"How calm comes on this holy day!
Morning unfolds the eastern sky,
And upward takes his lofty way
Triumphant to her throne on high.
Earth glorious wakes as o'er her breast
The morning flings her rosy ray,
And blushing from her dreamless rest
Unvails her to the gaze of day:
So still the scene each wakeful sound
Seems hallowed music breathing round.
"The night-winds to their mountain caves,
The morning mist to heaven's blue steep
And to their ocean depths the waves
Are gone, their holy rest to keep,
'Tis tranquil all, around, above,
The forests far which bound the scene
Are peaceful as their Maker's love,
Like hills of everlasting green.
And clouds like earthly barriers stand,
Or bulwarks of some viewless land."
Now those lines came to our recollection on one occasion many months since, simply by way of direct contrast, which is one of the curious, if not unexplainable operations of the human mind. We had been reading a long description, in a letter from a traveler, of life in the English coal-mines and of the "Sabbath privileges" of the thirty-five thousand men and boys who labor in the vast coal-fields of Durham and Northumberland, in England. There they are, and there they spend their long nights of labor, for day is not for them, hundreds of fathoms down in subterranean depths; never breathing pure air, but often stagnant and exhausted, when the stream of ventilation does not permeate the ever-lengthening gallery, and are almost always inhaling noxious gases. Not only is the atmospheric medium rarefied by a perpetual summer heat, without one glimpse of summer day, but every now and then occur terrific explosions of the "fire-damp," instantaneously thundering through a Vulcanian region, with more certain death to all within its range than there was ever dealt by artillery on the surface of the earth: or a gush of poisonous vapor in one moment extinguishes the candles and the lives of the workmen, and changes the scene of unceasing toil into a catacomb inconceivably more awful than any of the great receptacles of death that bear that name: or the ill-propped vault gives way, and bodies, never to be seen until the resurrection, are buried under the ruins of a pestilential cavern: often, too, life is sacrificed to carelessness or parsimony, and a few "indulgences" are perhaps given to the widow and orphans, to hush up the "casualty" within the neighborhood of the pit. Seldom does a visitor venture to plunge into the Hades-like profound. No attraction in the scenery of the miserable villages above ground brings a stranger to meddle with a population that never come to the surface except to eat or sleep. Yes, there is one exception. On that thrice happy day of rest, when even the burden of the beast is unloosed, the sober, humbly-clad colliers, as clean as they can make themselves, emerge from darkness into light, and hear from the lips of some brother "pitman," in their own familiar patois, the "glad tidings of salvation."
There are numerous pictures of Napoleon: Napoleon in scenes of triumph in peace, and of sublime grandeur in war. He has been depicted crossing the Alps; at Marengo, at Austerlitz, at the bridge of Lodi, at Jena, at Moscow, by the Nile; gazing at the everlasting pyramids; entering sacked cities, bivouacked
at night, and the like. But of all the pictures that we have ever seen of the Great Captain, one which has pleased us most, and which seems to represent him in the most gratifying light, is a picture which depicts him sitting upon a sofa in his library, a book in his hand, which he is perusing attentively; while his little son, reclining on one end of the sofa, lies asleep with his head resting on his father's lap—pillowed on those adipose limbs, that look as if they had been melted and run into the close-fitting breeches which they inhabit. This is a picture which, unlike the others, represents the great original as "one of us"—a man and a father, and not as a successful warrior or a triumphant victor.
Speaking nearly a century ago, an old English worthy laments the "good old times" when a book was bequeathed as an invaluable legacy, and if given to a religious house, was offered on the altar, and deemed a gift worthy of salvation; and when a prelate borrowed a Bible, his cathedral gave a bond for its return. Libraries then consisted of a few tracts, chained or kept in chests. The famous Library of Oxford, celebrated by Humphrey, Duke of Gloucester, contained only six hundred volumes! What would then have been thought of the "making of many books," of which "there is no end" in these our days?
There is a striking example of the style of "Sir Pertinax Mac Sycophant," in a character of Marston's "What you Will." Here is a slight specimen of his "booing and booing:"