“What's in a name? That which we call a rose, by any other name would smell as sweet.”—Shakspeare.
Shakspeare was mistaken. There is a great deal—there is almost every thing in names. Their influence is felt at all times, and under all circumstances. In war and peace—in morals, literature and religion—in the world of fashion—and above all, in politics, the despotism of names is all powerful, universal and irresistible. Nay, Shakspeare himself is authority against Shakspeare. Does he not make the gentle Juliet say to her lover, “'Tis but thy name that is my enemy”—that fatal name which separated two devoted hearts—which planted thick sorrows in their path, and finally shrouded them in one common sepulchre! Does he not put into the mouth of one of Antony's captains, “I'll humbly signify what in his name, that magical word of war, we have effected.” And again, speaking of the great Pompey, “his name strikes more than could his war resisted.” Names indeed govern the world; and it is not among the least ingenious of all human contrivances that the world should be so governed. I do not wish to speak of the moral guilt and future accountability of those who combine to delude the ignorant—who chain mens' minds to some false idol, or enlist them in some scheme of abomination, whose iniquities are artfully veiled under the names of virtue, patriotism, and the like. If the denunciations of the eloquent Hebrew prophet against those who call evil good, and good evil—who put darkness for light, and light for darkness—who call bitter sweet, and sweet bitter—are not sufficient to alarm such delinquents, it would avail nothing for uninspired tongues and pens to attempt their conviction and reform.
In literature, how remarkable and how injurious is the influence of names, apart from any actual or intrinsic merit. How common is it to estimate an opinion or sentiment, not by the wisdom of the one or the purity of the other, but by the authority of him who pronounces it. A false, immoral, or stupid passage in a book, which bears on its title-page the name of a popular writer, is often received with favor, when precisely the same offence in an unknown author would be almost certain to bring down upon him the lash of criticism. Take for example one of England's most renowned bards—one, not more known even in his own country than on this side of the Atlantic—whose “Melodies” are lisped by our amorous youths and sentimental maidens, and whose name has become a “household word”—a passport to every festival where music, love and wine are the sources of enjoyment. Among his “National Airs” so called, Mr. Moore has written the following lines, which have no doubt been admired by every pretty miss in the country, as the very perfection of poetry, sentiment, and even good sense.
Flow on, thou shining river,
But, ere thou reach the sea,
Seek Ella's bower, and give her
The wreaths I fling o'er thee.
And tell her thus, if she'll be mine,
The current of our lives shall be,
With joys along their course to shine,
Like those sweet flowers on thee.
But if, in wandering thither,
Thou find'st she mocks my prayer,
Then leave those wreaths to wither
Upon the cold bank there.
And tell her thus, when youth is o'er,
Her lone and loveless charms shall be
Thrown by upon life's weedy shore,
Like those sweet flowers from thee.
Now the plain English prose of all this, when divested of the magic of Mr. Moore's numbers, is something like the following. “Take, gentle river, these pretty flowers which I fling upon thy surface, and before thou reachest the great ocean, be pleased to flow into the bower of my fair Ella; and if it be not miracle enough, good river, for thee to rush into a lady's bower, without either drowning her or wetting her garments, be pleased to perform another wonderful feat and speak to her—tell her if she will only marry me, our joys whilst we are floating down life's current, shall resemble these wreaths which are borne upon thy bosom. But mark me, river!—if this insensible girl is resolved that she will not accept a good offer, why then roar like another cataract, toss these worthless wreaths on the shore to wither and rot, and tell this cruel Ella that she will live and die an ugly, neglected old maid.”
Now, whilst it is fully conceded that the figure of personification is perfectly legitimate, especially in poetry; yet there are certain degrees of it which should never be attempted, unless connected with subjects of great dignity, or which inspire powerful emotion—and it must not be forgotten that the excellence of poetry does not consist so much in the form or arrangement of its words as in the value and beauty of the thoughts and sentiments which it expresses. A gentle zephyr stealing into a lady's bower and lulling her into repose, or whispering in her ear the sighs of an absent lover, is natural and agreeable enough; but a river, or even rivulet, turning from its course and performing the same office, is a conception which would be very ridiculous in any other than a popular poet. It would be tedious to point out other examples of similar extravagance in Moore, and one only shall suffice—a song which has occasioned abundant fluttering in female hearts, and which for impious hyperbole was never excelled:
Why does azure deck the sky,
But to be like thine eyes of blue?
Why is red the rose's dye?
Because it is thy blush's hue, &c. &c.
In which said song the poet very calmly shows that all that is bright, and fair, and sweet in creation, was made purposely to resemble some young lady of his acquaintance. And yet all these trifles and absurdities, to say nothing of the frequent obscene allusions of the same author, have acquired an extensive popularity under the influence of a popular name.
It would be no difficult task to extend these remarks so as to embrace a long list of distinguished writers, both in prose and verse, who have perpetrated various offences against sound morals as well as good sense, but with whom the lustre of reputation, like the mantle of charity, has not only shielded them from censure, but imparted a kind of dignity and splendor to their failings. Enough perhaps has been said to illustrate the influence of names in the empire of literature.
How is it in the empire of the church? But here I tread upon sacred ground, and must use both brevity and caution. That truth exists in religious doctrine as well as in other things, will not be denied, except by unthinking scepticism or perverted reason. The difficulty has always been in finding her out—in distinguishing her sacred vestments and celestial carriage from the skilful imitations of imposture. The diamond may be known, by the tests of experiment, from the gems which mimic its lustre; but there is no moral chemistry which can separate truth from error, and resolve each into its proper elements. In fact, it seems to be one of the fallacies which have obtained currency among mankind, that truth and error are natural antagonists. So far from it, they are scarcely ever to be found in a state of disunion or repulsion. Error winds itself around the stately column of truth, as the creeper folds in its poisonous embrace the sturdy oak of the forest. Not that they are not in themselves essentially different—but so are the gasses which are found in combination in the water we drink, or in the atmosphere we breathe. What tremendous influence has been wielded by the simple word church, from the very first ages of christianity down to the present time! That name alone has covered a multitude of sins, and sanctified innumerable crimes. What torrents of blood have been shed under the crimson banner of orthodoxy, and how many meek and conscientious heretics have fled from the tender embraces of that holy and infallible mother, who has assumed the supreme government of the soul in this world, as well as the direction of its immortal destiny hereafter. But I only dwell upon this subject in order to show how much we are deceived by empty, unmeaning names. That there is such a treasure as “pure and undefiled religion,” none but the hardened infidel or remorseless libertine will deny. That it is always necessarily found under the priestly robe, or connected with the “sober brow,” neither candor nor charity itself will contend for—and yet, some how or other, the world has identified the sacred gift with a certain sanctimonious exterior, and with certain peculiar ceremonials, and there are few, perhaps, who reflect that it may be more frequently traced in the abodes of humility and wretchedness, in the sighs of a contrite heart, and in the tears of penitential guilt.