"LOVE AND FRIENDSHIP EXCLUDE EACH OTHER,"
says DuCoeur. "Love begins by love, and the strongest friendship could only give birth to a feeble love." "Love, which is only an episode in the life of man," says Madame DeStael, "is the entire history of woman's life." "Love is a spaniel," says Colton, "that prefers even punishment from one hand to caresses from another." "A man loved by a beautiful and virtuous woman, carries a talisman that renders him invulnerable," says Madame Dudevant; "everyone feels that such a one's life has a higher value than that of others." "There are no little events with love," says Balzac; "it places in the same scales the fall of an empire and the dropping of a woman's glove." "There's nothing half so sweet in life as love's young dream," says Moore. "Where there is love in the heart," says Beecher, "there are rainbows in the eyes, which cover every black cloud with gorgeous hues." "The greatest happiness of life," says Victor Hugo, "is the conviction that we are loved for ourselves—say,
RATHER IN SPITE OF OURSELVES."
"Love makes its record in deeper colors," says Longfellow, "as we grow out of childhood into manhood; as the Emperors signed their names in green ink when under age, but when of age, in purple." "The heart of a young woman in love is a golden sanctuary," says Paulin Limayrac, "which often enshrines an idol of clay." This thought, the reader can see is a close neighbor of the Boston poet's idea of the "base wooden god," spoken of a while back. "We forgive more faults in love than in friendship," says Henry Home; "expostulations betwixt friends end generally ill, but well betwixt lovers."
"Gold," says Deluzy, "does not satisfy love; it must be paid back in its own coin." "The platform of the altar of love," says Jane Porter, with great accuracy of metaphor, "is constructed of virtue, beauty, and affection; such is the pyre, such the offering; but the ethereal spark must come from heaven that lights the sacrifice." "This passion is," says Dr. South, "the great instrument and engine of nature, the bond and cement of society, the spring and spirit of the universe. It is the whole man wrapped up into one desire, all the power, vigor, and faculties of the soul
ABRIDGED INTO ONE INCLINATION."
"Samson was so tempted," says Shakspeare, "and he had an excellent strength; yet was Solomon so seduced; and he had a very good wit." There has always been one time in a man's life when he felt poets should sing only of this one act in the drama of life. Here is the idea—the same idea we have all had, only dressed in better raiment, for Alexander Smith took great pride in the children of his brain: "Methinks all poets should be gentle, fair, and ever young, and ever beautiful; I would have all poets to be like to this—gold-haired and rosy-lipped, to sing of love." Finally, said the Great Napoleon: "Love is the occupation of the idle man, the amusement of the busy one, and
THE SHIPWRECK OF A SOVEREIGN."
Thus, if we will turn through the pages of our books, we will see everywhere the marks of love upon men's minds. It is a rude bath, which when we have grown more accustomed to the waters, delights and satisfies, and in our sleep our dreams are beautiful. It is natural, and therefore need not be called laudable—though if it were not a part of our development, schools of love would be a necessity, to teach men how to love without scandal in the sight of God.
THE FIRST ATTACK OF LOVE IS RIDICULOUS