THE FINE ARTS.
| "My life's employment and my leisure's charm, My soul's first choice, my fancy's early flame; My chance of fortune and my hopes of fame." |
Shee.
There is no subject on which mankind more unhesitatingly decide, than upon the productions of the pencil, and none perhaps upon which the people of our own country especially, are so little qualified to form a correct judgment. Few works of any excellence ever reach us, and these are for the most part confined to the large cities, where those who visit them are more attracted by the subject than the execution of the painting. A striking illustration of this, may be found in the crowds which rushed a short time since, to see the immodest and demoralizing exhibition of our first parents in a state of nudity—an offence for which Ham was accursed to be a servant of servants to his brethren; and yet our modest maidens, attended by their equally modest beaux, hastened in company to view this production of Parisian profligacy. At the same time, the splendid painting of "Christ rejected" by the eminent West, scarcely attracted notice; and the beautiful "Star of Bethlehem" by Cole, twinkled in an empty hall. Still no one doubts his own intuitive knowledge of the arts!—He does not, indeed, profess to understand the modus operandi, by which they are perfected,—but yet he knows exactly what delights him, and with equally becoming modesty, knows how to censure what he does not like,—although to the real connoisseur, the work condemned may perchance be one of superlative beauty and value. There are some who fall into raptures at Cimmerian darkness and obscurity in a picture; they have heard that the works of the old masters are very dark,—ergo, all black pictures must be very good. Some have heard that Reubens and Rembrandt, painted with a bold free pencil,—and every daub is therefore free and bold; and there are others the very antipodes of these, who would have the canvass ivory smooth, and always test the excellence of a picture with their finger's ends. Such are the arbiters of taste, to whom the artist must look for patronage and favor; to whose critical acumen he must sacrifice the highest professional attainments, and all the poetry of imagery, for the prosing portraiture of vulgar nature as the uninstructed eye perceives it. Against such critics, Sir Joshua Reynolds warned his young academecians. "Study not," said he, "to please the many, but the few of cultivated taste." Alas! how few in any age, have given that attention to the subject which is essential to the formation of a correct judgment. They say,—do we not see and understand what nature is, and can we not tell when the artist has truly represented her?—We answer no. The eye unaccustomed to contemplate nature, cannot perceive the ever changing beauty of her scenery,—her lights and shades more various than the Dolphins hues; nor can it discern that play of the thoughts and passions in the "human face divine," which eludes common observation, and is beheld only by him who has studied profoundly, that wonderful title page to the volume of mind. Nature, it is true, like a lovely and virtuous maiden, is seen and admired by all; but the blush which reveals her sweetest charm, is only perceived and felt by the devoted lover. That Lover is the artist. To him the revolving year, brings but a change of beauty. It is the element in which he breathes,—the aliment on which he lives; his eye detects each flitting shadow—and the whole world of real or imaginary things, is to his mind full of moving pictures, which he can, in a moment, transfix and perpetuate on his canvass. On him the graces attend, and wreathe the flowers of every season into garlands of beauty; the jocund spring strews buds and blossoms in his way, which he transplants to other climes, to live in unfading bloom, and flourish on the same wall with the fruits of summer, or mingle with the sober and varied hues of autumn. Even winter, with frosty locks and snowy visage, is compelled to linger in social companionship with the burning heats of tropical regions. Old Time, in his onward march, strews cities and temples in the path of the artist, but his pencil like the wand of the enchanter, bids their sculptured fragments remain forever, and they obey him. When Aurora comes forth in the chariot of day, and Cynthia lights her pale lamp at Diana's altar,—he snatches promethean fire from heaven, and like Joshua, commands the unwearied sun to stand still, and the glowing canvass receives it. He not only transfers
"Italian skies to English walls,"
but by the magic of his pencil, the very faces and persons of the fair and the brave of ages gone by, come down to our day in the bloom of youth, and with the daring eye, as they lived and moved when Shakspeare wrote, or lovely Juliet died.
Where do not the trophies of this incomparable art arrest our attention?—from the ruins of Pompeii to imperial Rome, or from the Vatican, where Raphael's immortal pencil traced the transfiguration, to Hampton Court, the gallery of the cartoons, and of that fair but frail society, of which England's voluptuous monarch was the sun and centre.1 But these are neither black, nor daubed, nor smooth!—and yet they are excellent in art, and have been so esteemed for three hundred years. To these the painter may appeal as imbodying all that is noble in his profession, or like Sir Joshua, who felt and understood, what others only imagined, he may patiently submit to the ignorance of vanity—and the vanity of ignorance.
| When they talk of their Raphael, Corregio and Stuff, He shifted his trumpet and only took snuff. |
G. C.
1 The cartoons of Raphael and the court of Charles II by Sir Peter Lely, form a part of the collection at Hampton court.
For the Southern Literary Messenger.
A TALE FROM FLORIAN.
The following tale was translated from the French of M. Florian, by the present hand, about 7 or 8 years ago, for a Richmond newspaper. That translation its author has not seen since 1827; and lately meeting with the original again, it seemed new enough, as well as sufficiently pretty and interesting, to be worth presenting afresh to the public through the Southern Literary Messenger. It is seldom that so much varied incident has been compressed into so short a compass: yet the rapidity of the narrative has not hindered the writer from indulging a humor both playful and caustic, upon the foibles which he banters, and the vices and crimes which he holds up to detestation. And the moral, disclosed in unravelling the mystery of the allegorical personage from whom the story takes its name, is full at once of beauty and truth.
M.
BATHMENDI.
A PERSIAN STORY.
The THOUSAND-AND-ONE NIGHTS have always appeared to me charming tales; but I should like them better, if they had oftener a moral scope. Scheherezade, I am aware, is too handsome to be at the trouble of being rational: I know, that with so pretty a face, she has no need of common sense; and that the sultan would have been less enamored, if she had been less silly. These great truths I devoutly believe: and I merely repeat, that for my own part, I would rather read stories which make me reflect, while they amuse me. Extravagance is a fine thing, no doubt; but a picture must have shade: and I would fain have reason appear now and then, to make folly go off the better. So an uncle of mine once thought. He had often sailed in the Levant; and had amused himself while there, by composing PERSIAN TALES. They are far below the Thousand-and-one Nights in imagination, but exceed them infinitely in number; for my uncle in his life-time made four thousand seven hundred and ninety-eight—all of which are now lost except the following one, preserved by me.
Under the reign of a Persian king, whose name my uncle does not tell, a merchant of Balsora was ruined by commercial disasters; and, collecting the shattered remains of his fortune, retired to the province of Kusistan. He there bought a dwelling, and a farm which he cultivated badly, because he was perpetually regretting his days of opulence and ease. Chagrin shortened his life; he perceived his end to be near; and, calling his four sons around him, he said—"My children, I have nothing to bequeath you but this house, and a secret which I was bound to conceal till now. In the time of my wealth, I had for my friend the genius Alzim; who promised to befriend you when I should be no more, and to divide a treasure amongst you. He dwells some miles hence, in the great forest of Kom. Go—find him: claim the treasure: but take heed not to believe." ... Death here suppressed the merchant's voice.
His four sons, after interring and mourning him, repaired to the forest of Kom. They inquired for the mansion of the genius Alzim: it was readily shewn them. He was known to the whole country: he received kindly all who visited him; he heard their complaints, consoled them, and lent them money if they needed it. But these benefits were upon the sole condition of implicitly obeying his directions. This was his whim. No one could enter his palace without an oath to comply with this condition.
The oath did not deter the merchant's three eldest sons: the fourth, whose name was Tai, thought it a very ridiculous ceremony. Yet, being obliged to enter in order to receive the treasure, he swore, like his brothers: but reflecting on the dangerous consequences of so rash a vow, and remembering that his father, who frequently came to this palace, had passed his life in follies, he resolved, without committing perjury, to place himself out of danger; and, whilst they were leading him to the genius, stopped his ears with perfumed wax. Thus fortified, he prostrated himself before Alzim's throne. The genius made the sons of his ancient friend arise; embraced them, shed tears to his memory, and had a large chest brought, full of dariques. "Here," said he, "is the treasure I design for you. I am going to divide it among you; and I will then tell each the way he must take to be perfectly happy."
Tai heard not what the genius said; but watching him attentively, he saw in his eyes and visage traits of cunning and malignity which gave him much food for thought. Still, he received his portion of the treasure gratefully. Alzim, having thus enriched them, assumed an affectionate tone, and said; "My dear children, your good or bad fortune depends upon your meeting sooner or later a certain being named BATHMENDI, of whom all the world speaks, but whom few, very few, know. Wretched mortals grope after him in vain: But I, for the love I bear you, will whisper to each of you where he may be found." At these words, Alzim takes Bekir, the eldest brother, aside, and says—"My son, you were born with courage, and great military talents. The king of Persia has just sent an army against the Turks. Join that army: in the Persian camp you will find Bathmendi." Bekir thanks the genius, and already burns to march.
