A Strange Discovery

by Charles Romyn Dake

The hour was about eight. I had written a letter or two after our six o'clock supper, and was now idle. By my side, in the centre of the room, stood a table on which lay several periodicals—monthly and weekly, English and American—a newspaper or two, and a few books. A rap came at my door, and on opening it I found Doctor Bainbridge standing in the hallway. He wore a black "Prince Albert" coat, a high silk hat, and, the evening having blown-up chilly, a summer overcoat. I received him perhaps a little more warmly than was in the best of taste, considering that we had not before exchanged more than a dozen words. But I had, as I have said, frequently seen him from my window; he was almost as much of a stranger in the town as was I, and I received him cordially because my feelings were really cordial. I assisted him to remove his coat, and in other ways did all in my power to make him comfortable. He was of slightly more than medium height, of rather delicate build, with a fair, almost colorless complexion. His movements, his language, his attire, indicated the gentleman—this I should have conceded him in my club at home, or in my own drawing-room, quite as readily as here, alone, in an obscure hotel in the State of Illinois. As we sat conversing, I was much surprised to find in him a considerable degree of culture. He seemed to possess that particular air which we are accustomed to think, and generally with reason, is not to be found apart from a familiarity with metropolitan life on its highest plane. I did not on that evening, nor did I later, think him thoroughly schooled, except in his profession. He was, however, fairly well educated, and his opinions seemed to me from my own stand-point to be sound. I had observed, in a history of the county just from the press, which lay on a table in the office of the hotel, that in 1869 he had been graduated from an educational institution somewhere in Pennsylvania; and, in 1873, from the Medical Department of Columbia University. Later, I learned from himself, that, from the age of seven to the age of eleven, he had been instructed at home by a sister who was some nine or ten years his senior.

I seated him with the large centre-table between us, and immediately opened the conversation on some topic of local interest. It is probable that of the many persons whom I know and continue to like, that I liked nine out of ten of them from our first meeting. Doctor Bainbridge had not been long in my presence before I knew that my first impressions of him were not deceptive; and I felt that his impression of myself was certainly not unfavorable.

It appeared to me as we talked through the evening, that he had read about all that I had read, and much besides. He talked of English and French history with minute familiarity. Not only had he read English, French, and German literature, with such Spanish, Russian, and Italian works as had been translated into English; but he shamed me with the thoroughness of his knowledge of Scott, Dickens, Bulwer, Thackeray, and others of our best writers of fiction. Goethe he particularly admired. Of Cervantes he thought with the rest of us: He had read "Don Quixote," for the first time, when he was eighteen, and during a severe illness accompanied with intense melancholia; and he had laughed himself out of bed, and out of his melancholy. "Don Quixote" was, he said, the only book which he had ever read in solitude—that is, read to himself—which had compelled him to laugh aloud. Works of science, particularly scientific works in the domain of physics, he delighted in. His imagination was of a most charming character. It was at that time in my life almost a passion with me to analyze human nature—to theorize over the motives and the results of human action; over the probable causes of known or assumed effects, and the reverse—in short, I thought myself a philosopher. I have never met another person whom it so much interested me to study as it did this young American. But after ample opportunity to know him, even now as I sit writing more than twenty years later, and I think of the pleasure of that temporary friendship in far-away Illinois, I am puzzled about many things concerning Doctor Bainbridge. He certainly possessed a scientific mind. He himself said that he had no very great love for written poetry: had he a poetic mind? He loved the beautiful in life: he loved symmetry in form, he loved harmony in color, he loved good music. And yet, though he had read the English-writing poets, he seemed to care less for their work than for anything else in literature. The thought of this inconsistency has perplexed me whenever I have thought of it through all these years. As I have intimated, he was charmed by the beautiful, and by every known expression of beauty; but for the strictly metrical in language-expression, he evinced almost a distaste. I have often thought that he had, through some peculiar circumstance in his earlier life, acquired a suggestive dislike to the very form of verse. To this peculiarity there was, however, exception, to which I am about to allude.

