prudent use: how to wean men and nations from those deleterious chewings and smokings; with true and particular accounts of such splendid self-conquests as Coleridge and De Quincey, and—shall I add another, a living name?—have attained to. Then, again, what a field for poetical vagaries, and madnesses of imagination, would be afforded by the subject of opium-dreams! Now, strictly speaking, in order to hallucinate honestly, your opium-writer ought tohave had some practical knowledge of opium-eating: then could he descant with the authority of experience—yea, though he write himself thereby down an ass—on its effects upon mind and body; then could he tell of luxuries and torments in true Frenchified detail; then could he expound its pains and pleasures with all the eloquence of personal conviction. But, as to such real risk of poisoning myself, and of making I wot not how actual a mooncalf, of my present sound mind and body, I herein would reasonably demur: and, if I wanted dreams, would tax my fancy, and not my apothecary's bill. Dreams? I need not whiff opium, nor toss off laudanum negus, to imagine myself—a young Titan, sucking fiery milk from the paps of a volcano; a despot so limitless and magnificent, as to spurn such a petty realm as the Solar System, with Cassiopeia, Boötes, and his dog, to boot; an intellect, so ravished, that it feels all flame, or a mass of matter so inert, that it lies for ages in the silent depths of ocean, a lump of primeval metal: Madness, with the red-hot iron hissing in his brain: Murder, with the blood-hound ghost, over land, over sea, through crowds, deserts, woods, and happy fields, ever tracking silently in horrid calmness; the oppression of indefinite Guilt, with that Holy Eye still watching; the consciousness of instant danger, the sense of excruciating pain, the intolerable tyranny of vague wild fear, without will or power to escape: spurring for very life on a horse of marble: flying upward to meet the quick-falling skies—O, that universal crash!—greeted in a new-entered world with the execrations of the assembled dead—that hollow, far-echoing, malicious laughter—that hurricane-sound of clattering skulls; to be pent up, stifling like a toad, in a limestone rock for centuries; to be haunted, hunted, hooted; to eat off one's own head with its cruel madly crunching under-jaw; to—but enough of horrors: and as to delights, all that Delacroix suggests of perfume, and Mahomet of Houris, and Gunter of cookery, and the German opera of music: all Camilla-like running unexertive, all that sea unicorns can effect in swift swimming, or storm-caught condors in things aërial; all the rapid travellings of Puck from star to star, system to system, all things beauteous, exhilarating, ecstatic—ages of all these things, warranted to last. Now, multiply all these several alls by forty-nine, and the product will serve for as exaggerated a statement as possible of opium pandering to pleasure; yes, by forty-nine, by seven times seven at the least, that we be not accused of extenuating so fatal an excitement; for it is competent to conceive one's self expanded into any unlimited number of bodies, seven sevens being the algebraicn, and ifso, into their huge undefined aggregate; a giant's pains are throes indeed, a giant's pleasures indeed flood over. But, we may do harm to morality and truth, by falsely making much of a faint, fleeting, paltry, excitation. The brain waltzing intoxicated, the heart panting as in youth's earliest affection, the mind broad, and deep, and calm, a Pacific in the sunshine, the body lapped in downy rest, with every nerve ministering to its comfort; what more can one, merely and professedly of this world of sensualism—an opium-eater for instance—conceive of bliss? Such imaginative flights as these, with its pungent final interrogatory, suggestive to man's selfishness of joys as yet untried, might tempt to tamper with the dear delight; whereas the plain statement of the most that opium could minister to happiness, as contrasted with those false vain views of it, remind me of Tennyson's poetical 'Timbuctoo,' gorgeous as a new Jerusalem in Apocalyptic glories, and the mean filth-obstructed kraals dotted on an arid plain, to which, for very truthfulness, his soaring fancy drops plumbdown, as the shot eagle in 'Der Freischutz.'
Let this then serve as a meagre sketch of my defunct treatise on opium: think not that I love the subject, curious and fertile though it be; perhaps, philosophically regarded, it is not a better one thangin; but ears polite endure not the plebeian monosyllable, unless indeed with a rëduplicatedn, as Mr. Lanewillhave it our whilom genie should be spelt: accordingly, I magnanimously give up the whole idea, and am liberal enough, in this my dying determination, to sign a codicil, bequeathing opium to my executors.