Alzim beckoned Mesrou, the second son, to approach. "You," said he, "have shrewdness, address, and a great propensity to falsehood. Take the road to Ispahan; 'tis at court that you must seek Bathmendi."
To the third brother, whose name was Sadder, he said, "You are gifted with a lively and fruitful imagination: You see objects not as they are, but as you would have them be; you often possess genius, and not always common sense: be a poet. Take the route to Agra: among the wits and fair ladies of that city, you may find Bathmendi."
Tai, in his turn, advanced; and, thanks to the pallets of wax, heard not one word that Alzim said. It has since been ascertained, that he counselled Tai to become a Dervise.
After thanking the beneficent genius, the four brothers returned home. The three eldest dreamed of nothing but Bathmendi. Tai unstopped his ears, and heard them arrange their departure, and determine to sell their little dwelling to the first bidder, in order to divide the price. Tai offered to become the purchaser: he caused the house and farm to be valued, paid his brothers their respective portions, and embracing them tenderly, with a thousand good wishes, remained alone in the paternal mansion.
He then employed himself in executing a scheme, which he had long meditated. He was enamored of young Amine, the daughter of a neighboring farmer. She was handsome and discreet: she managed her father's household, comforted his declining years, and prayed Heaven for two things—that her father might long live, and that she might be the wife of Tai. Her prayers were heard. Tai asked, and obtained her. Her father went to live with his son-in-law, and taught him the art of enriching the ground, so as to be enriched by it in return. Tai had some gold still remaining of Alzim's gift: he employed it in extending his farm, and in buying a flock. The farm doubled its value; the fleeces of the sheep were sold; plenty reigned in Tai's house; and, as he was industrious and his wife frugal, each year augmented their income. Children, that ruin wealthy idlers, in the cities, enrich laborers. At the end of seven years, Tai, the father of six lovely children, the husband of a sweet and virtuous wife, son-in-law to an aged, yet a hale and amiable man, master of several slaves, and of two flocks,—was the happiest and the most independent farmer of Kusistan.
Meantime his three brothers were in chase of Bathmendi. Bekir arrived at the Persian camp; presented himself to the grand vizier, and begged to be employed in the most hazardous services. His mien, and his gallant bearing, pleased the vizier, who admitted him into a squadron of cavalry. In a few days, a bloody battle took place. Bekir achieved prodigies; saved his general's life, and captured the general of the enemy. The camp rung with the praises of Bekir: all the soldiers called him the champion of Persia; and the grateful vizier promoted his deliverer to the rank of general. "Alzim was right," said Bekir to himself; "'tis here that fortune awaits me; I am evidently about to find Bathmendi."
Bekir's glory, and especially his promotion, aroused the envy and the murmurs of all the satraps. Some of them came to ask him about his father; complaining that they had suffered by his bankruptcy: others pretended to have held madam his mother as a slave: all refused to serve under him, because they were his seniors in office. Bekir, made miserable by his very successes, lived alone, ever on the watch, ever in danger of some outrage, which he might amply revenge but could not prevent. He regretted the time when he was a mere private soldier, and awaited impatiently the close of the war; when the Turks, reinforced by fresh troops, and led by a new general, made an attack upon his division. It was the juncture, for which the satraps of the army had long wished. They exerted a hundred times more ability in procuring the defeat of their leader, than they had ever shewn to avoid defeat themselves. Bekir defended himself like a lion: but he was neither obeyed nor seconded. In vain did the Persian soldiers wish to fight: their officers restrained them, and led them only to flight. The valiant Bekir, abandoned, covered with wounds, and overwhelmed by numbers, was taken by the Janissaries. The Turkish commander unworthily loaded him with irons, and sent him to Constantinople, where he was thrown into a frightful dungeon. "Alas!" cried Bekir, "I begin to think that Alzim has deceived me: for I cannot hope to meet Bathmendi here."
The war lasted fifteen years, and the satraps always obstructed the exchange of Bekir. His dungeon was not opened until peace came: he hurried to Ispahan, to seek his patron the vizier, whose life he had saved. It was three weeks before he could obtain an audience. Fifteen years, in prison, make some change in the appearance of a handsome young man. Bekir was not easily to be recognized: and the vizier did not know him again. However, on calling to mind the various events of his own illustrious life, he did remember that Bekir had done him some trifling service. "Aye—yes, friend," said he; "I will requite you. A brave man—but the empire is deeply in debt: a long war, and grand feastings have exhausted our finances. However—come and see me again—I will try—I will see"—"Alas, my lord!" said Bekir, "I have not a morsel of bread; and in the fifteen days that I have been waiting for a moment's interview with your highness, I should have died of hunger, but for a soldier of the guard, my old comrade, who shared his pay with me." "That was very good of the soldier," said the vizier; "really, it is quite touching. I will report it to the king. Come and see me again; you know I love you." And with these words, he turned his back upon him. Bekir returned the next day, and found the gate closed. In despair, he left the palace and the city, resolving never to enter them again.
Throwing himself at the foot of a tree, on the bank of the river Zenderou, he reflected upon the ingratitude of viziers, his own past misfortunes, and those which menaced him; and, unable to endure thoughts so dismal, he arose, to plunge into the stream—when he felt himself clasped by a beggar, who bathed his face with tears, and sobbed out, "it is my brother; it is my dear Bekir!" Looking up, Bekir recognised Mesrou. No one can find a long-lost brother without pleasure; but an unfortunate, needy, friendless, and hopeless, who is about to end his life in despair, thinks, that in a brother whom he loves, he sees an angel from Heaven. Mesrou and Bekir at once felt this sentiment: they press each other to their bosoms—they mingle their tears—and, after the first moments of tenderness, they gaze at each other with affliction and surprise. "You too, then, are unhappy!" cried Bekir. "This is the first moment of happiness," said Mesrou, "that I have enjoyed since our separation." At these words, embracing again, they leaned upon each other; and Mesrou, seated beside Bekir, began his narrative as follows:
"You remember the fatal day, when we went to Alzim's abode. That perfidious genius told me, that I should find Bathmendi, the object of our desires, at court. I followed his advice, and soon arrived at Ispahan. There I became acquainted with a young female slave to the mistress of the grand vizier's first secretary. This slave took a liking for me, and made me known to her mistress; who finding me younger and handsomer than her lover, lodged me in her own house, as her half-brother. The half-brother was soon presented to the vizier: and some days afterwards, obtained an office in the palace. I had only to let my fortune lead me on, and to remember the path which had brought me thus far. I never quitted that path: and, the sultana mother being old, ugly, and all-powerful, I failed not to pay my court assiduously to her. She distinguished me, by a friendship as intimate as that of the slave and her mistress had been. Thenceforward, honors and riches began to rain upon me. The sultana caused me to be presented with all the money in the treasury, and all the dignities of the state. The monarch himself testified affection for me: he loved to converse with me, because I flattered him adroitly, and always advised him to what I knew he wished to do. This was the way to induce him to do what I wished; and it soon succeeded. At the end of three years, I was at once prime minister, favorite of the king, lover of his mother, with power to appoint and displace viziers; deciding every thing by my influence, and giving audience every morning to the grandees of the empire, who came to wait for my awaking to obtain a smile of protection. Amidst all my wealth and glory, I was surprised at not finding Bathmendi. 'I want for nothing,' said I; 'why does not Bathmendi present himself?' This thought, and the frightful solicitude of my life, poisoned all my pleasures. As the sultana grew older, she became more difficult to please, and my gratitude grew more irksome. Her tenderness for me was a torment. On the other hand, my station procured me a thousand tiresome flatterers, and a hundred thousand powerful enemies. For every favor I conferred, hardly a single mouth thanked, and a thousand reviled me. The generals whom I appointed were defeated, and all was attributed to me. Whatever good the king did, belonged only to himself; all the evil was laid at my door. The people detested me—the whole court hated, a hundred libels excoriated me: my master often frowned, the sultana-mother sickened me by her fondness; and Bathmendi seemed more distant than ever.
"At length, the king's passion for a young Mingrelian gave the finishing stroke to my fortunes. The whole court united with her, in hopes that the mistress would expel the minister. I parried the blow, by joining the Mingrelian, and flattering the king's passion. But his love became so violent, that, being resolved to espouse her, he demanded my advice. I evaded an answer for some days. The sultana mother, who was afraid of losing her power by her son's marriage, declared to me, that unless I broke off the match, she would have me assassinated on the very day of its consummation. An hour afterwards, the fair Mingrelian vowed, that unless I procured her marriage with the king the next day, I should be strangled on the day following. My position was embarrassing. I must choose the dagger, the bowstring, or flight. I chose the last. Disguised as you see, I escaped from the palace with some diamonds, which will sustain us in some nook of Hindostan, far from courts, Mingrelians, and sultana mothers."
