Our hero is revived, after execution, by the galvanic battery of some medical students, and having, by his sudden display of life, frightened one of them to death, he immediately possesses himself of his person. As Mr. Arthur Megrim, he passes through a variety of adventures, and fancies himself a coffee-pot, a puppy, a chicken, a loaded cannon, a clock, a hamper of crockery ware, a joint stock, a Greek Demi-God and the Emperor of France. Dr. Feurteufel now arrives in the village with a cargo of curiosities for exhibition—among which are some mummies. In one of them our hero recognizes the identical long missed body of Sheppard Lee.
The sight of my body thus restored to me, and in the midst of my sorrow and affliction, inviting me back, as it were, to my proper home, threw me into an indescribable ferment. I stretched out my arms, I uttered a cry, and then rushing forward, to the astonishment of all present, I struck my foot against the glass case with a fury that shivered it to atoms—or at least the portion of it serving as a door, which, being dislodged by the violence of the blow, fell upon the floor and was dashed to pieces. The next instant, disregarding the cries of surprise and fear which the act occasioned, I seized upon the cold and rigid hand of the mummy, murmuring “Let me live again in my own body, and never—no! never more in another's!” Happiness of happiness! although, while I uttered the word, a boding fear was on my mind, lest the long period the body had remained inanimate, and more especially the mummifying process to which it had been subjected, might have rendered it unfit for further habitation, I had scarcely breathed the wish before I found myself in that very body, descending from the box which had so long been its prison, and stepping over the mortal frame of Mr. Arthur Megrim, now lying dead on the floor.
Indescribable was the terror produced among the spectators by this double catastrophe—the death of their townsman, and the revival of the mummy. The women fell down in fits, and the men took to their heels; and a little boy who was frightened into a paroxysm of devotion, dropped on his knees, and began fervently to exclaim
Now I lay me down to sleep,
I pray the Lord my soul to keep.
In short, the agitation was truly inexpressible, and fear distracted all. But on no countenance was this passion (mingled with a degree of amazement) more strikingly depicted than on that of the German Doctor, who, thus compelled to witness the object of a thousand cares, the greatest and most perfect result of his wonderful discovery, slipping off its pedestal and out of his hands, as by a stroke of enchantment, stared upon me with eyes, nose and mouth, speechless, rooted to the floor, and apparently converted into a mummy himself. As I stepped past him, however, hurrying to the door, with a vague idea that the sooner I reached it the better, his lips were unlocked, and his feelings found vent in a horrible exclamation—“Der tyfel!” which I believe means the devil—“Der tyfel! I have empalm him too well!”
Sheppard Lee now makes his way home into New Jersey (pursued however the whole way by the German Doctor, crying “Mein Gott! Ter Tyfel! and stop mine mummy!”) and is put to bed and kindly nursed after his disaster by his sister Prudence and her husband. It now appears (very ingeniously indeed) that, harassed by his pecuniary distress, our hero fell into a melancholy derangement, and upon cutting his foot with the mattock, as related, was confined to bed, where his wonderful transmigrations were merely the result of delirium. At least this is the turn given to the whole story by Prudence. Mr. Lee, however, although he partially believes her in the right, has still a shadow of doubt upon the subject, and has thought it better to make public his own version of the matter, with a view of letting every body decide for himself.
We must regard “Sheppard Lee,” upon the whole, as a very clever, and not altogether unoriginal, jeu d'esprit. Its incidents are well conceived, and related with force, brevity, and a species of directness which is invaluable in certain cases of narration—while in others it should be avoided. The language is exceedingly unaffected and (what we regard as high praise) exceedingly well adapted to the varying subjects. Some fault may be found with the conception of the metempsychosis which is the basis of the narrative. There are two general methods of telling stories such as this. One of these methods is that adopted by the author of Sheppard Lee. He conceives his hero endowed with some idiosyncracy beyond the common lot of human nature, and thus introduces him to a series of adventure which, under ordinary circumstances, could occur only to a plurality of persons. The chief source of interest in such narrative is, or should be, the contrasting of these varied events, in their influence upon a character unchanging—except as changed by the events themselves. This fruitful field of interest, however, is neglected in the novel before us, where the hero, very awkwardly, partially loses, and partially does not lose, his identity, at each transmigration. The sole object here in the various metempsychoses seem to be, merely the depicting of seven different conditions of existence, and the enforcement of the very doubtful moral that every person should remain contented with his own. But it is clear that both these points could have been more forcibly shown, without any reference to a confused and jarring system of transmigration, by the mere narrations of seven different individuals. All deviations, especially wide ones, from nature, should be justified to the author by some specific object—the object, in the present case, might have been found, as above-mentioned, in the opportunity afforded of depicting widely-different conditions of existence actuating one individual.
A second peculiarity of the species of novel to which Sheppard Lee belongs, and a peculiarity which is not rejected by the author, is the treating the whole narrative in a jocular manner throughout (inasmuch as to say “I know I am writing nonsense, but then you must excuse me for the very reason that I know it”) or the solution of the various absurdities by means of a dream, or something similar. The latter method is adopted in the present instance—and the idea is managed with unusual ingenuity. Still—having read through the whole book, and having been worried to death with incongruities (allowing such to exist) until the concluding page, it is certainly little indemnification for our sufferings to learn that, in truth, the whole matter was a dream, and that we were very wrong in being worried about it at all. The damage is done, and the apology does not remedy the grievance. For this and other reasons, we are led to prefer, in this kind of writing, the second general method to which we have alluded. It consists in a variety of points—principally in avoiding, as may easily be done, that directness of expression which we have noticed in Sheppard Lee, and thus leaving much to the imagination—in writing as if the author were firmly impressed with the truth, yet astonished at the immensity, of the wonders he relates, and for which, professedly, he neither claims nor anticipates credence—in minuteness of detail, especially upon points which have no immediate bearing upon the general story—this minuteness not being at variance with indirectness of expression—in short, by making use of the infinity of arts which give verisimilitude to a narration—and by leaving the result as a wonder not to be accounted for. It will be found that bizzarreries thus conducted, are usually far more effective than those otherwise managed. The attention of the author, who does not depend upon explaining away his incredibilities, is directed to giving them the character and the luminousness of truth, and thus are brought about, unwittingly, some of the most vivid creations of human intellect. The reader, too, readily perceives and falls in with the writer's humor, and suffers himself to be borne on thereby. On the other hand what difficulty, or inconvenience, or danger can there be in leaving us uninformed of the important facts that a certain hero did not actually discover the elixir vitæ, could not really make himself invisible, and was not either a ghost in good earnest, or a bonâ fide Wandering Jew?