Novelism is a field so filled with copy-holders, so populously tenanted in common, that it requires no light investigation to find a site unoccupied, and a hero or heroine waiting to be hired. Nevertheless, I seem to myself to have lighted on a rich and little-cultivated corner; imagining that the subject is a good one, because still untouched, founded on facts, and with amplifiable variations that border on the probable. He that lionizes Stratford-on-Avon, will remember in one of the Shakspearian museums of that classic town, the pictured trance of hapless
as it was limned in death-seeming life. He will be shown the tombs of her ancient family in Stratford church, and the door of that fatal vault;he will hear something of her noble birth—her fine character—her fascinating beauty—her short, innocent, eventful life—her horrible death. Consider, too, the age and locality in which she lived, Elizabethan, Shakspeare's; the great contemporary characters that might be casually introduced; the mysterious suicide, in that dim dreadful pool at the end of the terraced walk among the cropped yews, of her poor only sister, Margaret; equalled only in the miserable interest by that of Charlotte herself. And then for a plot: some darkly hinted parricide of years agone, in the generation but one preceding, has dropt its curse upon the now guiltless, but, by the law of Providence, still-not-acquitted family; a parricide consequent on passionate love, differing religions, and the Montague-and-Capulet-school of hating feudal fathers—Theodore Clopton having been a Catholic, Alice Beauvoir a Protestant; an introductory recountal of old Beauvoir's withering curse on the Clopton family for Theodore's abduction of his daughter, followed by the tragic event of the father and son, Cloptons', mutual hatred, and the former found in his own park with the broken point of his son's sword in him, the latter flying the realm: the curse has slept for a generation; and now two fair daughters are all that remain to the high-bred Sir Clement and his desponding lady, on whom the Beauvoir descendant, a bitterest enemy, takes care to remind them the hovering curse must burst. This Rowland Beauvoir is the villain of the story, whose sole aim it is, after the fulfilment of his own libertine wishes, to see the curse accomplished: and Charlotte's love for a certain young Saville, whom Beauvoir hates as his handsome rival in court patronage, as well as her pointed refusal of himself, gives new and present life to his ancestral grudge. The lovers are espoused, and to make Sir Clement's joy the greater, Saville has interest sufficient to meet the old knight's humour of keeping up the ancient family name, by getting it added to his own; so that the Beauvoir hatred and parricidal curse seem likely to be frustrated. But—the first hindrance to their union is poor sister Margaret's secret and infatuated love for that scheming villain Rowland, her then too probable seduction, melancholic madness, and suicide: successively upon this follow the last illnesses and deaths of the heart-broken old people, whom Rowland's dreadful ubiquity terrifies in their very chamber of disease; and as the too likely consequence of such accumulated sorrows on a creature of exquisite sensibility, Charlotte, the only remaining heiress of that ancient lineage, gradually, and with all the semblance of death, falls into her terrible trance. Rowland, who, through his intimacy with Margaret, knows allthe secret passages and sliding panels of the old mansion, and who thereby gets mysterious admission whenever he pleases, comes into that silent chamber, and finds Saville mourning over his dead-seeming bride: she, all the while, though unable to move, in an agony of self-consciousness; and at last, when Rowland in fiendish triumph pronounces the curse complete, to the extreme horror of both, by an effort of tortured mind over apparently inanimate matter, rolls her glazed eyes, and gives an involuntary groan: having thus to all appearance confirmed the curse, she lies more marble-white, more corpse-like, more entranced than ever. Then, after long lingering, draws on the horrible catastrophe: a catastrophe, alas! as far at least as regards the heroine,quite true. Fully aware of all that is going on—the preparations for burial, the misery of her lover, the gratified malice of her foe—she is placed in the coffin: the rites proceed, her heart-stricken espoused takes his last long leave, she is carried to the grave, locked in the family vault under Stratford church, and there left alone, fearfully buried alive! And then, after a day or two, how shrieks and groans are heard in the church-yard by truant school-boys, and are placed to the account of the curse: how, at last, her despairing lover demands to have the vault opened; and the wretch Rowland—partly from curiosity, partly from malice—determined to be there to see. As they and some church-followers come near the door of the vault, they hear knockings, and desperate plunges within; Saville swoons away, the crowd falls back in terror, and the hardened Rowland alone dares unlock the door. Instantly, in her shroud, mad, starved, with the flesh gnawed from her own fair shoulders, rushes out the maniac Charlotte: in phrensied half-reason she has seized Rowland by the throat, with the strength of insanity has strangled him, and then falls dead upon the steps of the vault! Of Saville—who, as having swooned, is spared all this scene of horror, and who leaves the country for ever—little or nothing is more said: and Clopton Hall remains a ruin, tenanted by ghosts and bats.