Bekir then recited his adventures to Mesrou. They agreed, that it would have been as well for them not to run over the world; and that their wisest course was, to return to Kusistan, to the neighborhood of their brother Tai, where Mesrou's diamonds would procure them a peaceful and easy life. Thus resolved, they took the road, and travelled for some days without an adventure. As they passed through the province of Farsistan, they arrived one evening at a village, where they proposed to spend the night. It was a holiday. Upon entering the village, they saw many children of the peasants' returning from a procession, led by a sort of master, ill clad, marching with downcast look and pensive air. The two brothers approach, and observe him attentively. What was their surprise! It was Sadder—their brother Sadder, whom they embraced!
"Ah!" said Bekir, "is genius thus rewarded?"—"You perceive," answered Sadder, "that genius is treated much like valor. But philosophy finds in misfortune an ample subject for meditation; and that is somewhat consoling." He then sent his pupils to their home, conducted Bekir and Mesrou to his little cabin, served them up a little rice for supper, and, after having heard their histories, told his own:
"Alzim, who, I strongly suspect, delights in the woes of mankind, counselled me to seek this undiscoverable Bathmendi in the great city of Agra, among men of genius and fair ladies. I arrived in Agra; and determined, before I appeared in public, to herald myself by some brilliant production. At the end of a month, my work appeared: it was a complete course of all human sciences, in a small octodecimo volume of sixty pages, divided into chapters. Each chapter comprised a tale; and each tale taught a science perfectly. My book had prodigious success. Some reviews cavilled at it, as too prolix: but all people of fashion bought it; and I was consoled for the criticisms. My book and I became all the rage. I was sought for—invited into every circle that had any pretension to wit or genius: all that I did was charming: I was the theme of every tongue, and every wish; and the favorite sultana with her own hand wrote me a badly spelled note, praying me to visit the court. 'Bravo!' thought I; 'Alzim has not deceived me. My glory is at its height: I shall sustain myself by surer means than intrigue: I shall please—I shall captivate—I shall find Bathmendi!' I was favorably received at the great Mogul's palace. The sultana loudly proclaimed herself my patroness; called upon me for verses; gave me pensions; admitted me to her select suppers; and, a hundred times a day, swore to me an unalterable friendship. For my part, I gave myself up to the liveliest gratitude. I promised to devote my days to singing the renown of my benefactress; and made a poem, in which the sun was but a mock-diamond beside her eyes, and ivory, coral, and the pearls of the Persian gulf, were dim and homely compared with her face, neck, and teeth. These refined and delicate compliments completed my assurance of her perpetual favor.
"I thought myself on the point of meeting Bathmendi, when my protectress quarrelled with the grand vizier, about the government of a province, which he refused to the son of her confectioner. The sultana, exasperated at such audacity, demanded of the sultan the banishment of the insolent minister; but the sultan loved the vizier, and refused the favorite. The next thing was to organize an intrigue, to destroy the cherished vizier. Being in the plot, I received orders to compose a bloody satire against the minister, and circulate it. The satire was soon made—that is not difficult: it was even good—which is still easy: it was read with avidity—and that is sure to tell. The vizier soon learned that I was the author. Going to the favorite, he carries her the commission which he had before denied, and a draft upon the royal treasury for one hundred darics; only asking in return, permission to put me to death in a dungeon. 'He is a vile wretch,' answered the favorite; 'and I am happy in having the power to do what may please you. I will instantly have the insolent sought for, who has dared insult you against my positive orders; and he shall be put into your hands.' Happily, a slave who was present, ran to tell me of this conversation; and I had barely time to escape. Ever since, I have been traversing Hindostan, gaining a meager subsistence by writing tales, making verses, and toiling for booksellers who cheated me, and who, less indulgent to my talents than to their own consciences, continually asserted that my style was not pure enough. Whilst I was wealthy, my works had been master-pieces: now that I was poor and friendless, my effusions were trash. Tired at length of enlightening the universe, I preferred teaching the peasants to read: and I am now schoolmaster in this village, where I eat black bread, and have no hope of seeing Bathmendi."
"You must go hence," said Mesrou, "and return with us to Kusistan, where some diamonds of mine will ensure us an easy and quiet life." It was not difficult to persuade Sadder; and the three brothers, setting out early next morning, took the way to Kusistan. They were on the last day of their journey; and not far from Tai's dwelling. This thought consoled them: but their hope was mingled with fear. "Shall we find our brother? We left him poor—he cannot have found Bathmendi, since he has been unable to go in quest of him." "My dear friends," said Sadder, "I have reflected much on this Bathmendi, that Alzim told us of; and really, I believe he deluded us. Bathmendi does not, and never did exist: for, since Bekir did not meet him when he commanded half the Persian army—since Mesrou did not hear of him when he was the favorite of the great king—and I could not even divine who or what he was, whilst the favors of glory and fortune were heaped upon me—it is evident, Bathmendi is a creature of fancy; a chimera; an illusion, which men chase merely from the love of chasing illusions." Sadder was proceeding to prove that Bathmendi dwelt no where on earth, when a band of robbers issued from some rocks on the road-side, and ordered the brothers to strip. Bekir offered resistance; but he was disarmed; and four of these gentry, holding a dagger at his breast, unrigged him, while their comrades did the like to Mesrou and Sadder. After this ceremony, which was the work of a moment, the captain of the robbers wished them a pleasant journey, and left them half naked in the highway.
"This confirms my position:" said Sadder, looking at his brothers. "Ah, the cowards!" cried Bekir; "they took away my sword!" "Oh, my poor diamonds!" said Mesrou, sorrowfully.
It was now night: the three unfortunates hastened on towards the mansion of their brother: and on arriving there, the sight of it made their tears flow fast. They stopped at the door, but durst not knock. All their fears, all their doubts, returned. While they hesitated, Bekir rolled up a large stone below the window, and mounting upon it, looked in. He saw, in a neat and simply furnished apartment, his brother Tai at table, amid ten children, who were eating, laughing, and prattling all together. On his right was Amine, mincing some meat for her youngest son; and on his left was a little old man of a mild and lively countenance, who was filling Tai's cup. At this spectacle, Bekir threw himself into the arms of his brothers, and knocked at the door with all his might. A servant opened it, but uttered cries of alarm on seeing three half-naked men. Tai runs out: they fall upon his neck, call him "brother!" and bathe him in tears. Though confounded at first, he soon recognises them, and locks them in his arms. The children run to the spectacle; and so does Amine, but retires with her daughters, on seeing the three strange men. The old man alone did not leave the table.
Tai clothed his brothers; presented them to his wife, and made them kiss his children. "Alas!" said Bekir, much affected, "your happy lot consoles us for all that we have suffered. Since the moment of our separation, our lives have been but a series of calamities; and we have not so much as had a glimpse of that Bathmendi, after whom we have been running." "I believe you"—said the little old man who continued still at the table; "I have never stirred from this place." "What!" exclaimed Mesrou, "are you ..." "I am BATHMENDI," said the old man. "It is quite natural that you should not know me, since you never saw me before: but ask Tai—ask Amine—and all these children, every one of whom knows my name. I have lived with them fifteen years; and am perfectly at home here. I have been away but for one day; it was when Amine's father died: but I returned, and now hope never to go hence a single step. It rests only with yourselves, gentlemen adventurers, to become acquainted with me. If it so please you, I am willing: if not, why I shall be content. I trouble no one: I stay in my corner, never dispute, and detest noise." The three brothers, whose eyes had been eagerly fixed upon the little old man, wished to embrace him. "O, softly!" said he: "I do not like all these violent emotions: I am rather delicate; and too close an embrace stifles me. Besides—we must become friends before we caress. If you wish us to become friends, do not busy yourselves too much about me. I value freedom more than politeness; and have an antipathy to all excess." At these words he arose, kissed the foreheads of all the children, slightly saluted the three brothers, smiled upon Amine and Tai; and went to await them in their chamber.
Tai sat down again with his brothers, and had beds prepared for them. The next morning, he shewed them his fields, his flocks, his working beasts; and unfolded to them all the pleasures he enjoyed. Bekir wished to begin work that very day; and he was the first to become the friend of Bathmendi. Mesrou, who had been prime minister, was the chief shepherd; and the poet assumed the task of selling the corn, wool, and milk, which were sent to market in the city. His eloquence attracted customers; and he was as useful as the others. At the end of six months, Bathmendi became attached to them; and their days, many and tranquil, flowed softly on to the bosom of felicity.
[It is needless to say, that Bathmendi, in the Persian tongue, signifies Happiness.]
For the Southern Literary Messenger.
A SCENE IN PARIS—1827.
BY A VIRGINIAN.
In the month of May 1827 I was in Paris. The discontent of the people with the government had recently been augmented by a proposition to restrain the liberty of the press, which the king had laid before the legislative chambers; and which, having passed the deputies, was under consideration before the peers.
