Peter Parley's Own Story / From the Personal Narrative of the Late Samuel G. Goodrich, ("Peter Parley")

by Samuel G. Goodrich

Do you remember that picture which served as the frontispiece of the Tales of the Stars? There was old Peter himself, with a crowd of us—his curly-headed darlings—all round him. The stars, if my memory serves me, are shining with unwonted brightness upon the interesting group, and upon a celestial globe which occupies the left side of the scene. If my memory serves me, I say; but ay me! the lapse of many years has much impaired it, I fear, and the vision I call before me of that primeval period, is somewhat a broken and fragmentary one.

I cannot stay to mention all the members of the library with which Peter Parley and our governess, acting with a sweet consent, supplied us. There were some pleasant passages in the Tales of Animals. I still vividly remember the panther and the lion, which appeared upon that stage. I cannot say why I remember them above all others, any more than I can say why many things connected with my early youth have remained in my memory, whilst a thousand other incidents of equal importance have vanished utterly from it. All I know is, that I especially remember the panther and the lion in Mr. Parley's famous zoological work.

But, in my opinion, Peter Parley's most triumphant effusion—his chef d'œuvre—the work on which his fame will undoubtedly rest in the judgment of an admiring posterity of infants—the ne plus ultra of his great powers, in which the astonishing grace of his style reaches its highest perfection, and his knowledge is surpassed only by the facility and the kindliness with which he imparts it—his crowning effort is—need I name it? Shall I not be accused of penning truisms? Of course I mean his Travels through Europe, Asia, Africa, and America.

Let that be a red-lettered day in my calendar when I entered upon those travels. Blessed be the dear maternal hand that gave them to me! Once more, standing by her side—the kind hand the while, I doubt not, smoothing my roughened locks, the gentle tongue patiently helping my tardy utterance—I spell out the opening chapters. Gather round me now, O pleasant company, into which I was then introduced. Be seated again at thy round table, O Parley! with those delightful guests around thee, and let me listen to thy wonderful stories. Be present with me, ye shades. If, O Pluto! thou hast them in thy keeping, I pray thee to grant them a brief furlough, that I may know them once more.

Come, O Jenkins! bravest of men; come in that pea-green jacket, in which thou presentest thyself to the astonished Parley at the end of the travels in Europe. 'Tis a bleak night, and Parley, resting by his blazing fire from all his Continental labors, thinks, good soul! of his absent friends, and of course of thee, Jenkins. Presently a knock is heard at the door, and Parley, answering it—he kept no lounging John Thomases in his unostentatious establishment—beholds a pea-green jacket. Enters the jacket, and shakes itself. Wonders the simple Parley, not having the remotest idea, you know, who this intruding garment is. Can it be?—yes of course, it is—Jenkins. Is not that a grand denouement? I say the recognition of Orestes by Electra, in the Greek play, so much bragged about by the Scholiasts and that lot, is not fit to hold a candle to it, to speak metaphorically. Is it not Jenkins that I see in Asia, defending himself stoutly, in the midst of an arid plain, against a mounted Arab? The child of the desert is urging his barb straight upon the brave fellow. Hard by may be seen a small fire of sticks, which our hungry but injudicious friend has kindled, with a view to cooking him a mutton chop, or some such dainty. My wishes are for thy welfare, Jenkins! My blessings on thy valor, incomparable man!