P.S. If thought fit, after the fashion of Parisian charcoal-burners in ill-ventilated bed-rooms, Charlotte may have recorded her experiences in the vault, by writing with a rusty nail on the coffin-plates.
P.S. If thought fit, after the fashion of Parisian charcoal-burners in ill-ventilated bed-rooms, Charlotte may have recorded her experiences in the vault, by writing with a rusty nail on the coffin-plates.
Now, the gist of this Victor-Hugo tale of terror is its general truth: a true end of a truly-named family, in its own neighbourhood, and long since extinct: the house, now rëbuilt and rëstyled—the vault—the picture of that poor unfortunate, (how unsearchable in real life often are the ways of Providence! how frequently the innocent suffer for theguilty!)—the gloomy well—and something extant of the story—remains still, and are known to some at Stratford. To do the thing graphically, one should go there, and gain materials on the spot: and nothing could be easier than to mix with them fifteenth-and-sixteenth-century costumes, modes of thought, and historical allusions; accessories of the humorous, if the age demands it, might relieve the pathetic; Charlotte's own innocence and piety might be made to soften her hard fate, with the assurance of a better life; Saville might become a wisely-resigned recluse; and while the sins of the fathers are not gently, though justly, visited on the children, the villain of the story meets his full reward.
Behold, then, hungry novel-monger, what grist is here for the mill! Behold, Sosii, what capabilities of orders from every library in the kingdom!—As doomed ones, and denounced ones, and undying ones, and unseen ones, seem to be such taking titles, what think you of theBuried-alive-one!—is it not new, thrilling, terrible? Who is he that would pander to the popular taste for details of dreadful, cruel, criminal, and useless abominations? "Should such a one as I?" In emptying my head of the notion, I have ministered too much already: but the sample of henbane is poured out, an offering to the infernal manes, and poisons no longer the current of my thoughts. Thy ghost, poor beautiful Charlotte! shall not be disturbed by me; thy misfortunes sleep with thee. Nevertheless, this tale about a more amiable Charlotte than Werter's, so naturally also falling into the orthodox three-volume measure, is capable of being fabricated into something of deep, romantic, tragical interest; such a character, in such circumstances, in such an age, and such a place: I commend it to those of the Anglo-Gallic school, who love the domestically horrible, and delight in unsunned sorrows: but, I throw not any one topic away as a waif, for the casual passer-by to pick up on the highway. Shadows, indeed, are flung upon the waters, but Phulax still holds the substance with tenacious teeth.
Stop awhile, my dog and shadow, and generously drop the world a morsel; be not quite so bold when no one thinks of robbing you, and spare your gasconade: the expediency of a sample has been cleverly suggested, andWEego et canis meus, royal in munificence, do graciously accede. Will this serve the purpose, my ever-pensive public? At any rate, with some aid of intellect in readers, it is happily an extract which explains itself—the death of poor infatuated Margaret: we will suppose preliminaries, and hazard the abrupt.
"That bitter speech shot home; it had sped like an arrow to her brain: it had flown to her heart like the breath of pestilence: for Rowland to be rough, uncourteous, unkind, might cause indeed many a pang; but such conduct had long become a habit, and woman's charitable soul excused moroseness in him, whom she loved more than life itself, more than honour. But now, when the dread laugh of a seemingly more righteous world was daily, hourly, to be feared against her—when the cold finger of scorn was preparing to be pointed at her fading beauty, and her altered form—now, when indulgence is most due, and cruelty has a sting more scorpion than ever—to be taunted with that once-kind tongue with having rightfully inheriteda curse—to be told, in a sort of fiendish triumph, that some ancient family grudge, forsooth, against her father's fame, certainly as much as the selfish motives of a libertine professed, had warped the will of Rowland to her ruin—to know, to hear, yea, from his own lips, that the oft-repented crime of her warm and credulous youth—of her too free, unsuspicious affection—had calmly been contrived by the heart she clung to for her first, her only love—here was misery, here was madness!
"Rowland, at the approach of footsteps, had hastily slunk away behind the accustomed panel, and alone in the chamber was left poor Margaret: his last sneering speech, the mockery of his sarcastic pity, were still haunting her ear with echoes full of wretchedness; and she had uttered one faint cry, and sunk swooning on a couch, when her sister entered.