This discontent with a government, which was in point of fact a very good one, had existed since the restoration of the Bourbons, and had its origin in the degradation to which the French people conceived themselves to have been subjected, in receiving a monarch at the hands of hostile strangers.
This monarch too was the brother of that imbecile, though amiable king, whose passiveness had brought him to the scaffold like a lamb to the slaughter; and he was placed in powerful contrast with him whose grand ambition aspired to make France his court, and the eastern continent (perhaps the world,) his empire. Louis le gros was to occupy the throne of Napoleon the magnificent.
The national pride common to all nations, and the national vanity peculiar to the French, were thus so severely shocked and wounded, that the people could not regard with their characteristic loyalty, or even with toleration, the family whose ascendancy had been established by other hands than those of Frenchmen. Louis the 18th too, had violently aggravated this hostility by the unfortunate declaration that "under God, it was to the Prince Regent of England that he owed his crown." It was not then to be wondered at that the public mind was in a state to be easily exacerbated by any cause, and not to be conciliated by any course however moderate, short of absolute concession to the popular will. Accordingly the measures of Louis the 18th, who was a wise monarch, and really desired the welfare of his people, met with jealous opposition, or at best, with unwilling acquiescence.
The administration of Décazes, which was conducted upon wise and sound principles, was finally clamored down; and the court, finding the people incapable of appreciating the mild and liberal measures of the government, infused more strength into their system.
Charles the 10th, inferior to his brother in mental endowments, and who brought to the throne stricter notions of legitimacy, and less disposition to conciliate his subjects, rather tightened than relaxed the reins of government, and thus increased the disaffection of the people. Add to this the real or fancied attachment of the king to the Jesuits, against whose order ancient odium had been recently revived, and the feelings may easily be conceived which were excited by the menaced blow at the freedom of the press, which was pending at the time of which I write.
These feelings were put forth through the usual vents. The public journals made the most of their liberty while it remained to them, and kept up an incessant fire of various grades; from the grave remonstrances of the "Constitutionnel," to the piquant badinage of the "Drapeau Blanc." The Salons, the Cafés, the Boulevards, the Tuileries, the Champs Elysées and the Pont Neuf exhibited the politicians of their respective meridians, from the "riche banquier" to "Monsieur le tondeur de chiens." The print shops displayed caricatures of the Jesuits. Beranger "showed up" the royal family in his songs. Mars played "Tartuffe" at the Francais, and the "parterre" rapturously applauded her and snapped their fingers at the police.
Early in the month, the annual review by the king, of the regular troops stationed in Paris, was to take place.
By one of those tacit combinations which sometimes unaccountably occur, it was resolved that this review should serve as an occasion for affording an evidence of the sentiments of the people, which though negative in mode, should be sufficiently positive in character. It was determined to withhold from the king those testimonials of attachment and loyalty with which most of the people of Europe are wont to greet their sovereigns when they appear in public. Accordingly when on the expected morning, the king with his brilliant suite issued from the court of the palace, not one of the spectators uttered a sound of welcome. The place of the review was a mile and a half distant, and the route was through populous streets; yet from all the crowd which gradually swelled as the train advanced, not one voice was heard to utter "vive le roi!" No man cried "God save him." A uniform silence pervaded the scene, thus giving it the air of a funeral pageant, rather than of a splendid military display; while at every turn which the royal company made in their progress, this portentous legend inscribed on the walls, met their eyes—
"La silence du peuple est la lecon du Roi."
Proceeding more rapidly and by a nearer route, I reached the Champ de Mars, the scene of the review, in time to witness the king's arrival. The Champ de Mars is a beautiful plain, artificially levelled; a quarter of a mile in breadth, and extending from the Seine to the école militaire, rather more than half a mile in length—bounded on each side by embankments, appearing to the eye like ramparts, which are covered with turf and set with trees.1
1 The Champ de Mars was the scene of the famous "fête de la fédération," which took place in 1790, on the 14th of July, the anniversary of the taking of the Bastile; when the king, the representatives of the people, and the other public functionaries, the commandant of the National Guard, and delegates sent from each of the eighty-three departments of the kingdom, took an oath to preserve the new constitution. A splendid altar, called "l'autel de la patrie," was erected in the middle of the field, around which was an amphitheatre which held four hundred thousand spectators; in the centre of this was the throne of the king. All the people of Paris assisted in making these preparations, that they might be completed by the appointed time. The Bishop of Autun (Talleyrand) was the ministering flamen of the solemnities. At the celebration an incident occurred, illustrating the far seeing sagacity of this man, who thus early discerned the frail and transient nature of that constitution, which its founders had decreed should be "une, indivisible, et impérissable." Lafayette, as commandant of the National Guard, was the first to take the oath; and as he approached the altar for that purpose, Talleyrand in an under tone exhorted him to keep his countenance and not to laugh! thus indicating that he considered the whole scene a solemn farce. I had this anecdote from an American lady to whom Lafayette told it.
I found as I had expected, these embankments covered throughout their whole extent with an innumerable crowd, eager at once to behold the spectacle and to convince the king that Frenchmen could be silent when there was an occasion for it, however unnatural the restraint.
I found also the troops to be reviewed, twenty-five thousand in number, drawn up in beautiful array, and arranged on the plain between the embankments, in separate divisions, according to their various designations; the whole forming two lines looking to the centre of the field, and of course facing each other.
Here were the famed Cuirassiers, arrayed in triple steel—each one looking the impersonation of war—men and horses forming a dense, motionless, terrific mass.
There, were the "Chevaux-légers," less imposing in appearance, but dazzling the eye by the brilliancy of their dress and the rapidity of their evolutions.
On one side frowned the "Sappeurs Pompiers," with their ample caps of black fur, their white leather aprons, their glittering axes, their grim moustaches, and beards like Egyptian sheiks. On the other were displayed the regular infantry, with their brilliant pieces and bristling bayonets, at whose points they had so often compelled victory.
The elder superior officers were conversing in groups—while the younger paid court to the ladies; whose nodding plumes and wreathed smiles were displayed in covered stages erected temporarily for the purpose, and arranged at the inner foot of the embankment on either side of the field.
In a short time a flourish of trumpets at the école militaire, announced the arrival of the King. The officers flew to their posts. Every tongue was hushed, and every eye directed to that extremity of the field at which the king now appeared, mounted on a white Arabian, which he managed as one familiar to the seat. He was attended on either side by the royal dukes Angoulême and Orléans, (the present king) and followed by a splendid cortège of field marshals and general officers in gorgeous uniforms, and their horses highly caparisoned.
The king too, and the royal dukes, wore military uniforms, over which hung the "cordon bleu." After the king and his suite, came an open barouche, in which appeared the royal ladies d'Angoulême, de Berri and d'Orléans.
The magnificent cavalcade moved slowly on between the different bodies of troops, going down on one side of the field and returning on the other, passing close in front of each line. Their approach was acknowledged with the promptitude of military discipline, by the waving of swords, the presentation of pieces, and the lowering of standards. But this formal military salute was the only greeting. A silence reigned throughout the immense mass of beholders, as profound as that which habitual discipline preserved among the troops.
After the review was thus completed, a few evolutions were performed by the troops in presence of the royal spectators, who then left the field and returned to the Tuileries.
In a very few days after, it was announced that the king, with a moderation and wisdom which were not expected, had yielded to the unequivocal exhibition of public opinion which had been made, and had withdrawn the offensive law from the consideration of the chambers. The demonstrations of public joy were then as numerous and violent as had been before, the expressions of dissatisfaction. For several days it seemed as if the whole population of Paris had relinquished every employment, to devote themselves to the most tumultuous display by every means in their power, of their satisfaction at the victory which they supposed they had obtained over the court. The public rejoicing was concluded by a general and splendid illumination of the city.
About ten days after this time, followed the annual review of the National Guard of Paris.
In the excited state of the people, it was not to be expected that so remarkable an occasion as this, would be permitted to pass over, without being marked by some decisive evidence of public sentiment. It was therefore soon generally understood that the king would, on this occasion, be received with every outward demonstration of popular favor and affection; in order that by the contrast with his former reception, he might be convinced beyond the possibility of doubting, that in both instances a strong expression of public opinion was intended.
Of course it was not imagined that all this was not as well known to the king and his ministers, as to the authors and contrivers. Villèle, the prime minister, was too sagacious and wary to leave unemployed any means of obtaining information concerning every subject which agitated the public mind—information indeed which was of the highest importance to an administration steering full against the current of popular opposition. It was therefore feared that the court, usually desirous of avoiding and preventing all occasions for popular ferment, would disappoint the public expectation by dispensing with the review. Innumerable conjectures and rumors floated about like vapors in the atmosphere, many of which no doubt had their origin in the cabinet, who probably sent them forth as feelers of the public pulse. All these at length centred in the general belief that the court would compromise the matter with the people, by permitting the review to take place indeed, but by assigning as its locale, the Place du Carrousel, (adjacent to the Tuileries,) where too little space could be allowed for spectators, to afford a theatre for the grand exhibition of public sentiment which had been arranged for the occasion.
