But what of Plutarch's own orthodoxy? It is just what we might have expected from one who was too intelligent to believe the ancient myths and too much of an enthusiast calmly to test his religious heritage. Socrates was not remiss in offering up prayers and sacrifices; no Athenian goddess could rationally complain of him; he believed not only in a Daimonion, or Deity, but (if the Apology be genuine) also in a Son of God; yet he was an atheist. Plutarch's piety is no doubt more enthusiastic in a ratio to his lack of the Socratian keenness of intellect, but strictly considered he has no greater claims to the odor of orthodoxy. With him also the different gods resolve themselves into demons, and it is only in his heart that he knows the one true God—a tenet which has nothing in common with the cheerful anthropomorphism of the Hellenic national creed.
In brief, we discover in Plutarch's character the same inconsistencies which are peculiar to all men of his kind. He stands between two eras. He flies from an aged civilization, which holds him in the iron bonds of custom, to new views of a world which, even imperfect as they are, involuntarily master his reason, though they fail to satisfy his imagination and feelings. From the prose of every-day life he turns to the memory of the glories of his nation, and becomes their chronicler. Repulsed by the unbelief and degeneracy of his contemporaries, he seeks consolation in the poetical fables of the ancient faith, and becomes thus the panegyrist of antiquity. He is, however, unable to reproduce this antiquity in a pure state. He cannot entirely divest himself of all sympathy with those among whom he lives, and remains more than he will admit the child of his own day. Hence what he transmits to us is veiled in that solemn but indistinct semi-obscurity which we meet not only in the ancient temples, but in the heads of the romancists themselves.
THE MIRACLE OF ST. FRANCIS.
FROM THE SPANISH OF FERNAN CABALLERO.
We are not telling a romance, but relating an occurrence exactly as its details proceeded from the mouth of the responsible narrator, who is an ox-driver. He who takes offence at the source, the stream, and the receptacle, that is to say, at the ox-driver, his story, and the recipient who is going to set it down in black and white, had better pass this by; for the thought that we were going to be read with prejudice would change the nimble pen we hold in our hand into an immovable petrifaction.
In a town of Andalusia that lifts its white walls under the sky that God created solely to canopy Spain, from the heights of Despeñaperros to the city that Guzman el Bueno defended, upon an elevation at the end of a long, solitary street, stands a convent, abandoned, as they all are, thanks to the progress of ruin. This convent is now, more properly than ever before, the last house of the place. Its massive portal faces the town, and its grounds reach back into the country. In these grounds there were formerly many palm-trees—the old people remember them—but only two remain, united like brothers. In this convent there were formerly many religious; now but one remains. The palms lean upon each other; the religious is supported by the charity of the faithful. He comes every Tuesday to say mass in the magnificent deserted church, which no longer possesses a bell to call worshippers.
No words can express the sentiments that are awakened by the sight of the venerable man, in this vast temple, offering the august sacrifice in silence and solitude. One cannot help fancying that the sacred precinct is filled with celestial spirits, in the midst of whom the celebrant only is visible. The church is of an immense height, and so peacefully cheerful that it would seem to have been built solely to resound to the sublime hymn of the Te Deum, and the no less sublime canticle of the Gloria.
The high altar, exquisitely carved in the most elaborate and lavish style of adornment, astonishes the sight with the multitude of flowers, fruits, garlands, and gilded heads of angels it displays with a profusion and lustre which prove that in its execution neither time nor labor were taken into account. What use is made of gold in our day? Or of time? Are they better employed? He who can show us that they are, will console us for the suppression of the convents. Until it is proved, we shall continue to mourn that noble choir, those sumptuous chapels, that splendid tabernacle, cold and empty as the incredulous heart.