"Charlotte, gentle Charlotte, had nothing of the hardness of a heroine; her mind, as her most fair body, was delicate, nervous, spiritualized; but the instinct of imperious duty ever gave her strength in the day of trial. Long with an elder sister's eye had she watched and feared for Margaret; she had palliated natural levity by evident warmth of disposition, and excused follies of the judgment by kindness of the heart. Charlotte was no child; in any other case, she had been keener of perception; but in that of a young, generous, and most loving sister, suspicion had been felt as a wickedness, and had long been lulled asleep: now, however, it awaked in all its terrors; and, as Margaret lay fainting, the sorrowful condition of one soon to be a mother who never was a wife, was only too apparent. She touched her, sprinkled water on her pale face, and, as the fixed eyes opened suddenly, Charlotte started at their strange wild glare: they glittered with a freezing brilliancy, and stared around with the vacuity of an image. Could Margaret be mad? She bit her tender lips with sullen rage, and a gnashing desperation; hercheek was cold, white, and clammy as the cheek of a corpse; her hair, still woven with the strings of pearl she often wore, hung down loose and dishevelled, except that on her flushing brow the crisp curls stood on end, as a nest of snakes. And now a sudden thought seemed to strike the brain; her eyes were set in a steady horror; slowly, with dread determination, as if inspired by some fearful being, other than herself, uprose Margaret; and, while her frightened sister, shuddering, fell back, she glided, still gazing on vacancy, to the door: so, like a ghost through the dark corridor, down those old familiar stairs, and away through the Armory-hall; Charlotte now more calmly following, for her father's library, where his use was to study late, opened out of it, and surely the conscience-stricken Margaret was going in her penitence to him. But, see! she has silently passed by; her hand is on the lock of the hall-door; with one last look of despairing recklessness behind her, as taking an eternal leave of that awe-struck sister, the door turns upon its hinge, and she, still with slow solemnity, goes out. Whither, oh God!—whither? The night is black as pitch, rainy, tempestuous; the old knight's guests at Clopton Hall have gladly and right wisely preferred even such questionable accommodation as the blue chamber, the dreary white apartment looking on the moat—nay, the haunted room of the parricide himself—to encountering the dangers and darkness of a night-return so desperate; but Margaret, in her gayest evening attire, near upon so foul a midnight in November, stalks like a spectre down the splashy steps. Charlotte follows, calls, runs to her—but cannot rescue from some settled purpose, horribly suggested, that gentle fearful creature, now so changed. Suddenly in the dark she has lost her. Which way did the maniac turn?—whither in that desolate gloom shall Charlotte fly to find her? Guided by the taper still twinkling in her father's study, she rushes back in terror to the hall; and then—Help, help!—torches, torches! The household is roused, dull lanterns glance among the shrubberies; pine-lights, ill-shielded from wind and rain by cap or cloak, are seen dotting the park in every direction, and dance about through the darkness, like sportive wild-fires: Sir Clement in moody calmness looks prepared for any thing the worst, like a man who anticipates evil long-deserved; the broken-hearted mother is on her knees at the cold door-steps, striving to pierce the gloom with her eyes, and ejaculating distracted prayers: and so the live-long night—that night of doubt, and dread, and dreariness—through bitter hours of confusion and dismay, they sought poor Margaret—and found her not!
"But, with morning's light came the awful certainty. At the end of a terraced walk, mournfully shaded by high-cropped yews, stood an arbour, and behind it, half-hidden among rank weeds, was an old half-forgotten fountain; there, on many a sultry summer night, had Rowland met with Margaret, and there had she resolved in terrible remorse to perish. With the seeming fore-thought of reason, and the resolution of a phrensied fortitude, she had bound a quantity of matted weeds about her face, and twisted her hands in her fettering garments, that the shallow pool might not in cruel kindness fail to drown her; she lay scarcely half immersed in those waters of death; a few lazy tench floating sluggishly about, appeared to be curiously inspecting their ghastly, uninvited guest; and the fragments of an enamelled miniature, with some torn letters in the hand-writing of Rowland Beauvoir, were found scattered on the overflowing margin of the pool."
Well, unkindly whelp, if your bone has no pickings better than this, not a cur shall envy you the sorry banquet. Yet, had my genius been better educated in the science of French cookery, this might have been served up with higher seasoning as a savouryragout: but you get it in simplicity, scarce grilled; and in sooth, good world, it is easier to sneer at a novel than to imagine one; and far more self-complacency may be gained by manfully affecting to despise the novelist, than by adding to his honours in the compliment of humble imitation.