By the time we had smoked out a cigar apiece, we were exchanging views and comments on such writers, English and American, as came to mind. One of the books that lay on my table was a copy of Byron; though most of the others were the works of American authors—Hawthorne, Irving, Longfellow, Poe, and one or two others. He had picked up my Byron, and glancing at it had remarked that if all the poets were like Byron he would devote more time than he did to the reading of verse. I recall a remark that, with Byron's personality in mind, he made as he returned the book to the table. "Poor fellow!" he said. "But what are we to expect of a man who had a volcano for a mother, and an iceberg for a wife? A woman's character is largely formed by the quality of men that enter into her life; a man's, even more so by the quality of women that enter into his. I wonder if Byron ever intimately knew a true woman?—a woman at once intellectually and morally normal, in a good wholesome way—a woman with a good brain and a warm heart? No man, in my opinion, is a really good man save through the influence of good women."

It is impossible for me to recall much of what he said of the American authors of whom we talked, with the exception of Poe; and there are reasons why I should clearly remember in substance, and almost in words, everything that was said of him. Of all writers, with one exception, Poe interests me the most; and I judge that in interest, both as a personality and as a literary artist, Doctor Bainbridge placed Edgar Allan Poe first and uppermost among those who have left to the world a legacy of English verse or prose. And this feeling was, I truly believe, in no measure influenced by Poe's nationality. If Bainbridge possessed any narrow national prejudices I never learned of them.

He spoke rapturously of Poe as a poet—"The Raven," as a matter of course, receiving high praise: Of that unique and really grand poem, he said that he thought it the best in the English language.

It was at this point in our conversation that he told me he rarely read verse; that he had, with certain exceptions, never done so with much pleasure, but that in some way he had managed to read nearly all the noted poetry published in our language. Still, he said, there were poems which absorbed and almost fascinated him. Of the English poets of the present century, Byron alone had written enough poetry to prove himself a poet; and he explained that in his opinion the writing of an occasional or chance poem, though the poem were true poetry, did not make of the author a poet. Then he mentioned a poem which for more than a century has been by the critical world accepted as of the highest order of true poetry. Gradually warming to the subject, he said:

"A poem like this is not to my mind poetry. Byron wrote true poetry, and sufficient of it in his short life to prove himself ten times over a poet. To compare this poem with Byron's poetry—say with parts of 'Childe Harold,' or 'The Prisoner of Chillon,' or with some of his shorter poems—would be like comparing the most perfect mechanical device with a graceful animal—say the mechanical imitation of a tiger or a gazelle with the living original; the first a wonderfully moving piece of machinery, illustrating the limit of human constructive power; perfectly under control, the movements smooth, unvarying, rhythmical, charming, excelling in agility and power its living prototype—but still, scientific—to the discerning eye, artful. The other, something more than rhythmical, more than smooth, beyond the control of human agency, beyond the power of man to analyze as to synthetize—more than science can explain, more than even art dare claim. The one explicable, the other inexplicable; the one from the hand of patient skill—of talent; the other a result of force mysterious, divine. The lions of Alexius Comnenus, it is said, could roar louder than the lions of the desert."

"But what of Poe, and 'The Raven?'" I asked.

"The surprising thing about 'The Raven' is," he said, "and I assert only what I believe to be from internal evidence demonstrable—first, that the poem arose out of a true poetic impulse of the soul; and, second, that it discloses the very highest art possible to a writer. Now I truly believe that the first writing of 'The Raven'—and, too, the stanzas were probably not first written in their present published order—conveyed Poe's poetic sense just as completely as the published poem now does. But this was not sufficient for Edgar Allan Poe—for the scientific man, the artful man, the poetic genius with a genius for concentrated mental toil in the effort to attain literary perfection. This makes 'The Raven' a curiosity in true poetic expression."