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We have been thinking, my friend, as you have doubtless observed, almost exclusively of intellectual and aesthetical immaturity, and of its products in composition, spoken or written. But combining with that immaturity, and going very much to affect the character of that Veal, there is moral immaturity, resulting in views, feelings, and conduct which may be described as Moral Veal. But, indeed, it is very difficult to distinguish between the different kinds of immaturity, and to say exactly what in the moods and doings of youth proceeds from each. It is safest to rest in the general proposition, that, even as the calf yields Veal, so does the immature human mind yield immature productions. It is a stage which you outgrow, and therefore a stage of comparative immaturity, in which you read a vast deal of poetry, and repeat much poetry to yourself when alone, working yourself up thereby to an enthusiastic excitement. And very like a calf you look, when some one suddenly enters the room in which you are wildly gesticulating or moodily laughing, and thinking yourself poetical, and, indeed, sublime. The person probably takes you for a fool; and the best, you can say for yourself is that you are not so great a fool as you seem to be. Vealy is the period of life in which you filled a great volume with the verses you loved, and in which you stored your memory, by frequent reading, with many thousands of lines. All that you outgrow. Fancy a man of fifty having his commonplace book of poetry! And it will be instructive to turn over the ancient volume, and to see how year by year the verses copied grew fewer, and finally ceased entirely. I do not say that all growth is progress: sometimes it is like that of the muscle, which once advanced into manly vigor and usefulness, but is now ossifying into rigidity. It is well to have fancy and feeling under command: it is not well to have feeling and fancy dead. That season of life is Vealy in which you are charmed by the melody of verse, quite apart from its meaning. And there is a season in which that is so. And it is curious to remark what verses they are that have charmed many men; for they are often verses in which no one else could have discerned that singular fascination. You may remember how Robert Burns has recorded that in youth he was enchanted by the melody of two lines of Addison's,—
"For though in dreadful whirls we hung,
High on the broken wave."
Sir Walter Scott felt the like fascination in youth (and he tells us it was not entirely gone even in age) in Mickle's stanza,—
"The dews of summer night did fall;
The moon, sweet regent of the sky,
Silvered the walls of Cumnor Hall,
And many an oak that grew thereby."
Not a remarkable verse, I think. However, it at least presents a pleasant picture. But I remember well the enchantment which, when twelve years old, I felt in a verse by Mrs. Hemans, which I can now see presents an excessively disagreeable picture. I saw it not then; and when I used to repeat that verse, I know it was without the slightest perception of its meaning. You know the beautiful poem called the "Battle of Morgarten." At least I remember it as beautiful; and I am not going to spoil my recollection by reading it now. Here is the verse:—
"Oh! the sun in heaven fierce havoc viewed,
When the Austrian turned to fly:
And the brave, in the trampling multitude,
Had a fearful death to die!"
As I write that verse, (at which the critical reader will smile,) I am aware that Veal has its hold of me yet. I see nothing of the miserable scene the poet describes; but I hear the waves murmuring on a distant beach, and I see the hills across the sea, the first sea I ever beheld; I see the school to which I went daily; I see the class-room, and the place where I used to sit; I see the faces and hear the voices of my old companions, some dead, one sleeping in the middle of the great Atlantic, many scattered over distant parts of the world, almost all far away. Yes, I feel that I have not quite cast off the witchery of the "Battle of Morgarten." Early associations can give to verse a charm and a hold upon one's heart which no literary excellence, however high, ever could. Look at the first hymns you learned to repeat, and which you used to say at your mother's knee; look at the psalms and hymns you remember hearing sung at church when you were a child: you know how impossible it is for you to estimate these upon their literary merits. They may be almost doggerel; but not Mr. Tennyson can touch you like them! The most effective eloquence is that which is mainly done by the mind to which it is addressed: it is that which touches chords which of themselves yield matchless music; it is that which wakens up trains of old remembrance, and which wafts around you the fragrance of the hawthorn that blossomed and withered many long years since. An English stranger would not think much of the hymns we sing in our Scotch churches: he could not know what many of them are to us. There is a magic about the words. I can discern, indeed, that some of them are mawkish in sentiment, faulty in rhyme, and, on the whole, what you would call extremely unfitted to be sung in public worship, if you were judging of them as new things: but a crowd of associations which are beautiful and touching gathers round the lines which have no great beauty or pathos in themselves.