Things supernatural have every where and every when exercised mortal curiosity. Fear and credulity support the arms of superstition, fierce as city griffins, rampant as the lion and the unicorn; and forasmuch as no creature, Nelson not excepted, can truly boast of having never known fear, and no man also—from polite Voltaire, shrewd Hume, Leviathan Hobbes, and erudite Gibbon, down to the most stultified Van-Diemanite—can honestly swear himself free from the influence of some sort of faith, for thus much the marvellous and the terrible meet with universal popularity. Now, one or two curious matters connected with those "more things in heaven and earth, Horatio, than are dreamt of in your philosophy," which have even occurred to mine own self, (whereof, to gratify you, shall be a little more anon), have heretofore induced me to touch upon sundry interesting points, which, like pikemen round their chief, throng about the topic of
A book, so simply titled, with haply underneath a gigantic note of admiration between two humble queries ?!? would positively, my worthy publisher, make your worship's fortune. For it should concern ghosts, dreams, omens, coincidences, good-and-bad luck, warnings, and true vaticinations: no childish collection, however, of unsupported trumpery, but authenticated cases staidly evidenced, and circumstantially detailed; no Mother Goose-cap's tales, no Dick the Ploughman's dreams, no stories from the 'Terrific Register,' nor fancies of hysterical females in Adult asylums; even Merlin witch-finders, and Taliesins should be excluded: and, in lieu of all such common-places, I should propose an anecdotic treatise in the manner scientifical. Macnish's 'Philosophy of Sleep,' Scott's 'Demonology,' treatises on Apparitions, and many a rare black-letter alchemical pamphlet, might lend us here their aid; the British Museum is full of well-attested ghost-stories, and there are very few old ladies unable to add to the supply: then, this ghost department might be climaxed by the author's own experience; forasmuch as he is ready to avouch that a person's fetch was heard by many, and seen by some, in an old country-house, a hundred miles away from the place of death, at the instant of its happening.
As to omens, aforesaid witness deposes that the sceptre, ball, and cross were struck by lightning out of King John's hand, in the Schools quadrangle at Oxford, immediately on the accession of William the Reformer; and all the world is cognusant that York Minster, the Royal Exchange, and the Houses of Parliament were destroyed by fire near about the commencement of open hostility, among ruling powers, to our church, commerce, and constitution; and I myself can tell a tale of no less than eight remarkable warnings happening one day to a poor friend, who died on the next, which none could be expected to believe unless I delivered it on oath as having been an eye-witness to the facts. Dreams also—strange, vague, mysterious word; there is a gloomy look in it, a dreary intonation that makes the very flesh creep: the records of public justice will show many a murder revealed by them, as instance the Red Barn; more than one poor client, in the clutch of a "respectable" attorney, has been helped to his rights by their influence; from Agamemnon and Pilate, down to Napoleon, the oppressors of mankind have in those had kindly warning. Dreams—how many millions false and foolish, for the one proving to be true!—butthat one, how clear, determinate, and lasting, as ministered by far other agency than imagination taking its sport while reason slumbers! Who has not tales to tell of dreams? A warning not to go on board such and such a ship—which founders; a strange unlikely scene fixed upon the mind, concerning friends and circumstances miles away, exactly in the manner and at the time of its occurrence; the fore-shown coming of an unexpected guest; the pourtrayed visage of a secret enemy: these, and others like these, many can attest, and I not least. And of other marvels, though here left unconsidered, yet might much be said: truths so strange, that the pages of romance would not trench on such extravagance; combinations so unlikely, that thrice twelve cast successively by proper dice, were but probability to those. Thus, in authorial fashion, has the marvellous dwelt upon my mind; and thus would I suggest a hand-book thereof to catering booksellers and the insatiable public.