Thus matters stood on the morning of the expected day, which opened in all the calm glories of May, on the magnificent city and her million of inhabitants; all ranks of whom, from the courtier to the beggar, were for once at least occupied by the same theme and excited by the same agency.
The Moniteur, the government print, was eagerly torn open by thousands of hands, and thousands of eyes glanced upon the unexpected announcement that the review of the National Guard would take place (as usual) at the Champ de Mars!
The people were somewhat taken aback by this unlooked for boldness on the part of the ministry, but their excitement was not lessened by it. On the contrary it increased until the great city resembled the swarming of a mighty hive.
At length the hour appointed for the review arrived, and at that hour the king, followed by the same brilliant train which had on a former occasion attended him, once more issued from the palace gates. But not now as before, was his progress in silence. Every step of his advance was marked by the most tumultuous and joyous acclamations, which grew louder as the throng increased, until he reached the Champ de Mars. The deafening shout of welcome which greeted him from the hundreds of thousands of spectators there assembled, would have impressed one, ignorant of the immediate cause, with the belief that Charles the 10th rivalled in popularity his illustrious ancestor Henry the 4th; or the still more illustrious usurper of the Bourbon throne, whose star had just set in St. Helena.
The appearance now exhibited by the Champ de Mars differed but little from that already described, save that the eye of a critical observer would have discerned a marked difference between the unmilitary bearing of the "Milice Bourgeoise," and the exact discipline and compact and symmetrical array of the regular troops. The martial dress and perfect armament of the National Guard however, together with their number, which perhaps exceeded that of the troops at the first review, gave them a sufficiently imposing appearance.
The Royal personages and their splendid escort advanced towards the assembled legions, amid cries from every side, of "vive le roi!" "vive la famille royale!" "vivent les Bourbons!" marking the different feelings of those who uttered them. The "vive le roi" was on this occasion merely a "mot de coedille circonstance," a conventional mode of acknowledging with respect the presence of the monarch. But the heart had some little agency in prompting "vive la famille royale!" and "vivent les Bourbons!" These denoted a lurking loyalty, and were uttered, as I observed, almost exclusively by the females. And this serves to illustrate the remarkable fact that while the minds of a large majority of French-men still retained the inclination given to them by the Republic or the Empire, almost every French-woman was a decided royalist. The fair sex are usually for the powers that be.
A little incident which occurred on this occasion may be mentioned as indicative of the sprightliness of the French character. A vagabond urchin (the like of whom would in our country have been staring in puzzled wonderment at the scene before him) seeming to enter fully into the humor of his elders, just as the carriage passed him in which rode the royal dames, tossed up his ragged cap and exclaimed "vive la duchesse de Berri toute seule!"
The moment the king reached the first company of the Guards, all its members, as they gave the military salute, shouted "vive le roi!" which passed as a watchword from company to company as in turn he approached them, until at length the entire National Guard were swelling the chorus of gratulation and welcome.
The harmony was perfect, and the public satisfaction was at its height, when suddenly a change came over the scene, as rapid and violent as a storm in tropical climates which in an instant blots the face of the sunniest day with blackness and wrath.
The review was nearly finished, when a voice was heard from the company which the king was at the moment passing, mingling with the cries of "vive le roi," the exclamations "à bas les ministres!" "à bas les Jésuites!"2
2 Down with the ministers, &c.
A momentary silence following this bold expression, the king instantly stopped and with becoming spirit said, that he was there to review the National Guard and not to receive dictation. At the same moment he ordered the Duc de Reggio, the commandant of the National Guard, (who was one of his suite) to cause the individual to be arrested who had uttered the offensive words. The duke promptly passed the order to the captain of the company; but its execution was at once resisted by the whole company, who closed around their comrade and energetically declared that he should not be arrested; and that they all thought as he did. It was evident that an attempt to enforce the order for arrest would produce a display of the most alarming violence; it was therefore wisely abandoned, and the king abruptly left the field.
Immediately a scene of the wildest confusion ensued. The demon of discord usurped the empire of the spirit of harmony, and in the twinkling of an eye converted the genial current of good feeling into the bitter waters of strife.
The troops were instantly dismissed by their officers, and they mingling with the immense crowd of spectators, the whole mass returned with tumultuous haste to the city, uttering cries of passion, of discontent or of derision. "À bas les ministres! à bas les Jésuites! à bas les Bourbons! vive la charte! au diable Villéle!" &c. &c., issued from lips which but a few minutes before sent forth expressions of attachment and loyalty.
The residences of Villéle and Peyronnet, the two ministers against whom popular indignation was chiefly directed, lay immediately in the route of the returning crowd. A large number, including many of the National Guard, stopped before the houses, which were separated only by a street, and seemed by their furious gestures and menacing cries, to meditate an attack. The ministers were not at home; for the king on the instant of his rapid return, had called his cabinet together. Their families were of course in a state of the most dreadful alarm; but so soon as the crowd ascertained the absence of the ministers, and that only unprotected females were within, with the characteristic gallantry of French-men, (who were not yet wrought to revolutionary phrenzy) they quitted their position and swept on to communicate their excitement to those of their fellow citizens who had not witnessed the events. The effect of their coming, upon the population of Paris, was that of a whirlwind upon the ocean. It excited them to a state of fearful commotion, and in less than an hour, the din which arose from every part of this vast city was as the mighty roar of many waters.
Evening was now approaching; but with it came no diminution of the wrath of the Parisians. Throughout the night the agitation continued, and at intervals its sound came through the gloom to startle from sleep the few who sought repose.
During all this time the king and his cabinet, unterrified by the denunciations which resounded in their ears, were planning in secret council at the Tuileries, a "coup d'état" which was to astonish France.
The next morning the Moniteur appeared as usual, and the very first line of the first column, which was always appropriated to annunciations made by authority of the government, consisted of the following momentous words—
"La Garde Nationale est licenciée"—(the National Guard is disbanded.)
Had a volcano burst forth in the "place Vendome," the people of Paris could not have been more astounded. The step was indeed of a boldness bordering on temerity; for the National Guard was the last remnant of the revolution—the only connecting link between the present time and the days of the republic; and its association with revolutionary remembrances rendered it sacred in the estimation of all those who professed to entertain the principles of the revolution. And those were at this time more than three-fourths of the population.
Surprise for a time so completely mastered every other emotion, that the people were comparatively calm—but this calm was only the precursor of a fiercer excitement. For several days the commotion presented the aspect of a menaced revolt. It was by many likened to the commencing scenes of the revolution; and it filled with anxiety and dread, all moderate persons who recollected that period of horror. The entire population of Paris (at least the middle and lower orders) deserted their homes and thronged the streets and public squares; and in all parts of the city the tumult of the populace was like the heaving of a troubled sea.3
3 An officer of cavalry with whom I was acquainted, told me that the agitation far exceeded that which was caused in Paris by the news of Napoleon's flight from Elba and debarkation in France.
On one of the nights when the agitation was greatest, I went to the Rue St. Honoré, one of the great thoroughfares of the city, to witness the movements of the crowd. When I arrived I found it so thronged as to render it hazardous if not impossible to enter it. As far as by the aid of the lights, the eye could reach in either direction, the entire space of the street presented a dense array of human beings, from which issued sounds of every variety, constituting altogether the most deafening clang which ever assailed my ears.
Through the centre of this living mass moved a large body of gendarmes in single file, reining in their horses to so slow a pace that their motion through the crowd was barely perceptible. So closely were they wedged in on every side indeed, that it was impossible to do more than just to move.
A fitter agent and emblem of an absolute, or, at least, an energetic government, does not exist, than a gendarme. Stern, silent, imperturbable, patient—armed at all points, and the moment there is need for action, implacable, rapid and sure in execution. On this occasion these men moved through the crowd as though they saw and heard them not. On every side they were assailed with jeers, with execrations, and even occasionally with missiles. But these disturbed not their unconquerable equanimity. They passed on apparently, unheeding all; but with their swords drawn, ready at a moment's warning to strike, should the conjuncture arrive to render it necessary.
They were acting of course under the influence of orders, clear and strict, and carrying with them the severest penalties for violation. These orders were, no doubt, to refrain from violence until the occurrence of some overt act on the part of the people, indicative of a revolutionary spirit; and to do nothing which might by possibility lead to such an occurrence.4
4 As I had, before going to France, conceived an erroneous idea of the gendarmes, it may not be useless to explain, that although as their designation implies, they constitute an armed force, they have no connection whatever with the army. They are nothing more or less than the executive police of the kingdom, and are under the command of the prefect of each department. They are mounted and completely equipped with sword, pistols, carbine and bayonet; and when it is recollected that to resist a gendarme, is to resist the law, it will be readily conceived that they are a formidable body. As their power is great, so also is their responsibility; and they encounter death as the penalty for any deviation from the strict letter of their orders. They are perfect machines and the most efficient police in the world.
