TERPSICHORE.
"The wind is fair
The boat is in the bay,
And the fair mermaid Pilot calls away—"
Kushuk Arnem quaffed a goblet of hemp arrack. The beaker was passed to the upper divan, and the Howadji sipping, found it to smack of anniseed. It was strong enough for the Pharaohs to have imbibed—even for Herod before beholding Herodias, for these dances are the same. This dancing is more ancient than Aboo Simbel. In the land of the Pharaohs, the Howadji saw the dancing they saw, as uncouth as the temples they built. This dancing is to the ballet of civilized lands what the gracelessness of Egypt was to the grace of Greece. Had the angular figures of the temple sculptures preluded with that music, they had certainly followed with this dancing.
Kushuk Arnem rose and loosened her shawl girdle in such wise, that I feared she was about to shed the frivolity of dress, as Venus shed the sea-foam, and stood opposite the divan, holding her brass castanets. Old Hecate beat the tár into a thunderous roar. Old husband drew sounds from his horrible rabáb, sharper than the sting of remorse, and Xenobi and the Giraffe each thrummed a tarabuka until thought the plaster would peel from the wall. Kushuk stood motionless, while this din deepened around her, the arrack aerializing her feet, the Howadji hoped, and not her brain. The sharp surges of sound swept around the room, dashing in regular measure against her movelessness, until suddenly the whole surface of her frame quivered in measure with the music. Her hands were raised, clapping the castanets, and she slowly turned upon herself, her right leg the pivot, marvelously convulsing all the muscles of her body. When she had completed the circuit of the spot on which she stood, she advanced slowly, all the muscles jerking in time to the music, and in solid, substantial spasms.
It was a curious and a wonderful gymnastic. There was no graceful dancing—once only there was the movement of dancing when she advanced, throwing one leg before the other as gipsies dance. But the rest was most voluptuous motion—not the lithe wooing of languid passion, but the soul of passion starting through every sense, and quivering in every limb. It was the very intensity of motion, concentrated and constant. The music still swelled savagely in maddened monotony of measure. Hecate and the old husband, fascinated with the Ghazeeyah's fire, threw their hands and arms excitedly above their instruments, and an occasional cry of enthusiasm and satisfaction burst from their lips. Suddenly stooping, still muscularly moving, Kushuk fell upon her knees, and writhing with body, arms and head upon the floor, still in measure—still clanking the castanets, and arose in the same manner. It was profoundly dramatic. The scenery of the dance was like that of a characteristic song. It was a lyric of love which words can not tell—profound, oriental, intense, and terrible. Still she retreated, until the constantly down-slipping shawl seemed only just clinging to her hips, and making the same circuit upon herself, she sat down, and after this violent and extravagant exertion was marbly cold.
Then timid but not tremulous, the young Xenobi arose bare-footed, and danced the same dance, not with the finished skill of Kushuk, but gracefully and well, and with her eyes fixed constantly upon the elder. With the same regular throb of the muscles she advanced and retreated, and the Paradise-pavilioned prophet could not have felt his heavenly harem complete, had he sat smoking and entranced with the Howadji.
Form so perfect was never yet carved in marble; not the Venus is so mellowly moulded. Her outline has not the voluptuous excess which is not too much—which is not perceptible to mere criticism, and is more a feeling flushing along the form, than a greater fullness of the form itself. The Greek Venus was sea-born, but our Egyptian is sun-born. The brown blood of the sun burned along her veins—the soul of the sun streamed shaded from her eyes. She was still, almost statuesquely still. When she danced it was only stillness intensely stirred, and followed that of Kushuk as moonlight succeeds sunshine. As she went on, Kushuk gradually rose, and joining her, they danced together. The Epicureans of Cairo indeed, the very young priests of Venus, assemble the Ghawazee in the most secluded adyta of their dwellings, and there eschewing the mystery of the shintyan, and the gauziness of the tób, they behold the unencumbered beauty of these beautiful women. At festivals so fair, arrack, raw brandy, and "depraved human nature," naturally improvise a ballet whereupon the curtain here falls.
Suddenly, as the clarion call awakens the long-slumbering spirit of the war-horse, old Hecate sprang to her feet, and loosening her girdle, seized the castanets, and, with the pure pride of power, advanced upon the floor, and danced incredibly. Crouching before like a wasting old willow, that merely shakes its drooping leaves to the tempest, she now shook her fibres with the vigor of a nascent elm, and moved up and down the room with a miraculous command of her frame.
In Venice I had heard a gray gondolier, dwindled into a ferryman, awakened in a moonlighted midnight, as we swept by with singers chanting Tasso, pour his swan-song of magnificent memory into the quick ear of night.
In the Champs Elysées I had heard a rheumy-eyed Invalide cry with the sonorous enthusiasm of Austerlitz, "Vive Napoleon!" as a new Napoleon rode by.