Against bears in a stage-coach, pointers in a drawing-room, lap dogs in avis-à-vis, and monkeys in a lady's boudoir, my love of comfort and propriety enters strong protest; an emancipated parrot attracts my sympathy far less than bright-eyed children feeding their testy pet, for I dread the cannibal temptation of those soft fair fingers, when brought into collision with Polly's hook and eye; gigantic Newfoundlanders dragging their perpetual chains, larks and linnets trilling the faint song of liberty behind their prison bars, cold green snakes stewing in a school-boy's pocket, and dormice nestling in a lady's glove, summon my antipathies; a cargo of five hundred pigs, with whom I had once the honour of sailing from Cork to London, were far from pleasant ascompagnons de voyage; neither can I sleep with kittens in the room. Nevertheless, no one can profess truer compassion, truer friendship (if you will) for the animal creation: often have I walked on in weariness, rather than increase the strain upon the Rosinantes of an omnibus; and my greatest school scrape was occasioned by thrashing the favoured scion of a noble house for cruelty to a cat. Such and such-like—for we learn from Æsop (Fable eighty-eight, to wit) that trumpeters deserve to be unpopular—is my physical zeal in the cause of poor dumb brutes: nor is my regard for them the less in matters metaphysical. Bishop Butler, we may all of us remember, in 'THEAnalogy' argues that the objector against a man's immortality must show good cause why thatwhich exists, should ever cease to exist; and, until that good cause be shown, the weight of probability is in favour of continual being. Now, for my part, I wish to be informed why this probability should not be extended to that innocent maltreated class, whom God's mercy made with equal skill, and sustains with equal care, as in the case of man, and—dare we add?—of angels. Doth He not feed the ravens? Do the young lions not gather what He giveth? Doth a sparrow fall to the ground without Our Father? and is not the unsinning multitude of Nineveh's young children climaxed with "much cattle?" It is true, there may be mighty difference between "the spirit of a man that goeth upward, and the spirit of a beast that goeth downward in the earth:" but mark this, thereisa spirit in the beast; and as man's eternal heaven may lie in some superior sphere, so that temporarily designed for the lower animals may be seen in the renovated earth. It is also true, that St. Paul, arguing for the temporal livelihood of Christian ministers from the type of "not muzzling the ox that treadeth out the corn," asks, "Doth God care for oxen?"—or, in effect, doth He legislate (I speak soberly, though the sublime treads on the ridiculous,) for a stable?—and the implication is, "To thy dutiful husbandry, O man! such lesser cares are left." Sorry, righteously sorry, would it make any good man's heart to think that the Creator had ceased to care for the meanest of his creatures: in a certain sense
"He sees with equal eye, as God of all,A hero perish, or a sparrow fall;"
and, assured that carelessness in a just Creator of his poor dependent creatures must be impossible, I submit that, critically speaking, some laudable variation might be made in that text by the simple consideration that μελει is not so strictly rendered "care for" as κεδεται. Scripture, then, so far from militating against the possible truth, that animals have souls, would seem, by a side-long glance, to countenance the doctrine: and now let us for a passing moment turn and see what aid is given to us by moral philosophy.
No case can be conceived more hard or more unjust than that of a sentient creature (on the hypothesis of its having no soul, no conscience, necessarily quite innocent), thrown into a world of cruelty and tyranny, without the chance of compensation for sufferings undeserved. Neither can any good government be so partial, as (limiting the whole existence of animals to an hour, a day, a year,) to allow one of a litter to be pampered with continual luxuries, and another to be tortured for all its littlelife by blows, famine, disease—and in its lingering death by the scientific scalpels of a critical Majendie or a cold-blooded Spallanzani. Remember, that in the so-called parallel case of partialities among men—the this-world's choice of a Jacob, the this-world's rejection of an Esau—the answer is obvious: there are two scales to the balance, there is yet another world. Far be it from us to think that all things are not then to be cleared up; that the innocent little ones of Kedar and the exterminated Canaanites will not then be heard one by one, and no longer be mingled up indiscriminately in an overwhelming national judgment; that the pleas of evil education and example, of hereditary taint and common usage, will be then thrown aside as vain excuse; and that eventual justice will not with facility explain every riddle in the moral government of God. But in the case of soulless extinguished animals, there is, there can be no compensation, no explanation; whether in pain or pleasure, they have lived and they have died forgotten by their Maker, and left to the casual kindness or cruelty of, towards them at least, irresponsible masters. How different the view opened to us by the possibility of soul being apportioned in various measure among the lower animals: there is a clue given "to justify the ways of God to"—brutes: we need not then consider, with a certain French abbé, that they are fallen angels, doing penance for their sins; we need not, with old Pythagoras and latter Brahmins, account them stationed lodges, homes of transmigration for the spirits of men in process of being purged from their offences: we need not regard them as Avatars of Vishnu, or incarnations of Apis, visible deities craving the idolatries of India and Egypt. The truth commends itself by mere simplicity: nakedness betrays its Eve-like innocence of guile or error: those living creatures whom we call brutes and beasts, have, in their degree, the breath of God within them, as well as His handiwork upon them. And, candid theologian, tell me why—in that Millenium so long looked-for, when, after a fiery purgation, this earth shall have its sabbath, and when those who for a time were "caught up into the air," descending again with their Lord and his ten thousand saints, shall bodily dwell with others risen in the flesh for that happy season on this renovated globe—tell me why there should not be some tithe of the animal creation made to rise again to minister in pleasure, as they once ministered in pain? And for the rest, the other nine, what hinders them from tenanting a thousand happy fields in other of the large domains of space? What hinders those poor dumb slaves from enjoying some emancipate existence—we need not perhaps accord themmore of immortality than justice, demands for compensation—for a definite time, a millennium let us think, in scores of those million orbs that twinkle in the galaxy?
