PASSAGES FROM ADAM BEDE.
It was a wood of beeches and limes, with here and there a light, silver-stemmed birch—just the sort of wood most haunted by the nymphs; you see their white sun-lit limbs gleaming athwart the boughs or peeping from behind the smooth-sweeping outline of a tall lime; you hear their soft liquid laughter—but if you look with a too curious sacrilegious eye they vanish behind the silvery beeches, they make you believe that their voice was only a running brooklet, perhaps they metamorphose themselves into a tawny squirrel that scampers away and mocks you from the topmost bough. Not a grove with measured grass or rolled gravel for you to tread upon, but with narrow, hollow-shaped earthy paths, edged with faint dashes of delicate moss—paths which look as if they were made by the free will of the trees and underwood, moving reverently aside to look at the tall queen of the white-footed nymphs.
There are various orders of beauty, causing men to make fools of themselves in various styles, from the desperate to the sheepish; but there is one order of beauty which seems made to turn the heads not only of men, but of all intelligent mammals, even of women. It is a beauty like that of kittens, or very small downy ducks making gentle rippling noises with their soft bills, or babies just beginning to toddle and to engage in conscious mischief—a beauty with which you can never be angry, but that you feel ready to crush for inability to comprehend the state of mind into which it throws you.... It is of little use for me to tell you that Hetty's cheek was like a rose-petal, that dimples played about her pouting lips, that her large dark eyes hid a soft roguishness under their long lashes, and that her curly hair, though all pushed back under her round cap while she was at work, stole back in dark delicate rings on her forehead, and about her white shell-like ears; it is of little use for me to say how lovely was the contour of her pink-and-white neckerchief, tucked into her low plum-colored stuff bodice, or how the linen butter-making apron, with its bib, seemed a thing to be imitated in silk by duchesses, since it fell in such charming lines, or how her brown stockings and thick-soled buckled shoes lost all that clumsiness which they must certainly have had when empty of her foot and ankle—of little use unless you have seen a woman who affected you as Hetty affected her beholders, for otherwise, though you might conjure up the image of a lovely woman, she would not in the least resemble that distracting kitten-like maiden. I might mention all the divine charms of a bright spring day, but if you had never in your life utterly forgotten yourself in straining your eyes after the mounting lark, or in wandering through the still lanes when the fresh-opened blossoms fill them with a sacred, silent beauty like that of fretted aisles, where would be the use of my descriptive catalogue? I could never make you know what I meant by a bright spring day. Hetty's was a spring-tide beauty; it was the beauty of young frisking things, round-limbed, gambolling, circumventing you by a false air of innocence—the innocence of a young star-browed calf, for example, that, being inclined for a promenade out of bounds, leads you a severe steeple-chase over hedge and ditch, and only comes to a stand in the middle of a bog.
Family likeness has often a deep sadness in it. Nature, that great tragic dramatist, knits us together by bone and muscle, and divides us by the subtler web of our brains; blends yearning and repulsion, and ties us by our heart-strings to the beings that jar us at every movement. We hear a voice with the very cadence of our own uttering the thoughts we despise; we see eyes—ah! so like our mother's—averted from us in cold alienation; and our last darling child startles us with the air and gestures of the sister we parted from in bitterness long years ago. The father to whom we owe our best heritage—the mechanical instinct, the keen sensibility to harmony, the unconscious skill of the modeling hand—galls us, and puts us to shame by his daily errors. The long-lost mother, whose face we begin to see in the glass as our own wrinkles come, once fretted our young souls with her anxious humors and irrational persistence.
It was to Adam the time that a man can least forget in after life—the time when he believes that the first woman he has ever loved betrays by a slight something—a word, a tone, a glance, the quivering of a lip or an eyelid—that she is at least beginning to love him in return.... So unless our early gladness vanishes utterly from our memory, we can never recall the joy with which we laid our heads on our mother's bosom or rode on our father's back in childhood; doubtless that joy is wrought up into our nature, or as the sunlight of long-past mornings is wrought up into the soft mellowness of the apricot; but it is gone forever from our imagination as we can only believe in the joy of childhood. But the first glad moment in our first love is a vision which returns to us to the last, and brings with it a thrill of feeling intense and special as the recurrent sensation of a sweet odor breathed in a far-off hour of happiness. It is a memory that gives a more exquisite touch to tenderness, that feeds the madness of jealousy, and adds the last keenness to the agony of despair.
THOMAS CARLYLE.
MIDNIGHT IN THE CITY.
"Ach, mein Lieber!" said he once, at midnight, when we had returned from the Coffee-house in rather earnest talk, "it is a true sublimity to dwell here. These fringes of lamp-light, struggling up through smoke and thousand-fold exhalation, some fathoms into the ancient reign of night, what thinks Boötes of them, as he leads his Hunting-Dogs over the Zenith in their leash of sidereal fire? That stifled hum of Midnight, when Traffic has lain down to rest; and the chariot-wheels of Vanity, still rolling here and there through distant streets, are bearing her to Halls roofed-in and lighted to the due pitch for her; and only Vice and Misery, to prowl or to moan like night-birds, are abroad: that hum, I say, like the stertorous, unquiet slumber of sick Life, is heard in Heaven! O, under that hideous coverlet of vapours and putrefactions and unimaginable gases, what a Fermenting-vat lies simmering and hid! The joyful and the sorrowful are there; men are dying there, men are being born: men are praying,—on the other side of a brick partition men are cursing; and around them all is the vast, void Night. The proud Grandee still lingers in his perfumed saloons, or reposes within damask curtains; Wretchedness cowers into truckle-beds, or shivers hunger-stricken into its lair of straw: in obscure cellars, Rouge-et-Noir languidly emits its voice-of-destiny to haggard, hungry Villains; while Councillors of State sit plotting, and playing their high chess-game, whereof the pawns are Men. The Lover whispers his mistress that the coach is ready; and she, full of hope and fear, glides down to fly with him over the borders: the Thief, still more silently, sets-to his picklocks and crowbars, or lurks in wait till the watchmen first snore in their boxes. Gay mansions, with supper-rooms and dancing-rooms, are full of light and music and high-swelling hearts; but, in the Condemned Cells, the pulse of life beats tremulous and faint, and blood-shot eyes look out through the darkness, which is around and within, for the light of a stern last morning. Six men are to be hanged on the morrow: comes no hammering from the Rabenstein?—their gallows must even now be o' building. Upward of five hundred thousand two-legged animals without feathers lie round us in horizontal positions; their heads all in night-caps and full of the foolishest dreams. Riot cries aloud, and staggers and swaggers in his rank dens of shame; and the Mother, with streaming hair, kneels over her pallid dying infant, whose cracked lips only her tears now moisten.—All these heaped and huddled together, with nothing but a little carpentry and masonry between them;—crammed in, like salted fish in their barrel;—or weltering, shall I say, like an Egyptian pitcher of tamed Vipers, each struggling to get its head above the other: such work goes on under that smoke-counterpane!--But I, mein Werther, sit above it all; I am alone with the Stars."