Coming from a country where everything seems shifting like a quicksand, where men shed their homes as snakes their skins, where you may meet a three-story house, or even a church, on the highway, bitten by the universal gad-fly of bettering its position, where we have known a tree to be cut down merely because "it had got to be so old," the sense of permanence, unchangeableness, and repose which Italy gives us is delightful. The oft-repeated non è più come era prima may be true enough of Rome politically, but it is not true of it in most other respects. To be sure, gas and railroads have got in at last; but one may still read by a lucerna and travel by vettura, if he like, using Alberti as a guide-book, and putting up at the Bearas a certain keen-eyed Gascon did three centuries ago.
Mr. Story has taken Italy with due deliberation, having lived there now some fifteen years. He has thus been enabled to let things come to him, instead of running after them; and his sensations have had time to ripen slowly toward the true moment of projection, without being shaken and hurried, or huddled one atop of the other. We doubt if the picturesque can be profitably done by the job, for in aesthetics the proverb that half a loaf is better than no bread does not hold. An Italian festa, we suspect, if you make it a matter of business, will turn its business-side to you, and you will go away without having been admitted to the delightful confidence of its innocent gayety and unpremeditated charm. Tourists must often have remarked, in making an excursion to a ruin or bit of picturesque scenery, that what chance threw in to boot was by far the best part of their bargain, for the most beautiful experiences come not by observation. The crumbling temple lured them forth, but it was only to see a sunset or to hear a nightingale.
What between winters in Rome and summers in one or the other mountain-town, with intervals of absence now at Florence and now at Siena, Mr. Story has had such opportunities as fall to the lot of very few foreigners. For, in studying the ways of a people, it is as with wild animals,—you must be long enough among them to get them wonted, so that you may catch them at unawares. His book is on the whole a delightful one, and would have been so without qualification, had he confined it to a relation of his own experiences. Where he narrates or describes, he is always lively and interesting; where he disserts or grows learned, he gives up his vantage-ground, and must consent to be dull like everybody else. Anybody can be learned, anybody except Dr. Holmes dull; but not everybody can be a poet and artist. The chapter on the Evil Eye is a marvel of misplaced erudition. The author has hunted all antiquity like a policeman, and arrested high and low on the least suspicion of a squint. Horace and Jodocus Damhouder, (to whose harmless Dam our impatience tempts us to add an n,) Tibullus and Johannes Wouwerus, St. Augustine and Turnebus, with a motley mob of Jews, Christians, Greeks, Romans, Arabians, and Lord-knows-whats, are all thrust into the dock cheek by jowl. For ourselves, we would have taken Mr. Story's word for it, without the attestation of these long-winded old monsters, who wrote about charms and enchantments in a style as potent in disenchantment as holy-water, and who bored their own generation too thoroughly to have any claim upon the button of ours. Every age is sure of its own fleas without poking over the rag-bag of the past; and of all things, a superstition has the least need of proving the antiquity of its pedigree, since its very etymology is better than the certificate of all the Heralds' Colleges put together. We are surprised that so clever and lively a man as Mr. Story, should not have seen that in such matters one live fact is better than fifty dead ones, and that even in history it is not so much the facts as what the historian has contrived to see in them that gives life to his work.
But learning makes a small part of Mr. Story's book; only, as the concluding chapter happens to bristle with quotations and references, thickly as the nave of St. Peter's on a festival with bayonets, this is the last taste left in the mouth. The really valuable parts of the book (and they make much the larger part of it) are those in which the author relates his own experiences. After so many volumes stuffed like a chiffonnier's basket with the shreds of ancient Rome, it is really refreshing to come upon a book which makes us feel that Italy is still inhabited by very human beings, and contains something more than the tombs of the Scipios, and inscriptions interesting only to people who think a dead Roman donkey better than a living Italian lion. The chapters on Street-Music in Rome, on Games, on Gaffes and Theatres, on Villeggiatura and the Vintage, on the Ghetto, the Markets, and Summer in the City, are all of them delightful and new. They really teach us something, while the learning, we are sorry to say, does nothing of the kind. Several of these chapters our readers will remember enjoying in the "Atlantic." They are good for those who have been in Italy, for those who are going thither, and, above all, for those who must stay at home. They contain the most cheerful and picturesque descriptions of Italian life and scenery we have ever met with. And we cannot be too thankful to Mr. Story that he leaves a theme so poetical in itself to be poetical, without any officious help from himself, and that, though an artist, he does not enter on any of those disquisitions which would have made Sir Joshua shift his trumpet. On the whole, we are inclined to forgive him the polyglot lumber of his chapter on the Evil Eye in consideration of the scenery and galleries which he has spared us. We think we see symptoms that the Nature-mania which began with Rousseau is on the decline, and that men and their ways are getting into fashion again as worth study. The good time is perhaps coming when some gallant fellow will out with it that he hates mountains, and will be greeted with a shout of delight from his emancipated brethren.