Space stretches wide enough for every grainOf the broad sands that curb our swelling seas,Each separate in its sphere, to stand apartAs far as sun from sun.
Shall I then say what hinders?—the littleness of man's mind, refusing possibility of room for those countless quadrillions; and the selfishness of his pride, scorning the more generous savage, whose doctrine (certainly too lax in liberality) raises the beast to a level with mankind, and
"Who thinks, admitted to that equal sky,His faithful dog shall bear him company."
Truly, the Creator's justice, and mercy, and the majesty of his kingdom, give hope of after-life to all creation: Saint Antony of Padua did waste time in homilizing birds, beasts, and fishes; but may they not find blessings, though ignorant of priests?—And now, suffer me, in my current fashion, to glance at a few other considerations affecting this topic. It will be admitted, I suppose, that the lower animals possess, in their degree, similar cerebral or at least nervous mechanism with ourselves; in their degree, I say; for a zoöphyte and a caterpillar have brains, though not in the head; and to this day Waterton does not know whether he shot a man or a monkey, so closely is his nondescript linked with either hand to the grovelling Australian and the erect orang outang. Brutes are nerved as we are, and uncivilized man possesses instincts like them: all we can with any show of reason deny them is moral sense, and in our arbitrary refusal of this, and our summary disposal of what we are pleased to term instinct, we take credit to ourselves for exclusive participation in that immaterial essence which is called Soul. But is it, in candour, true that brutes have no moral sense? Obviously, since moral sense is a growing thing, and ascending in the scale of being, and since man is its chief receptacle on earth, we ought to be able to take the best instances of animal morals from those creatures which have come most within the influence of human example; as pets of every kind, but mainly dogs. Does not a puppy, that has stolen a sweet morsel from some butcher's stall, fly, though none pursue him? Is a fox-hound not conscience-stricken for his harry of the sheep-fold? and who will deny some sense of duty, and no little strength of affection, ina shepherd's dog? Have not Cowper's now historic hares displayed an educated and unnatural confidence; and many a gray parrot, though limited in speech, said many a witty thing?—Again, read some common collection of canine anecdotes: What essential difference is there between the affectionate watch kept by man over his brother's bed of sickness, and that which has been known of more than one poor cur, whose solicitude has extended even to dying on his master's grave? The soldier's faithful poodle licks his wounds upon the stormy battle-field; and Landseer's colley-dog tears up the turf, and howls the shepherd's requiem. What real distinction can we make between a high sense of duty in the captain who is the last to leave his sinking ship, and that in the watchful terrier, whom neither tempting morsels nor menaced blows can induce to desert the ploughman's smock committed to his care? Once more: Who does not recognise individuality of character in animals? A dog, or a horse, or a tame deer, or, in fact, any domesticated creature, will act throughout life, in a certain course of disposition, at least as consistently as most masters: it will also have its whims and ways, likings and dislikings, habits, fears, joys, and sorrows; and, verily, in patience, courage, gratitude, and obedience, will put its monarch to the blush.
But upon this theme—meagre as the sketch may be, fanciful, illogical—my cursory notions have too long detained you. I had intended barely to have introduced a black-looking Greek composite, serving for name to an unwritten essay which we will imagine in existence as
And my thoughts have run on thus far so little conclusively (I humbly admit to you), that we will, to save trouble, leave the riddle as unsolved as ever, and gain no better advantage than thus having loosely adverted to another fancy of your author's mind.
