Our hero himself was born, we are told, on the borders of the Thames, not far from Greenwich. When a well grown lad he accompanies his father to the continent. In Florence he falls in love with a Countess in her thirty-fifth year, who curls his hair and gives him sugar-plums. The issue of the adventure with the Countess is thus told.
"You have chosen them with much taste," said the Countess; "a beautiful flower is this!" she continued, selecting one from among the number, "its vermillion is in your cheeks, its blue in your eyes, and for this pretty compliment I deserve a —— you resist eh! My pretty, pretty lad, I will! There! Another, and you may go free. Still perverse? Oh, you stubborn boy! How can you refuse? One—two—three! I shall devour you with kisses!"
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We have printed the passage precisely as we find it in the book—notes of admiration—dashes—Italics—and all. Two rows of stars wind up the matter, and stand for the catastrophe—for we hear no more of the Countess. Now if any person over curious should demand why Morris Mattson, Esq. has mistaken notes of admiration for sense—dashes, kisses, stars and Italics for sentiment—the answer is very simple indeed. The author of Vivian Grey made the same mistake before him.
Indeed we have made up our minds to forward Ben D'Israeli a copy of Paul Ulric. He will read it, and if he do not expire upon the spot, it will do him more real service than the crutch. Never was there a more laughable burlesque of any man's manner. Had Mr. Mattson only intended it as a burlesque we would have called him a clever fellow. But unfortunately this is not the case. No jackdaw was ever more soberly serious in fancying herself a peacock, than our author in thinking himself D'Israeli the second.
"Every day," says Paul after the kissing scene, "filled me with a new spirit of romance. I had sailed upon the winding streams of Germany; I had walked beneath the bright skies of Italy; I had clambered the majestic mountains of Switzerland." His father, however, determines upon visiting the United States, and taking his family with him. His reasons for so doing should be recorded. "His republicanism" says Paul, "had long rendered him an object of aversion to the aristocracy. He had had the hardihood to compare the salary of the President with the civil list of the king—consequently he was threatened with an indictment for treason! My mother suggested the propriety of immediately quitting the country."
Mr. Mattson does not give us an account of the voyage. "I have no disposition," says his hero, "to describe a trip across the Atlantic—particularly as I am not in a sentimental mood—otherwise I might turn over the poets, and make up a long chapter of extracts from Moore, Byron, and Rogers of the Old World, or Percival, Bryant, and Halleck of the New." A range of stars accordingly, is introduced at this crisis of affairs, and we must understand them to express all the little matters which our author is too fastidious to detail. Having sufficiently admired the stars, we turn over the next leaf and "Land ho!" shouts one of the seamen on the fore-topsail yard.
Arrived in Philadelphia, Mr. Ulric (our hero's father) "is divided," so says Mr. Mattson, "between the charms of a city and country life." His family at this time, we are told, consisted of five persons; and Mr. U. Jr. takes this opportunity of formally introducing to us, his two sisters Eleanor and Rosaline. This introduction, however, is evidently to little purpose, for we hear no more, throughout the two volumes, of either the one young lady or the other. After much deliberation the family fix their residence in "Essex, a delightful country village in the interior of Pennsylvania;" and we beg our readers to bear in mind that the surprising adventures of Paul Ulric are, for the most part, perpetrated in the immediate vicinity of this village.
The young gentleman (notwithstanding his late love affair with the Countess) is now, very properly, sent to school—or rather a private tutor is engaged for him—one Lionel Wafer. A rapid proficiency in Latin, Greek, Hebrew, music, dancing, and fencing, is the result; "and with these accomplishments," says the young calf, "I believed myself fitted for the noise and bustle of the world." Accordingly, his father having given him a flogging one afternoon, he determines upon running away. In two days he "arrives in one of the Atlantic cities." Rambling about the streets he enters into conversation with a sharper, who succeeds in selling him, for forty dollars, a watch made of tinsel and put together with paste. This and subsequent adventures in the city form the best portion of the book—if best should be applied, in any way, to what is altogether abominable. Mr. Ulric goes to the theatre, and the play is Romeo and Juliet. The orchestra "breaks forth in full chorus" and our hero soliloquizes. We copy his soliloquy with the end of placing before our readers what we consider the finest passage in Mr. Mattson's novel. We wish to do that gentleman every possible act of justice; and when we write down the few words to which we allude, and when we say that they are not absolutely intolerable, we have done all, in the way of commendation, which lies in our power. We have not one other word of praise to throw away upon Paul Ulric.
"Oh Music!—the theme of bards from time immemorial—who can sing of thee as thou deservest? What wondrous miracles hast thou not accomplished? The war-drum beats—the clarion gives forth its piercing notes—and legions of armed men rush headlong to the fierce and devastating battle. Again, the drum is muffled, and its deep notes break heavily upon the air, while the dead warrior is borne along upon his bier, and thousands mingle their tears to his memory. The tender lute sounds upon the silvery waters, and the lover throws aside his oar, and imprints a kiss upon the lips of his beloved. The bugle rings in the mountain's recesses, and a thousand spears are uplifted for a fearful and desperate conflict. And now the organ peals, and, with its swelling notes, the soul leaps into the very presence of the Deity."