It was the Indian summer goldening the white winter—the Zodiacal light far flashing day into the twilight. And here was the same in dead old Egypt—in a Ghazeeyah who had brimmed her beaker with the threescore and ten drops of life. Not more strange, and unreal, and impressive in their way, the inscrutable remains of Egypt, sand-shrouded but undecayed, than in hers this strange spectacle of an efficient Coryphée of seventy.
Old Hecate! thou wast pure pomegranate also, and not banana, wonder most wonderful of all—words which must remain hieroglyphics upon these pages—and whose explication must be sought in Egypt, as they must come hither who would realize the freshness of Karnak.
Slow, sweet singing followed. The refrain was plaintive, like those of the boat songs—soothing, after the excitement of the dancing, as nursery lays to children after a tired day. "Buono," Kushuk Arnem! last of the Arnems, for so her name signified. Was it a remembering refrain of Palestine, whose daughter you are? "Taib," dove Xenobi! Fated, shall I say, or favored? Pledged life-long to pleasure! Who would dare to be? Who but a child so careless would dream that these placid ripples of youth will rock you stormless to El Dorado?
O Allah! and who cares? Refill the amber nargileh, Xenobi—another fingan of mellow mocha. Yet another strain more stirring. Hence, Hecate! shrivel into invisibility with the thundering tár, and the old husband with his diabolical rabáb. Waits not the one-eyed first officer below, with a linen lantern, to pilot as to the boat? And the beak of the Ibis points it not to Syene, Nubia, and a world unknown?
Farewell, Kushuk! Addio, still-eyed dove! Almost thou persuadest me to pleasure. O Wall-street, Wall-street! because you are virtuous, shall there be no more cakes and ale?
CURRAN, THE IRISH ORATOR.[3]
The next year after the exertions of Grattan had secured the independence of the Irish legislature, and just as the great question of reform began to loom up in the political horizon, there entered parliament another man, whose name is imperishably connected with the history of Ireland, John Philpot Curran. Of a slight and ungainly figure, there was nothing about him to overawe a legislative assembly. Grattan was the Colossus of debate. Curran, like a skillful gladiator, played round the arena, and sometimes thrusting himself into the lists in the lighter armor of his wit, carried off the victory where his giant ally would have been less successful. But, in truth, this was not his proper theatre. He came into the Parliament-house in the evening, after having been all day in court. He was then jaded in body and mind, and chose rather to listen than to speak. As Grattan was most at home in parliament, Curran was most in his element at the bar. It was in the Four Courts that he rose above all other men; that he won the reputation of being the most eloquent advocate that Ireland had ever produced.
But it is on other accounts that Curran deserves a more minute sketch in this history. He represents, perhaps more than any of his celebrated countrymen, the Irish character—a nature compounded of imagination and sensibility. Though of less kingly intellect than Grattan, he was of a warmer temperament, and more fitted to be a popular idol.
Curran sprang from the people. He was born at Newmarket, an obscure town in the county of Cork, in 1750—being thus four years younger than Grattan. On the father's side he was descended from one of Cromwell's soldiers. Passing his childhood in the country, he was thrown much among the people. He loved to recall the days when he played marbles in the street of Newmarket, or assumed the part of Punch's man at a country fair. He loved to visit the peasantry in their cabins, and to listen to their tales. There he saw the Irish character—its wit, its humor, its sensibility to mirth and tears. There too, in those rough natures, which appear so sullen and savage, when brought face to face with their oppressors, he found the finest and tenderest affections of the human heart. There too he found a natural poetry and eloquence. He was a constant attendant at the weddings and wakes of his neighborhood. It was customary at that time to employ hired mourners for the dead, and their wild and solemn lamentations struck his youthful imagination. In after-years, he acknowledged that his first ideas of eloquence were derived from listening to the laments of mourners at the Irish burials.
When transferred to Trinity College in Dublin, he became distinguished chiefly for his social powers. Full of the exuberant life of youth, overflowing with spirits, and fond of fun and frolic, he was always a welcome companion among the students.
His mother had designed him for the church. When he came out of college, his tastes took another turn. But his mother never got over her disappointment at his not being a preacher. Not even his brilliant reputation at the bar and in parliament, could satisfy her maternal heart. She lived to see the nation hanging on the lips of this almost inspired orator. Yet even then she would lament over him, "O Jacky, Jacky, what a preacher was lost in you!" Her friends reminded her that she had lived to see her son one of the judges of the land. "Don't speak to me of judges," she would reply, "John was fit for any thing; and had he but followed our advice, it might hereafter be written upon my tomb that I had died the mother of a bishop."