Not yet is my mind a simple freeman, a private, unincumbered, individual self-possessor: its slaves are not yet all manumitted; I lack not subjects; I am no lord of depopulated regions; albeit my aim is indeed akin to that of old Rufus, and Goldsmith's tyrannical Squire of Auburn;I wish to clear my hunting-grounds, to make a solitude, and call it peace. Slowly, but still surely, am I working out that will. Meanwhile, however, there is no need to advertise for heroes; they are only too rife, clinging like bats to the curtains of my chambers of imagery, or with attendant satellites hanging in bunches, as swarming bees about their monarch, to the rafters of my brain. Selection is the hardest difficulty; here is the labour, here the toil; because for just selection there should be good reasons. Now, amongst other my multitudinous authorial projects, this perhaps is not the worst; namely, by a series of dissimilar novels, psychological rather than religious, and for interest's sake laid in diverse ages and countries, to illustrate separately the most rampant errors of the Papacy. For example, say that Lewis's 'Monk' is a strong delineation of the evils consequent on constrained and unchosen celibacy; though its colouring be meretricious, though its details offend the moralities of nature, still it is a book replete to thoughtful minds with terrible teaching—be not high-minded, but fear. In like manner, guilty thoughts dropped upon innocent young hearts in that foul corner,
might make a stirring tale, or haply a series of them: the cowled hypocrite suggesting crime to those whose answer is all innocence; his schemes of ambition, or avarice, or lust, slowly elaborated by the fiend-like purposes to which he puts his ill-used knowledge of the human heart; his sacrilegious violation of the holy grievings made by mistaken penitence. History should bring its collateral assistance: the Medicean Queens, Venice, bloody Spain, hard-visaged monks calmly directing the engines of torture, the poison of anonymous calumny, and dread secrets more dreadfully betrayed, could furnish much of truthful precedent. The bad obstructions placed between the sinner and his God by selfish priestcraft; the souls that would return again, like Noah's weary dove, enticed by ravens to forsake the ark, mate with them, and feed on their banquet of corruption; the social, religious, philosophic, and eternal harms brought out in full detail; the progress of this world's misery in the lives of the confessing, and of studious crime in the heart of the absolver: a scene laid among the high Alps, and the sunny plains they topple over; the time, that of some murderous Simon de Montfort; the actors, Waldensian saints, and demon inquisitors; the prominent characters, a plausible intriguing friar, (as of old a monk of Cluni,) whoseambition is the popedom, and whose conscience has no scruple about means, bloody, bad, vindictive, atheistic; and then his victims, a youth that he trains from infancy to the sole end of poisoning, subtly and slowly, all who stand in his path; a girl who loves this youth, and who, flying from the foul friar in the day of temptation, betakes her to the mountains, and ultimately saves her lover from his terrible destination in guilt, by hiding him in her own haven of refuge, the persecuted little church; and with these materials to work upon, I need hardly detail to you an intricate plot and an obviousdénouement.
This class of theme, it is probable, has exercised the talents of many; but as the evils of confessing to deceitful man, and of blind trust in his deleterious advice, have not specifically met my eye, the subject is new to me, and may be so to others. Still, I stay not now further to enlarge upon it; I must press on; and will not cruelly encourage the birth of thoughts brought forth only to be destroyed, like father Saturn's babes—the anthropophagite.
A good reason for selection at last presents itself. Sundry collateral ancestors of mine [every body from Cain downwards must have had ancestors; so no quibbling, please, nor quarrelling about so exploded an absurdity as family-pride,] were lucky enough in days lang syne to appropriate to themselves, amongst other matters, a respectable allowance of forfeited monastic territory; and I know it by this token: that in yonder venerable chest of archives and muniments, rest in their own dust of ages, duly and clearly assorted, all those abbey deeds from the times of Henry Beauclerc. Here's a fine unlooked-for opportunity of making dull ancestral spots classic ground, famous among men; here's a chance of immortalizing the crumbling ruins of an obscure, but interesting, abbey-church; here's a fair field for dragging in all that one knows or does not know, all that parchments can prove, or fancy can invent, of redoubtable or reprobate progenitors, and investing the place of their possessions with a glory beyond heraldry. Much is on my mind of the desperate evils consequent on the Romish rule of idol-worship: and why not lay my scene on the wild banks of the Swale, among the bleak, rough moors that stand round Richmond, and the gullies that run between the Yorkshire hills? Why not talk about those names of gentle blood, familiar to the ear as household words, Uvedale and Scrope, Vavasour and Ratcliffe? Why not press into the service of instructive novelism truths stranger than fiction, among characters more marked, and names of higher note, than the whole hot-pressed family of the Fitzes?
All this might be accomplished, were it worth the worry, in