That is Leo, I think, that I see in such a heartrending condition on board, or rather on the boards of yonder wreck, while the omnipresent genius of Peter Parley is being tossed in wave-blankets some little way off. Yes, I know him; that is Leo. Parley, the chivalrous Parley, saves his life upon that occasion, and earns his lasting gratitude. I doubt whether Leo's character will bear investigation; he comes to great grief in the end. But I like him for his grateful services to his deliverer; and I like him for the mysterious air there is about him, and for his thrilling adventures. He wanders all over the world in a black mantle, nobody knows why; at least I do not, and have no desire to know. I suppose he found a secret satisfaction in roaming everywhere inside that cloak, and that is enough for me. There are three pictures in the whole work that I feel an intense interest in; and one has to do with Leo. It is when he escapes from that prison built into the lake; just as the prisoner of Chillon would have been overjoyed to escape, had he had the knack and vigor of our hero. The particular scene of the act which the delightful artist (what was his name? which are his pictures in the National Gallery?) has been good enough to delineate, is our Jack Shepherd holding on to his prison-window by the only remaining bar. Of course he is accompanied by the cloak, which the breezes of the night are swelling into a globular form. Some dozen feet below the cloak, sparkles in the moonlight the water, into which the fugitive proposes to drop, as soon as the artist has done with him. 'Tis a dismal prospect for thee, Leo. May the daughters of the lake bear up thy chin! I have a fond belief that he is not to be drowned at present. We are only in Asia now, and we shall want him many a time yet in the other two quarters.

Who is that sailor I see crouching on that bank? Above his head is a most truculent-looking tiger; below him is an infuriated crocodile. Do you talk to me of dramatic effect, Aristarchus, in those tomes you are always maudling over? I defy you and your tribe, sirrah, to produce me a situation so breath-stopping, so blood-chilling, so every way effective, as the opening scene of Asia. That is a good hit in the Winter's Tale, by a play-wright called Shakspeare, when "exit Antigonus, pursued by a bear." But can it be compared—I appeal to all unprejudiced infants—with that first chapter of our Second Expedition? Was ever a mortal in so dire an extremity? Scylla and Charybdis, to my mind, are a joke to it. But Parley rescues him, and without any of your Dei ex machina; though, if there ever was a knot that seemed to require a Deity's fingers for its unravelling, this surely was it. Of course, he rescues him; for it is not Parley's way, whatever other people may do, to hurl his valiant souls prematurely into Hades, and make them a prey to dogs and vultures.

I have said that there were three pictures in the Travels that especially entranced me, and I have mentioned one of them. Now for the other two. The first represents the famous Parley himself, the English Herodotus, playing with a spider in that unwholesome dungeon at Tripoli. Poor Parley! He had his little troubles now and then. There can be no doubt that he is in a tremendous scrape at this time. But his genial temper is unruffled; he makes friends at once with his tiny fellow-tenant, and I dare say is, even now, meditating some Tales of Insects for your and my benefit. He reminds me rather of Goldsmith, making observations for his History of the Earth and Animated Nature. There is the same innocence, the same benignity, the same childish look of innocence about him. I have no doubt the spider is become much attached to him. I lisp out my good wishes for thee, thou even-minded captive. I place my small palm upon thy unkempt head, and bless thee. We are not kept long in suspense about him. A night soon arrives when Leo's cloak insinuates itself into his cell, and a voice is heard in its folds saying, "Follow me," and Parley follows, even as St. Peter followed the angel, and they reach a wharf, and fire a pistol, and a boat pulls in to the shore, and they embark in it, and Parley is once more a free man, and addresses himself afresh to his travels.

My last wood-cut portrays this indefatigable wanderer a second time oppressed by the hard fates. He is in America this time, and by some misfortune (a great good fortune to me and to you, my young brethren and sisters of the nursery) has been made the prey of an Indian tribe. Me miserum! The savages have tied him to a tree. There are those hands that have guided that immortal pen through Europe, Asia, and Africa, corded stringently to a triste lignum in America! There he stands, denuded of his raiment, and with a writhing expression all over him; for the sportive innocents of the tribe are amusing their leisure hours by shooting their youthful arrows at him. Yes; they are making a target of poor P. P. O! my fellow-students, think what this great heart suffers for us! During all that agony he is gathering information for our benefit, is writing for us another incomparable chapter, is taking stock of yonder wigwams.

But the page is growing indistinct before me, and I hear voices saluting me from the nursery, not as a child, but as a veteran. Can it be? No; impossible! And Peter Parley and his brave company recede mournfully to their land, wherever it is, and my hair is a trifle grey, or that mirror lies.