But no one as yet knew that he had extraordinary talent for eloquence. Indeed he did not suspect it himself. In his boyhood he had a confusion in his utterance, from which he was called by his school-fellows "stuttering Jack Curran." It was not until many years after, while studying law at the Temple, that he found out that he could speak. After his fame was established, a friend dining with him one day, could not repress his admiration of Curran's eloquence, and remarked that it must have been born with him. "Indeed, my dear sir," replied Curran, "it was not, it was born twenty-three years and some months after me." But when he had made the important discovery of this concealed power, he employed every means to render his elocution perfect. He accustomed himself to speak very slowly to correct his precipitate utterance. He practiced before a glass to make his gestures graceful. He spoke aloud the most celebrated orations. One piece he was never weary of repeating, the speech of Antony over the body of Cæsar. This he recommended to his young friends at the bar as a model of eloquence.
And while he thus used art to smooth a channel for his thoughts to flow in, no man's eloquence ever issued more freshly and spontaneously from the heart. It was always the heart of the man that spoke. It was because his own emotions were so intense, that he possessed such power over the feelings of others.
His natural sympathies were strong. Like every truly great man, he was simple as a child. He had all those tastes which mark a genuine man. He loved nature. He loved children. He sympathized with the poor. It was perhaps from these popular sympathies that he preferred Rousseau among the French writers, and that his friendship was so strong with Mr. Godwin.
His nature was all sensibility. He was most keenly alive to gay, or to mournful scenes. He had a boyish love of fun and frolic. He entered into sports with infinite glee. In these things he remained a child to the end of his days; while in sensibility to tears he had the heart of a woman. Thus to the last hour of life he kept his affections fresh and flowing.
He had the delicate organization of genius. His frame vibrated to music like an Eolian harp. He had the most exquisite relish for the beauties of poetry. He was extravagantly fond of works of imagination. He devoured romances. And when in his reading he met with a passage which gratified his taste, he was never weary of repeating it to himself, or reading it to the friends who came to see him.
In conversation, perhaps the most prominent faculty of his mind was fancy—sportive, playful, tender, and pathetic. His conversation was a stream which never ceased to flow. His brilliant imagination, and the warmth with which he entered into every thing, gave it a peculiar fascination. Byron said that Curran had spoken more poetry than any man had ever written. In a circle of genial friends, after dinner, his genius was in its first action. His countenance lighted up, and his conversation, beginning to flow, now sparkled, now ran like wine. Flashes of wit played round him. Mirth gleamed from his eye and shot from his tongue. He had an endless store of anecdote, to which his extraordinary dramatic talent enabled him to give the happiest effect. He told stories, and hitting off the point of Irish character by the most exquisite mimicry; he "set the table on a roar," following perhaps with some touching tale which instantly brought tears into every eye. "You wept," says Phillips, "and you laughed, and you wondered; and the wonderful creature, who made you do all at will, never let it appear that he was more than your equal, and was quite willing, if you chose, to become your auditor."
The wit of Curran was spontaneous. It was the creation of the moment, the electric sparks shot from a mind overcharged with imagery and feeling. In this it differed from the wit of another great Irishman. Sheridan had more of the actor about him. His brilliant sayings were prepared beforehand. He aimed at display in the receptions at Holland House as much as when writing a comedy for Drury-lane.
Perhaps no foreigner, who has visited England, has had a better opportunity of seeing its distinguished men than Madame De Stael. She was constantly surrounded by the most brilliant society of London. Yet even in that blaze of genius, she was most struck, as she often told her friends, with the conversational powers of Curran. This too, was in 1813, when his health had sunk, and his spirits were so depressed, as to make it an effort to support his part at all in society.
From the vivacity of his conversation, one would hardly have suspected the depth and seriousness of his character. In talking with ladies or with young persons, his mind was remarkable for its constant playfulness. A gleam of sunshine illumined his whole being. Yet those who knew him intimately were aware that he was subject all his life to constitutional melancholy. Like many other men celebrated for their wit, his gayety alternated with deep depression. The truth was that he sympathized too intensely with the scenes of real life, to be uniformly gay. In his country he saw so much to sadden him, that his feelings took a melancholy tone. The transition was often instantaneous from humor to pathos. His friends, who saw him in his lighter moods, were surprised at the sudden change of his countenance. "In grave conversation, his voice was remarkable for a certain plaintive sincerity of tone"—a sadness which fascinated the listener like mournful music.
In his eloquence appeared the same transitions of feeling and variety of talent. He could descend to the dryest details of law or evidence. Thomas Addis Emmet, who, though younger, practiced at the same bar, says that Curran possessed a logical head. From this he could rise to the highest flights of imagination, and it was here, and in appeals to the feelings, that he was most at home. Sometimes his wit ran away with him. His fancy was let off like a display of fireworks. It flew like a thousand rockets, darting, whizzing, buzzing, lighting up the sky with fantastic shapes.