The people had evidently no matured design. They were unprepared for the energetic measures of the ministry, so that although they more than once in different parts of the city, gave occasion to the gendarmes to charge upon them, and several deaths were the result; it soon became apparent that the excitement was subsiding. After the expiration of the third day, the city began to wear a calmer aspect. The affair merely furnished a theme for animated discussions in the cafés and for eloquent denunciations in the liberal prints. The surest evidence, however, that all danger of a serious issue was for the present at an end, was the fact that the little scandalous journals which exist in every large city, began to serve up the subject in humorous scraps; for it has been truly remarked, that if the Parisians, can but be induced to jest about a matter, it is impossible afterwards to render it serious.
The unexpected boldness of this decisive display of state policy thus rendered it entirely successful. The king and his ministers were determined to regain the ground which they had lost in yielding the law concerning the press.
Fully informed as to the state of the public mind, and ascertaining that the people had not reached the crisis of revolution, they resolved to strike a blow which could not be successfully resisted but by revolution. A more favorable opportunity could not have occurred than the one which I have attempted to describe; and it was seized with a promptness and employed with a skill which have never been excelled. On the very night of the day on which the pretext was given, the decision was made. At the dawn of day this decision was communicated to the commanders of all the divisions of the disbanded body; and with the first rays of the sun the startling annunciation met the eyes of the astounded Parisians—"La Garde Nationale est licenciée!"
The very style of the decree is worthy of remark, as being in strict keeping with the rest. There is no labored preamble—no heavy article covering six columns of the Moniteur, setting forth the reasons for the act—no endeavor to render the potion palatable to the people by conciliatory and cajoling declarations—no attempt to lead off the public mind by sophistry and a maze of argument—none of this. But the simple, naked, peremptory mandate of authority not expecting to be questioned—The stern, terse, despotic "sic vole" of absolute rule—"La Garde Nationale est licenciée!"
The shaft being shot, the cabinet remained perfectly quiet until the effervescence and confusion created by the discharge, had subsided; and then resumed the ordinary routine of their administration, having derived from the review of the National Guard and its results, a decided accession of power; and for a time at least, impeded the progress of liberal principles in France. And although the influence of these principles must, of course, finally have prevailed, there is little doubt that the time for their ascendancy would have been longer deferred, had the successor of Villéle possessed his sagacity, his boldness, his energy, and his knowledge of the existing state of things.
Had this been the case, Charles the 10th would perhaps not now be giving profitless lessons in Royalty to his grandson at Prague, nor Peyronnet and Chantelauze be playing chess at Ham.
LITERARY NOTICES.
THE CAVALIERS OF VIRGINIA, or the Recluse of Jamestown. An Historical Romance of the Old Dominion. By the author of a Kentuckian in New York. New York: Harper & Brothers. 1834.
This work is by a Virginian,—and with that sort of partiality which inclines us to espouse the literary claims of our native state, (too long and too unjustly neglected,) we were predisposed to receive it with favor. Some of the northern periodicals moreover had lauded its merits, and we own that we felt some pride in the reflection that one of the most interesting periods in our early colonial history, had attracted a native adventurer in the field of historical romance. We regret to say that we are much disappointed in the manner in which the task has been executed. Our feelings and partialities, which were all on the author's side,—we are compelled to surrender to the stern demands of literary justice. The "Cavaliers," in our humble opinion, is unworthy of the subject it was intended to illustrate,—and although not entirely destitute of merit,—its faults are so numerous and censurable, they greatly preponderate in the estimate we have formed of the work. In the first place, the author has evidently failed to make himself acquainted with the history of the age and the character of the incidents which he has chosen as the groundwork of his story. The portrait of Bacon, is but a poor and feeble likeness of the original,—and that of Sir William Berkeley, is the merest caricature of that brave, accomplished, but despotic vicegerent of royal power. Bacon is represented as a kind of half frantic, inconsiderate stripling—something of a dandy—but more of a wild and reckless lover, whose thoughts were principally occupied by his "ladye love;"—and but slightly, if at all, by the wrongs of his suffering country. Far different indeed, was the noble and lofty heroism of the real Bacon—a character which shines in the foreground of our ancient history,—with a lustre, that despite of the efforts made to diminish it, will vie with the Wallaces and Tells of other ages and countries. Sir William Berkeley, though certainly a tyrant, was not the vulgar insensate wretch which our author has made him. His ambition was made of "sterner stuff," than to be employed upon petty schemes of matrimonial alliance,—and the Knight, "in a blue velvet doublet and pink satin breeches," is but an outre representation of the ancient and renowned Cavalier,—who had battled with the red man in his savage lair,—and had exchanged the luxuries of English society, for the perils and hardships of a wilderness.
There is another capital defect in our author, which if he ever hopes for success, must be first overcome. He leaves his pictures, both of character and incident, altogether unfinished,—and darts with a meteor-like swiftness from subject to subject,—reminding the reader of a show-box,—in which the eye scarcely lights upon one spectacle, before it vanishes,—and is substituted by another and a different one. This perpetual flash and glare, without even the merit of distinctness, is far more painful than agreeable;—and the author would do well, if he bestowed more pains in separating the several parts of his story,—and a little more skill in the arrangement and harmony of his coloring. In truth, if he intends to repeat his efforts; and is really a bona fide candidate for fame, we would advise him to put more oil into his lamp, and expend some additional labor in fitting his offspring for public exhibition. He does not employ sufficient thought in the composition of his narrative,—but suffers his imagination (rich and vivid enough,) to run riot without restraint or limit. The conduct of Bacon, after the interruption of the marriage ceremony, as described in the first chapter of the second volume—is the conduct of a bedlamite, rather than of a rational being; and the whole scene of his mounting his fiery courser,—plunging into the river and swimming to the opposite shore,—his head bared to the "pitiless storm"—"the monsters of the deep his playmates, and the ill-omened birds of night his fellows;" is such a tissue of exaggeration and sublime fustian,—that what was evidently intended for great effect, is in reality extremely ludicrous. The hero indeed, acts so little like a man of sense, in this nocturnal aquatic excursion, that the reader feels much more sympathy for "the white silk breeches and graceful blue cloak," (which were likely to be spoiled by the half saline element,) than for the poor unfortunate wight of a bridegroom himself.
The author has moreover been guilty of a very strange mistake in his geography. He makes his hero swim, "Leander-like," over the majestic James,—which according to our reckoning, and agreeably to the map of the country—would have landed him on the south side, in the very respectable county of Surry;—but, to our utter amazement, the next glimpse we have of him, he is rushing on his fleet courser into the wilderness on the margin of the Chickahomony,—which our best informed geographers have placed on the north side of the ancient Powhatan,—now called James river. Such mistakes are altogether inexcusable,—and the more so as the author is a native of the "Old Dominion," and ought to have been more circumspect in his topography. Equally unfortunate is his arrangement of historical events,—for if he had looked a little into our early writers, he would have found that Bacon was never carried prisoner to the Eastern Shore; and that the treachery of Larimore, did not betray the insurgent squadron into the power of Berkeley, until after the destruction of Jamestown. These errors in chronology however, might have been forgiven, if the author had otherwise redeemed himself from equally formidable objections. The whole story of the Recluse,—and the miraculous preservation of Bacon when an infant, as related by the old nurse,—strike us as evincing poverty of invention, and as altogether too absurd for an ordinary writer at least to use as materials for romance. Scott, perhaps, might have turned them to some advantage;—at all events, the matchless vigor and beauty of his style, would have thrown a veil over other imperfections. The author might have made something of Wyanokee, but unfortunately failed to do it,—and we cannot say that we even felt interested in the sorrows of Virginia Fairfax. The girl is well enough—very pretty—amiable—and all that, but she wants force and individuality of character. The whole scene in which the dying Mrs. Fairfax is exhibited in the bloody conflict with the Indians in the neighborhood of Richmond, is particularly horrible, and in wretchedly bad taste.
In taking our leave of the author, we would also advise him, when he writes another romance, to "sink the shop,"—or rather the profession; and not to describe the wounds and bruises of his dramatis personæ with that technical precision which only surgeons and anatomists can fully comprehend. We would also recommend to him, as a medical man, that when any unlucky hero of his is hereafter tied to an Indian stake, by all means to have him rescued before the pine splinters have actually pierced the flesh,—especially when that hero is made so soon thereafter to perform a series of active exploits requiring sound bodily health and great muscular exertion.
We have taken no pleasure in this free commentary upon the work before us, and have only been induced to make it by a sense of duty. Its author is evidently afflicted with a kind of rabid propensity to write works of fiction; and, if he is resolved to gratify it, we do most earnestly entreat him for his own sake and for the sake of his native state, to invoke hereafter a little more reflection, a purer taste, and a more enlightened judgment in aid of his labors.