Mr. Story is a person of very remarkable endowments. An accomplished musician and poet, (we ought to have said before how remarkably good the translations in these volumes are,) a skilful draughtsman, the author of reputable law-books, he would seem to have been in danger of verifying the old saw, had he not proved himself so eminently a master in sculpture. We think the country is deeply indebted to Mr. Story for having won so complete a triumph at the London World's Fair with his Cleopatra and Libyan Sibyl, at a time when English statesmen and newspapers were assuring the world that America was relapsing into barbarism. Those statues, if we may trust the unvarying witness of judicious persons, are conceived and executed in a style altogether above the stone-cutting level of the day, and give proof of real imaginative power. Mr. Story's genius and culture, with the fresh spur of so marked a success, will, we are sure, produce other works to his own honor and that of his country. For we feel that we have a country still,—feel it the more deeply for our suffering, and our hope deferred,—and out of the darkness of to-day we have still faith to see a fairer America rising, a higher ideal of freedom, to warm the soul of the artist and nerve the arm of the soldier.
Hand-Book of Universal Literature. From the Latest and Best Authorities. By MRS. ANNE C.L. BOTTA. A New Edition. 12mo. Boston: Ticknor and Fields. 1862.
A thing once done assumes a magical simplicity. No matter what may have been the previous difficulty, or how much work may be involved in the result, yet, when the work is done, the problem solved, all the difficulty and labor promptly disappear from view, as if in dread of being led captive in triumphal procession after the Caesar who has mastered them. Thus, it does not seem at all strange that we should have a book professing to guide us through all the intricacies of general literature; indeed, now that the work is put into our hands, it seems so easy of accomplishment that the only marvel would appear to be that we have had none hitherto. Yet the conditions necessary to such a work are of the rarest to be found; not so rare, indeed, when each is considered separately, but rarely to be met with in combination.
In order even to attempt a work of this nature, its utility must first be fully appreciated; but, unfortunately, those whose need is the greatest, as being immediately present, would on that very account be incompetent to supply the need, while those who by dint of patient study have brought themselves up to the point of competency for the task no longer realize the want,—just as men who have become rich by industry forget the necessities of poverty, which were the earliest spurs upon their energy.
The great majority of readers, therefore, have good reason to thank Mrs. Botta, that, after having met a great educational need in her own experience, she has benevolently set about supplying the same need in the experience of others. The same motive which has led her to do this has also made her work, from the peculiar manner in which it is conducted, an important contribution toward a more perfect educational system than generally prevails; though we would not do her the injustice to imply that what she has done claims merit on this account alone or chiefly. It does claim merit in this way, and of a very high order, because it avoids a prominent fault that vitiates most works intended to promote the general diffusion of knowledge. The fault referred to is the same which De Quincey, in a note to his "Political Economy," has called the greatest vice of teaching,—namely, that the teacher does not readily enter into, as an inheritance, the difficulties of the pupil. Merely to have corrected this fault, to have met the popular mind half-way and upon its own ground, was to furnish an important condition hitherto lacking in the field chosen.
The extent of the work—embracing, as it does, the whole field of literature—imposes other and more difficult conditions. Originality, in any primary sense, was of course an impossibility; a single lifetime would not suffice even for the most cursory examination of original materials on so grand a scale. It was necessary, therefore, to select and make use of the best authorities, critical and historical, those whose researches have been most valuable and comprehensive, in each particular department of the field. These authorities were to be found, not in a single language, but in several; and even after they were found, and the various results of their investigations put at their just estimate, the important work of selection had then only just commenced. Here were the master-critics and antiquaries,—the Müllers, Champollions, and all. Some use must be made of each; but the compass, no less than the design, of the work demanded the exclusion of all secondary and unimportant matter, yet in such a manner that the ideal unity should not be at all disturbed. Here was required, not merely tact and discrimination, but a high degree of philosophical analysis; and since this was valueless except as it was followed by comprehensive synthesis, the power of artistic combination was no less requisite to the complete result.