By turns he could use the lightest or the heaviest weapon, as suited the object of his attack. Where ethereal wit or playful irony were likely to be thrown away upon some gross and insensible subject, he could point the keenest edge of ridicule, or the coarsest invective, or the most withering sarcasm.
When dissecting the character of a perjured witness, he seemed to delight in making him feel the knife. His victim, at such a time, appeared like an insect whom he had lanced with a needle, and was holding up to the laughter and scorn of the world. Thus, when treating the evidence of O'Brien, a hired informer, who had come on the stand to swear away the lives of men whom the government had determined to sacrifice, Curran apostrophized the patriotic individual, "Dearest, sweetest, Mr. James O'Brien," exposing the utter rottenness of his character in a tone of irony, until the man, who had a forehead of brass, was forced to slink back into the crowd, and to escape from the court.
So in his place in parliament, when exposing the corruption of the officers of government, he did not spare nor have pity. A swarm of blood-suckers had fastened on the state, who were growing fat from draining the life of their unhappy country. Curran proclaimed the immaculate virtue of "those saints on the pension list, that are like lilies of the field—they toil not, neither do they spin, but they are arrayed like Solomon in his glory." The extent to which this corruption had gone was incredible. "This polyglot of wealth," said Curran, "this museum of curiosities, the pension list, embraces every link in the human chain, every description of men, women, and children, from the exalted excellence of a Hawke or a Rodney, to the debased situation of the lady who humbleth herself that she may be exalted." The road to advancement at that day in Ireland, to the peerage, to the judicial bench, was to betray the country. Curran branded those who thus came into power by one of the strongest figures in English eloquence. "Those foundlings of fortune, overwhelmed in the torrent of corruption at an early period, lay at the bottom like drowned bodies, while soundness or sanity remained in them; but at length becoming buoyant by putrefaction, they rose as they rotted, and floated to the surface of the polluted stream, where they were drifted along, the objects of terror, and contagion, and abomination."
At the bar he often indulged in sallies of wit, and thus conciliated the attention of the court. His delicate satire, his comical turns of thought, convulsed the court with laughter. Then suddenly he stopped, his lip quivered, his sentences grew slow and measured, and he poured forth strains of the deepest pathos, as he pictured the wrongs of his country, or lamented the companions of other days, the illustrious departed, "over whose ashes the most precious tears of Ireland had been shed." His voice excelled in the utterance of plaintive emotions, and the homage which had been paid to his eloquence by mirth, was now paid in the sound of suppressed weeping, which alone broke the death-like stillness of the room. In pleading for one on trial for his life, his voice subsided toward the close and sunk away in tones of solemnity and supplication. Thus would he say, "Sweet is the recollection of having done justice in that hour when the hand of death presses on the human heart! Sweet is the hope which it gives birth to! From you I demand that justice for my client, your innocent and unfortunate fellow-subject at the bar; and may you have it for a more lasting reward than the perishable crown we read of, which the ancients placed on the brow of him who saved in battle the life of a fellow-citizen!"
But the trait which appears most conspicuous in the public efforts of Curran, and which made him the idol of his countrymen, was his enthusiastic love of Ireland. Says his biographer, "Ireland was the choice of his youth, and was from first to last regarded by him, not so much with the feelings of a patriot, as with the romantic idolatry of a lover." In early life he had learned to love the Irish peasantry, and no lapse of time could chill his affection. No temptation of office could seduce him from the side of the poor and the oppressed. He knew their noble qualities, and his bosom burned at the wrongs which they suffered.
One of his first causes at the bar was pleading for a Catholic priest who had been brutally assaulted by a nobleman. Such was the fear of incurring the displeasure of a lord, that no one dared to undertake the prosecution, until Curran stepped forward, then a young lawyer. His effort was successful. Not long after, the priest was called away from the world. He sent for Curran to his bedside. Gold and silver he had none. But he gave him all in his power, the benediction of a dying man. He caused himself to be raised up in his bed, and stretching out his trembling hands to place them upon the head of the defender, invoked for him the blessing of the Almighty. Such scenes as this, while they excited the enthusiasm of the Catholic population throughout Ireland for the young advocate, who had dared to defend a priest of their proscribed religion, at the same time strengthened his determination to make common cause with his countrymen in their sufferings.
It is melancholy to reflect that efforts so great for the liberty and happiness of Ireland, were not crowned with complete success. But the patriotism and the courage were not less noble because overborne by superior power. It is the honor of Curran that he loved Ireland in her woe, and loved her to the last. Toward the close of life he said, "To our unhappy country, what I had, I gave. I might have often sold her. I could not redeem her. I gave her the best sympathies of my heart, sometimes in tears, sometimes in indignation, sometimes in hope, but often in despondence."