VATHEK.
The publisher having sent a copy of the above work to a correspondent in whose literary attainments, taste and discrimination we place great confidence, received the following criticism from his pen:
I thank you for Vathek, which I have read purely because you sent it to me; otherwise it would have remained unread by me forever. I see nothing "sublime" in the work; on the contrary, I was disgusted at its impurity. A more revolting jumble of nonsense, ridiculous conceptions, debasing exhibitions, and corrupt imaginings, I never met with in my life. This may perhaps be somewhat redeemed by the oriental descriptions, which were pronounced by Lord Byron, I think, to be excellent. Or this I cannot judge; but if the book were intended, as it seems to be, to inculcate the lesson of the impiety of looking into matters which are too high for us, the moral loses all its force, from the very great corruption of the characters of Vathek and Carathis, who certainly were most justly lodged in Hell, as the fittest place for such useless and abominable wretches. We feel no sympathy for them, when we find them with their hearts on fire; and as for the contrast of the happiness of Gulchenrouz, we care as little about him, for his happiness was certainly undeserved by any thing he had done, so far as we are made acquainted with him. There is such a singular mixture of comic and serious, that one is at a loss to know what the author would be at. What think you, for instance, of the game at football? of Aboulfakir the camel, having a taste for solitude and snorting at the sight of a dwelling, and Cafour's predilection for pestilence? &c. &c. I am quoting now from memory, and have not the patience to look at the book to see if I am right.
A learned English reviewer is not less severe upon this lauded production of juvenile years. After quoting Lord Byron's eulogy upon the work, he says—
Vathek is, indeed, without reference to the time of life when the author penned it, a very remarkable performance; but, like most of the works of the great poet who has thus eloquently praised it, it is stained with some poison-spots—its inspiration is too often such as might have been inhaled in the "Hall of Eblis." We do not allude so much to its audacious licentiousness, as to the diabolical levity of its contempt for mankind. The boy-author appears already to have rubbed all the bloom off his heart; and, in the midst of his dazzling genius, one trembles to think that a strippling of years so tender, should have attained the cool cynicism of a Candide. How different is the effect of that Eastern tale of our own days, which Lord Byron ought not to have forgotten when he was criticising his favorite romance. How perfectly does Thalaba realize the idea demanded in the Welsh Triad of "fulness of erudition, simplicity of language, and purity of manners." But the critic was repelled by the purity of that delicious creation, more than attracted by the erudition which he must have respected, and the diction which he could not but admire:—
| "The low sweet voice so musical, That with such deep and undefined delight Fills the surrender'd soul." |
It would argue a great decline in the moral feeling of our country, and a most adulterated literary taste, if such works as "Vathek" could be generally admired.
SCRAPS, by John Collins McCabe. Richmond: J. C. Walker. 1835.
This little volume from the Richmond press, consists of various poems and half a dozen tales and legends in prose. The pieces, though of unequal merit, are upon the whole decidedly creditable to the author; who is not only a young man, but as we are informed, has been denied the advantages of a liberal education. His productions are vastly superior to those of many a college dunce, upon whose vacant cranium the heritage of wealth has been expended; and their author holds a much higher grade in the scale of intellect than many of that snarling tribe, who can discern neither talent nor genius, unless allied with some ideal advantage or accidental distinction. We nevertheless hope that Mr. McCabe will continue to look ahead, and contemplate the highest standards of excellence in composition. The most acute observation of men and things, or the most delicate perception of poetical imagery, will avail but little without profound mental labor, and the assiduous cultivation of taste. We select the following as a favorable specimen of his poetry.
LINES
On hearing the song "Sweet Home," and reflections during the same.
| O breathe again, that touching strain Which comes like winds o'er waters stealing; Its fall, its swell, like vesper bell, Its full rich notes in rapture pealing, Bids the lone heart, rejoice again In music's all subduing strain. O Music! rapture's in thy chords! Now gushing soft like moon-beams streaming On quiet spot, on rural grot, On mossy couch, on infant dreaming,— Or rising into raptures wild, It fills with wonder nature's child. The Exile lone, no land to own, Lists to thy soft and touching numbers, And dreams he sees the cot, the trees, The scenes of youth, (how sweet his slumbers!) Nor dreams when thy bright spell is o'er His happy "Home" he'll see no more. The sailor boy, bereft of joy, Looks on the stars above him glowing; The big tear steals, his bosom feels As troubled as the waters flowing, And while the billows round him foam, He faintly murmurs, "Home! sweet Home!" The warrior stern, whose feelings burn To meet the foe, his rights defending, When war is o'er, sweet home once more Its rainbow colors round him blending, Invites him from the bloody plain Back to its quiet hearth again. The christian warm, round whom the storm Of opposition wildly rages, Beholds the prize beyond the skies, Reflected on the glowing pages Of God's own book, and with a tear Of joy, he "reads his title clear." O! onward press, life's wilderness Will soon be past; where spirits linger Round flowing streams in rapt'rous dreams And golden lyres, softly finger, We all shall meet, no more to roam, And dwell in an eternal home. |
EDITORIAL REMARKS.
We continue the interesting "Sketches of Tripoli and the Barbary States." We believe that when completed, they will constitute the most authentic record extant, of the military and diplomatic transactions of the period referred to. Besides the author's access to correct sources of information, he has the taste and talent to impart peculiar grace and interest to his narrative.
"Berenice," a tale, by Mr. Edgar A. Poe, will be read with interest, especially by the patrons of the Messenger in this city, of which Mr. P. is a native, and where he resided until he reached manhood. Whilst we confess that we think there is too much German horror in his subject, there can be but one opinion as to the force and elegance of his style. He discovers a superior capacity and a highly cultivated taste in composition.
The "Extract from the Reminiscences of a Western Traveller," proceeding as it does from the pen of a practised and polished writer, has the additional advantage, as we are assured, of being founded in strict truth.
We are sorry that we are not permitted to announce the source from which we derive the original story or apologue of "Jonathan Bull and Mary Bull." Its own merit however, and its obvious application to events of the time at which it was written, will attract a due share of attention.
We especially recommend to our female readers, particularly the young and lovely who are just entering into the flowery but deceitful paths of worldly pleasure, to read the original narrative which is headed "Marrying Well."
The "Letters from a Sister" will amply repay the reader; so also will the article on the "Fine Arts"—and the "Persian Story," translated from the French of Florian.
The "Scene in Paris, by a Virginian," we have no hesitation in particularly recommending. It is an admirable and graphic description of what the writer saw with his own eyes,—and the excellent delineation of the French character, comprising its extremes of energy and weakness, will forcibly strike the reader. With us the whole narrative possesses powerful interest.
It is but sheer justice to insert the letter from "Larry Lyle," (printed by mistake in our last "Zarry Zyle,") in answer to the criticisms of our Shepherdstown correspondent. Mr. Lyle defends his muse with spirit and ability.
We also insert from a sense of duty, a letter from the author of a "Note to Blackstone's Commentaries," accompanied by the expression of our regret that he should have considered himself somewhat unkindly treated by the gentleman who furnished a reply to that article. We think we can vouch for it that the gentleman referred to, fully intended to restrict himself within the bounds of fair and honorable discussion, and if we had thought differently, his article would have been excluded.
We must be excused for saying a word or two in respect to the poetical department. Unless the reader is very fastidious, he must, we think, be pleased. We read "Young Rosalie Lee" more than once, before we could fully perceive the exquisite beauty and delicacy of the mind which produced it,—and we venture the prediction, that unless the author is divorced from the society of the sacred nine by paramount duties, he is destined to no ordinary celebrity. We dare say that for the expression of this opinion, we ourselves shall not be spared, for we confess there is a quaintness in the style which will be repulsive to most readers.
In the "Stray Leaves," there is something which reminds us of Waller's beautiful lines beginning, "Go lovely rose," &c. and we almost regretted that the author should have so suddenly glided into the genuine Anacreontic.
Our readers will agree with us that the remaining pieces, particularly the "Extract from an Unfinished Poem"—the lines "To Hope"—"To the Bible"—"Moonlight"—and "Hopes and Sorrows," have each more than ordinary claims to admiration.
The "Lines on Barlow's Monument," by the celebrated Helen Maria Williams, and now published for the first time, need no praise from our pen; neither do the two original productions of Mrs. Sigourney, which we take great pleasure in inserting.
It would be doing us much injustice to suppose that the pieces which we do not particularly notice, are for that reason lightly esteemed. Whilst there are, it is true, degrees in the pleasure with which we regard the favors of contributors, their insertion ought to forbid the idea that any are unwelcome.
TO CONTRIBUTORS, CORRESPONDENTS, &c.
