"Ariosto tells a pretty story of a fairy, who, by some mysterious law of her nature, was condemned to appear at certain seasons in the form of a foul and poisonous snake. Those who injured her during the period of her disguise were forever excluded from participation in the blessings which she bestowed. But to those who, in spite of her loathsome aspect, pitied and protected her, she afterwards revealed herself in the beautiful and celestial form which was natural to her, accompanied their steps, granted all their wishes, filled their houses with wealth, made them happy in love and victorious in war. Such a spirit is Liberty. At times she takes the form of a hateful reptile. She grovels, she hisses, she stings. But woe to those who in disgust shall venture to crush her! And happy are those who, having dared to receive her in her degraded and frightful shape, shall at length be rewarded by her in the time of her beauty and her glory!"[317]
These noble words come from the heart; the fount is full, and though it flows, it never becomes dry. As soon as the writer speaks of a cause which he loves, as soon as he sees Liberty rise before him, with Humanity and Justice, Poetry bursts forth spontaneously from his soul and sets her crown on the brows of her noble sisters:
"The Reformation is an event long past. That volcano has spent its rage. The wide waste produced by its outbreak is forgotten. The landmarks which were swept away have been replaced. The ruined edifices have been repaired. The lava has covered with a rich incrustation the fields which it once devastated, and, after having turned a beautiful and fruitful garden into a desert, has again turned the desert into a still more beautiful and fruitful garden. The second great eruption is not yet over. The marks of its ravages are still all around us. The ashes are still hot beneath our feet. In some directions, the deluge of fire still continues to spread. Yet experience surely entitles us to believe that this explosion, like that which preceded it, will fertilize the soil which it has devastated. Already, in those parts which have suffered most severely, rich cultivation and secure dwellings have begun to appear amidst the waste. The more we read of the history of past ages, the more we observe the signs of our own times, the more do we feel our hearts filled and swelled up by a good hope for the future destinies of the human race."[318]
I ought, perhaps, in concluding this analysis, to point out the imperfections caused by these high qualities; how ease, charm, a vein of amiability, variety, simplicity, playfulness, are wanting in this manly eloquence, this solid reasoning, and this glowing dialectic; why the art of writing and classical purity are not always found in this partisan, fighting from his platform; in short, why an Englishman is not a Frenchman or an Athenian. I prefer to transcribe another passage, the solemnity and magnificence of which will give some idea of the grave and rich ornament, which Macaulay throws over his narrative, a sort of potent vegetation, flowers of brilliant purple, like those which are spread over every page of "Paradise Lost" and "Childe Harold." Warren Hastings had returned from India, and had just been placed on his trial:
PAGE FROM THE PRAYER-BOOK OF JUANA OF CASTILE
Fac-simile example of Book Illumination in the Sixteenth Century.
"On the thirteenth of February, 1788, the sittings of the Court commenced. There have been spectacles more dazzling to the eye, more gorgeous with jewellery and cloth of gold, more attractive to grown-up children, than that which was then exhibited at Westminster; but, perhaps, there never was a spectacle so well calculated to strike a highly cultivated, a reflecting, an imaginative mind. All the various kinds of interests which belong to the near and to the distant, to the present and to the past, were collected on one spot, and in one hour. All the talents and all the accomplishments which are developed by liberty and civilization were now displayed, with every advantage that could be derived both from co-operation and from contrast. Every step in the proceedings carried the mind either backward, through many troubled centuries, to the days when the foundations of our constitution were laid; or far away, over boundless seas and deserts, to dusky nations living under strange stars, worshipping strange gods, and writing strange characters from right to left. The High Court of Parliament was to sit, according to forms handed down from the days of the Plantagenets, on an Englishman accused of exercising tyranny over the lord of the holy city of Benares, and over the ladies of the princely house of Oude.
"The place was worthy of such a trial. It was the great Hall of William Rufus, the hall which had resounded with acclamations at the inauguration of thirty kings, the hall which had witnessed the just sentence of Bacon and the just absolution of Somers, the hall where the eloquence of Strafford had for a moment awed and melted a victorious party inflamed with just resentment, the hall where Charles had confronted the High Court of Justice with the placid courage which has half redeemed his fame. Neither military nor civil pomp was wanting. The avenues were lined with grenadiers. The streets were kept clear by cavalry. The peers, robed in gold and ermine, were marshalled by the heralds under Garter King at-arms. The judges in their vestments of state attended to give advice on points of law. Near a hundred and seventy lords, three-fourths of the Upper House as the Upper House then was, walked in solemn order from their usual place of assembling to the tribunal. The junior baron present led the way, George Eliot Lord Heathfield, recently ennobled for his memorable defence of Gibraltar against the fleets and armies of France and Spain. The long procession was closed by the Duke of Norfolk, Earl Marshal of the realm, by the great dignitaries, and by the brothers and sons of the King. Last of all came the Prince of Wales, conspicuous by his fine person and noble bearing. The gray old walls were hung with scarlet. The long galleries were crowded by an audience such as has rarely excited the fears or the emulation of an orator. There were gathered together, from all parts of a great, free, enlightened, and prosperous empire, grace and female loveliness, wit and learning, the representatives of every science and of every art. There were seated round the Queen the fair-haired young daughters of the house of Brunswick. There the Ambassadors of great Kings and Commonwealths gazed with admiration on a spectacle which no other country in the world could present. There Siddons, in the prime of her majestic beauty, looked with emotion on a scene surpassing all the imitations of the stage. There the historian of the Roman Empire thought of the days when Cicero pleaded the cause of Sicily against Verres, and when, before a senate which still retained some show of freedom, Tacitus thundered against the oppressor of Africa. There were seen, side by side, the greatest painter and the greatest scholar of the age. The spectacle had allured Reynolds from that easel which has preserved to us the thoughtful foreheads of so many writers and statesmen, and the sweet smiles of so many noble matrons. It had induced Parr to suspend his labors in that dark and profound mine from which he had extracted a vast treasure of erudition, a treasure too often buried in the earth, too often paraded with injudicious and inelegant ostentation, but still precious, massive, and splendid. There appeared the voluptuous charms of her to whom the heir of the throne had in secret plighted his faith. There too was she, the beautiful mother of a beautiful race, the Saint Cecilia whose delicate features, lighted up by love and music, art has rescued from the common decay. There were the members of that brilliant society which quoted, criticised, and exchanged repartees, under the rich peacock-hangings of Mrs. Montague. And there the ladies whose lips, more persuasive than those of Fox himself, had carried the Westminster election against palace and treasury, shone round Georgiana, Duchess of Devonshire."[319]
This evocation of the national history, glory, and constitution forms a picture of a unique kind. The species of patriotism and poetry which it reveals is an abstract of Macaulay's talent; and the talent, like the picture, is thoroughly English.