You were in an extremely Vealy condition, when, having attained the age of fourteen, you sent some verses to the county newspaper, and with simple-hearted elation read them in the corner devoted to what was termed "Original Poetry." It is a pity you did not preserve the newspapers in which you first saw yourself in print, and experienced the peculiar sensation which accompanies that sight. No doubt your verses expressed the gloomiest views of life, and told of the bitter disappointments you had met in your long intercourse with mankind, and especially with womankind. And though you were in a flutter of anxiety and excitement to see whether or not your verses would be printed, your verses probably declared that you had used up life and seen through it,—that your heart was no longer to be stirred by aught on earth,—and that, in short, you cared nothing for anything. You could see nothing fine then in being good, cheerful, and happy; but you thought it a grand thing to be a gloomy man, of a very dark complexion, with blood on your conscience, upwards of six feet high, and accustomed to wander from land to land, like Childe Harold. You were extremely Vealy when you used to fancy that you were sure to be a very great man, and to think how proud your relations would some day be of you, and how you would come back and excite a great commotion at the place where you used to be a school-boy. And it is because the world has still left some impressionable spot in your hearts, my readers, that you still have so many fond associations with "the school-boy spot we ne'er forget, though we are there forgot." They were Vealy days, though pleasant to remember, my old school-companions, in which you used to go to the dancing-school, (it was in a gloomy theatre, seldom entered by actors,) in which you fell in love with several young ladies about eleven years old, and (being permitted occasionally to select your own partners) made frantic rushes to obtain the hand of one of the beauties of that small society. Those were the days in which you thought, that, when you grew up, it would be a very fine thing to be a pirate, bandit, or corsair, rather than a clergyman, barrister, or the like; even a cheerful outlaw like Robin Hood did not come up to your views; you would rather have been a man like Captain Kyd, stained with various crimes of extreme atrocity, which would entirely preclude the possibility of returning to respectable society, and given to moody laughter in solitary moments. Oh, what truly asinine developments the human being must go through, before arriving at the stage of common sense! You were very Vealy, too, when you used to think it a fine thing to astonish people by expressing awful sentiments,—such as that you thought Mahometans better than Christians, that you would like to be dissected after death, that you did not care what you got for dinner, that you liked learning your lessons better than going out to play, that you would rather read Euclid than "Ivanhoe," and the like. It may be remarked, that this peculiar Vealiness is not confined to youth; I have seen it appearing very strongly in men with gray hair. Another manifestation of Vealiness, which appears both in age and youth, is the entertaining a strong belief that kings, noblemen, and baronets are always in a condition of ecstatic happiness. I have known people pretty far advanced in life, who not only believed that monarchs must be perfectly happy, but that all who were permitted to continue in their presence would catch a considerable degree of the mysterious bliss which was their portion. I have heard a sane man, rather acute and clever in many things, seriously say, "If a man cannot be happy in the presence of his Sovereign, where can he be happy?"