We thank our correspondent C. W. L. for pointing out the resemblance between the little epigram entitled "The Mistake Corrected," in our last, and the "Surprise," in Little's poems, which he quotes. The resemblance is certainly strong, and it is quite probable that the former if not borrowed was at least suggested by the latter. We cannot agree however, that it is a "plagiarism," in the proper sense of that term; for we know too well the personal and literary character of the gentleman who presented us with the trifle referred to, to suspect him for a moment of so paltry a proceeding. We rather conclude therefore, that its resemblance to Moore's bagatelle, is either the result of casual coincidence,—or more probably, perhaps, of an accidental mistake of the product of memory for that of fancy; a kind of mistake which those who have read much are very liable to make.
We assure our correspondent B. R. B. that we have carefully compared the lines published in our last with his manuscript, and find them to correspond verbatim. He wrongs us much if he thinks we would do him wilful injustice; and if one word has been substituted for another in the lines referred to, so as to change their sense, he must ascribe it to himself. We hope with this explanation he will excuse us from inserting his letter at full length.
There is a great deal of feeling in many of the communications sent to the publisher by T. H. C., M.D.; but to our poor taste, there is not much poetry. We question whether the Doctor will not find the lancet and pill box of more profit in that warm region to which he has emigrated, than the offerings of his prolific muse. The poetical manufacture depends more upon the quality than the quantity of its fabrics, for success.
We have received the following communication since the publication of our last number, from "Fra Diavolo," (Horresco referens!) which, as it is brief, we spread before our readers. His sneers at our "literary morality" and "critical acumen," we receive with great composure. Perhaps indeed, our vanity might be wounded if we had a tithe only of what seems to belong to the writer himself; but as our pretensions are very humble, we care not a farthing whether they are disputed or not. His request not to publish his poetry, (except on his own terms) shall be complied with; and should we consign his impure effusions to the flames, as he also desires, the world will have little or no cause to regret it. So long as we can secure the rich contributions received from other quarters, we shall console ourselves with the loss of "Fra's" favors, and even endeavor to survive his unprovoked resentment. To "give the devil his due," however, we shall continue to lament the downward flight of our correspondent's muse; and uninitiated as we profess to be in the sublime mysteries of the school to which he belongs, we shall even be so perverse as to prefer the "modest mien and plain attire" of mediocrity, to the more flashy but less useful adornments of brilliant but misguided genius. One word in justification of ourselves. We did not admit the "Doom" into our columns without reluctance; a reluctance which nothing would have overcome but the conviction that a useful moral might be deduced from the fate of the "Lover Fiend," who figures as the hero of the story. As to the "Passage of the Beresina," whether it be "balderdash" or not, is matter of taste and opinion. One thing is certain; it is from the pen of a highly accomplished scholar.
Mr. White,—I have just seen your sixth number of the Southern Literary Messenger, and shall decline having my contribution published on condition of any improvement of the poetry by your most chaste and wise editor. The admission of such balderdash as the "Doom" and "The Passage of the Beresina," is quite enough evidence of his literary morality and good taste. I require no further token of it; least of all in my own case, where I am to be martyred at the shrine of such critical acumen—God save the mark! Put the manuscript into the fire, and oblige yours,
FRA DIAVOLO.
March 25, 1835.
From the author of the "Note to Blackstone's Commentaries."
You judge rightly that I have no call to answer my censor. I have no pride of authorship in the affair. I wished to awaken the public mind, and he has aided me, for which he has my thanks. I have no controversy with him. He argues against opinions I have not advanced, and, in his last paragraph, comes in aid of that I had endeavored to maintain. By his own showing a quasi war exists among ourselves, under circumstances which render any nearer approach to peace impossible. We have the alternative of "a war-like peace, or a peace-like war," and he wisely prefers the former. He predicates this decision on the only principle for which I contended, viz: the effect of a continuing necessity. I only suggested the possibility of such a case. He finds it existing in fact. It doubtless might exist in various ways. Destruction is the precise object of savage warfare. With us, it is the means to an end. With savages, it is the end itself. Had he seen, as I have, a few individuals of once powerful tribes, escaped from massacre, and saved from utter extinction only by finding shelter among the whites, he would not have to learn that bellum ad internecionem is not unknown among savages.
The style and matter of his essay both show an education which should have taught him that a supercilious tone should find no place in a controversy between an anonymous and an avowed author. He wears defensive armor. I am naked. Is it chivalrous; is it manly; is it fair, in a contest which should be conducted "as if a brother should a brother dare to gentle exercise and proof of arms," to thrust with "unbated point?" His point indeed is not envenomed, nor does he stab malignantly, but he should have touched my scutcheon with the reverse of his lance. To strike with the point, however gently, is a challenge to combat of outrance. I decline it.
Extract of a Letter from the Reviewer of Messrs. Adams' and Everett's Orations.
You say, "The most sublime events and the most heroic actions have generally found some poet or historian of sufficient qualifications to record them with dignity and effect." Granted, but what is dignity? Does it consist in that sort of declamation which is meant to "split the ears of the groundlings?" What is effect? Is it stage effect? Is it made up of "gun, drum, trumpet, blunderbuss and thunder," and images placed by the speaker's side to be apostrophized? The example that you give illustrates the maxim that "the language of eulogy is misapplied to transcendant greatness. It weakens and dictates the truth of history."
You say "even the most exalted truths which have ever dawned upon mankind,—the facts and doctrines of revelation,—have lost none of their grandeur in the simple narratives of plain and unlettered men." Most true. The simplicity of the narrative is its excellence. But what should we say to a Gospel after the manner of Mr. Adams, or even of Mr. Everett?
Mr. White:—The legitimate aim of criticism is, as you yourself have more than once remarked, to point out the proper path towards excellence. A true critic effects this by gently and courteously exposing error, and lauding beauties where beauties are to be found. So far as I can judge, neither gentleness nor courtesy can be said to characterize the critique of your "Shepherdstown friend." The want of these qualities would certainly have induced me to pass over the letter in question, had it not received honorable notice from yourself. In the pamphlet war between Matthew Carey and the redoubtable Cobbett, the first apologizes for his own rudeness, by quoting the old proverb, "fight the devil with fire," or something to that amount. But this is bad philosophy; and in my brief answer, I will endeavor as much as possible to observe that courtesy which your correspondent has forgotten.
In the "Song of the Seasons" quaintness was aimed at, and aimed at only because I thought the subject called for it. One part of my object was to depict the minute relations existing between the human heart and earth itself. Minuteness was necessary, and to be minute without quaintness, would render any piece dull and pointless analysis. With regard to obscurity, and the use of terms, I would ask your critic, if when he had "studied the song," obscurity did not disappear, and if the terms are not in keeping with the quaintness aimed at. Indeed, I would ask him, if the terms used are not just such as should have been used in any case. Beams are "amethystine." We will find an admirable application of the word in Keates' "Eve of St. Agnes;" and Mrs. Hemans sings very prettily of the drowsy "Bugle-Bee." By the way, let me in this last phrase, adopt the change recommended. The stanzas quoted is the second of the "Song."
| "A white roe wandered where sweet herbs and tender grass were peeping; His snowy head was poised in pride, his chainless heart was leaping: The 'bumble-bee' had called the herd from icy solitude,— And he had come at 'bumble' call—fleet centaur of the wood!" |
A vast improvement i' faith. The term "gauze wing," is as common as the rhymes love and dove. "Soughing blasts" are frequent in Wyatt, and more frequent in Shakspeare. An amethystine beam thrown on a red body produces a glittering gold, and thus the red breast of "poor robin" was metamorphosed into one of gold. So much for the criticism. As for the critic, he has most unequivocally proved himself, by these syllable censures, to be one of the anceps syllabarum tribe. As such I wonder that you, who have so often expressed your contempt for the whole race, should have opened your columns to his communication. Is not his letter a specimen of "the carpings of illiberal and puerile criticism?" Is not the writer one of the "little great men in the world, who have the vanity to conceive that their taste and judgment, (if they have any) is the standard for all mankind, and who snap and bark like the curs which infest our streets and annoy the by-ways?" I have used your own words, and ask if they are not applicable.
The Song of the Seasons (though never so little deserving,) has received praise from a higher quarter than Shepherdstown. My home is not very far from that village—near enough to know the character of its people; and in truth, gentlemen of talent and distinction are there with whom I have ever held it an honor to be acquainted. But it is plain that the critique could not have been written by any one of them. If I had no other reason for thinking so, I would say, "because it is not in keeping with the good sense, accurate taste, and elevated candor which I know these to possess." As for their townsmen, I have never heard of any Longinus among them, whose praise would not be disgrace. If your "friend" thinks an answer to this necessary, let me hope that his name will accompany the communication; or if he is unwilling to annoy, with private concerns, the public "upon whom Larry Lyle has [already] inflicted the study of his song," his communication may be directed, not to yourself, but to his very humble servant,
LARRY LYLE.
Winchester, Va.