And yet, absurd and foolish as is Moral Vealiness, there is something fine about it. Many of the old and dear associations most cherished in human hearts are of the nature of Veal. It is sad to think that most of the romance of life is unquestionably so. All spooniness, all the preposterous idolization of some one who is just like anybody else, all love, (in the narrow sense in which the word is understood by novel-readers,) you feel, when you look back, are Veal. The young lad and the young girl, whom at a picnic party you have discerned stealing off under frivolous pretexts from the main body of guests, and sitting on the grass by the river-side, enraptured in the prosecution of a conversation which is intellectually of the emptiest, and fancying that they two make all the world, and investing that spot with remembrances which will continue till they are gray, are (it must in sober sadness be admitted) of the nature of calves. For it is beyond doubt that they are at a stage which they will outgrow, and on which they may possibly look back with something of shame. All these things, beautiful as they are, are no more than Veal. Yet they are fitting and excellent in their time. No, let us not call them Veal; they are rather like Lamb, which is excellent, though immature. No doubt, youth is immaturity; and as you outgrow it, you are growing better and wiser: still youth is a fine thing; and most people would be young again, if they could. How cheerful and light-hearted is immaturity! How cheerful and lively are the little children even of silent and gloomy men! It is sad, and it is unnatural, when they are not so. I remember yet, when I was at school, with what interest and wonder I used to look at two or three boys, about twelve or thirteen years old, who were always dull, sullen, and unhappy-looking. In those days, as a general rule, you are never sorrowful without knowing the reason why. You are never conscious of the dull atmosphere, of the gloomy spirits, of after-time. The youthful machine, bodily and mental, plays smoothly; the young being is cheery. Even a kitten is very different from a grave old cat, and a young colt from a horse sobered by the cares and toils of years. And you picture fine things to yourself in your youthful dreams. I remember a beautiful dwelling I used often to see, as if from the brow of a great hill. I see the rich valley below, with magnificent woods and glades, and a broad river reflecting the sunset; and in the midst of the valley, the vast Saracenic pile, with gilded minarets blazing in the golden light. I have since then seen many splendid habitations, but none in the least equal to that. I cannot even yet discard the idea that somewhere in this world there stands that noble palace, and that some day I shall find it out. You remember also the intense delight with which you read the books that charmed you then: how you carried off the poem or the tale to some solitary place,—how you sat up far into the night to read it,—how heartily you believed in all the story, and sympathized with the people it told of. I wish I could feel now the veneration for the man who has written a book which I used once to feel. Oh that one could read the old volumes with the old feeling! Perhaps you have some of them yet, and you remember the peculiar expression of the type in which they were printed: the pages look at you with the face of an old friend. If you were then of an observant nature, you will understand how much of the effect of any composition upon the human mind depends upon the printing, upon the placing of the points, even upon the position of the sentences on the page. A grand, high-flown, and sentimental climax ought always to conclude at the bottom of a page. It will look ridiculous, if it ends four or five lines down from the top of the next page. Somehow there is a feeling as of the difference between the night before and the next morning. It is as though the crushed ball-dress and the dishevelled locks of the close of the evening reappeared, the same, before breakfast. Let us have homely sense at the top of the page, pathos at the foot of it. What a force in the bad type of the shabby little "Childe Harold" you used to read so often! You turn it over in a grand illustrated edition, and it seems like another poem. Let it here be said, that occasionally you look with something like indignation on the volume which enchained you in your boyish days. For now you have burst the chain. And you have somewhat of the feeling of the prisoner towards the jailer who held him in unjust bondage. What right had that bombastic rubbish to touch and thrill you as it used to do? Well, remember that it suits successive generations at their enthusiastic stage. There are poets whose great admirers are for the most part under twenty years old; but probably almost every clever young person regards them at some period in his life as among the noblest of mortals. And it is no ignoble ambition to win the ardent appreciation of even immature tastes and hearts. Its brief endurance is compensated by its intensity. You sit by the fireside and read your leisurely "Times," and you feel a tranquil enjoyment. You like it better than the "Sorrows of Werter," but you do not like it a twentieth part as much as you once liked the "Sorrows of Werter." You would be interested in meeting the man who wrote that brilliant and slashing leader; but you would not regard him with speechless awe, as something more than human. Yet, remembering all the weaknesses out of which men grow, and on which they look back with a smile or sigh, who does not feel that there is a charm which will not depart about early youth? Longfellow knew that he would reach the hearts of most men, when he wrote such a verse as this:—