Chapter II: Front Matter (2)

The ambassador now found it necessary to look for support against the Prussian propensities of the minister; and he had recourse to Potemkin and the Orloffs, as the antagonists of Panin. Potemkin was one of the most extraordinary men whom the especial circumstances of the court and country raised into public distinction. He had been but a cornet of cavalry on the memorable night when Catharine, uncertain whether she was mounting a throne or a scaffold, put herself at the head of the guards, and deposed her husband. As she rode along, observing that she had not a military plume in her hat, she turned to ask for one; the cornet instantly plucked out his own, and presented it to her--as Raleigh threw his cloak on the ground for Elizabeth to walk over. These gallant acts are never lost upon a woman of the superior order of mind. The favour of the throne followed alike in both instances; and Potemkin soon became the guide of the Russian councils. It was the custom of the French memoir writers--a race who always aimed at pungency of narrative in preference to truth, and who, for their generation, performed the part of general libellers--to represent Potemkin as a savage, devoted to drinking, and whose influence was solely the result of his grossness. But the conferences which he held with this British ambassador, and the extracts of his opinions given in these letters, show him to have been a man of remarkable clearness of comprehension, dexterity of resource, and readiness of knowledge. It is obvious that nothing but the exertion of distinguished skill in the ways of courts, could have accomplished the objects which no other man of his time attained with such complete success. In a court of contention and favouritism, he retained supreme influence to the last; released from the labours of office, he possessed more than the power of a minister--and nominally a subject, he was scarcely less than emperor. Boundless wealth, the highest rank, and every honour which the empire could lavish on its first noble, were the prizes of Potemkin.

People at home are in the habit of looking upon the diplomatic body abroad as a collection of very subtle and sagacious personages--a collection of sages. A nearer view sometimes strips the idea down to humble dimensions. Sir James Harris (he had now obtained the Order of the Bath, which he seems to have deserved by his diligence) thus sketches the new ambassadorial body--a general change having just taken place. "The Imperial, Danish, French, Prussian, and Spanish ministers are all altered, and one from Naples is added to our corps." The Neapolitan he describes as "utterly unfit for business;" Count Cobenzel, the Austrian ambassador, "as a man of excellent parts and great activity;" Goertz, the Prussian, "a very able and artful man." So far as this point, the honour of the corps is sustained; but then come the ciphers. Monsieur Verac, the cunning French envoy, is "more amiable in company than formidable in cabinet." The Swede and the Saxon ministers, "most perfectly insignificant and overpowered with debts." The Dutch resident, Swartz, "a man neither of birth nor character, totally improper for the post he fills. The Swiss resident, having no other business than the lawsuits of his countrymen," &c.

Of the culpable habits of the empress we shall say no more. The respect which this country feels for the character of Emperor Nicholas, and the total contrast which that character presents to the especial failings of his ancestor, justly prevent our wandering into those observations. But we have a curious instance of the skill and adroitness of this memorable woman, in an interview in which she was wholly left to herself, and yet succeeded perfectly in what is presumed to be the _chef-d'oeuvre_ of diplomacy--the art of disguising her intentions. The British ambassador, after a long period of comparative failure, had succeeded in obtaining an audience through Potemkin--who always pretended to be powerless, yet who could do every thing which he desired. The appointment to meet the ambassador was made, and Potemkin prefaced his service by the following singular sketch of his sovereign. "Do not expect that it is in the power of any living being to prevent her from concluding her favourite plan of armed neutrality. Content yourself with destroying the effects--the resolution is immovable. As it was conceived by _mistake_ and perfected by _vanity_, it is maintained by _pride_ and _obstinacy_. You well know the hold of those passions on a _female mind_; and if you attempt to slacken, you will only tighten the knot."

One of the imperial valets then came to lead the ambassador to the interview; which he gives in French, and which he commenced in a strain which we hope will never be imitated again by any cabinet of England.

"I have come to represent to your imperial majesty the _critical situation_ in which our affairs are at present. You know our reliance on you. We venture to _flatter_ ourselves that you will _avert the storm_, and reassure us as to our fears of having lost your friendship." If the expressions were not in print, we should scarcely have thought it possible that such crouching language could have been used. The ambassador, of course, is but the mouthpiece of his government. The blame must fall, not on the intelligent servant, but on the feeble masters. Who can wonder if the daring and haughty spirit of Catharine scoffed at the remonstrances, and despised the interests of a country, whose cabinet adopted language so unfitting the dignity and real power of the mighty British empire? The expressions of this dialogue would have been humiliating to the smallest of the "square-league" sovereignties of the Continent. The answer of the empress was precisely what she might have addressed to the envoy of Poland or the Crimea. "Sir, you are aware of my sentiments relative to your nation; they are equally sincere and invariable. But I have found so little return on your part, that I feel I ought not to consider you any longer among my friends."

To this haughty tone, what is the reply of the ambassador?

"It is in the hope that those sentiments were not _entirely effaced_, that I wished to address myself directly to your Majesty. But it was not _without fear_ that I approached you. Appearances only too strongly prove the impressions which you have received from our enemies." And so goes on the dialogue, like a scene in a play, see-sawing through six intolerable pages. How differently would Pitt's cabinet have acted, and how differently did it act! When the Russian councils menaced the seizure of even a paltry Turkish fortress on the Black Sea, the great minister ordered a fleet to be ready as _his_ negotiators; and though the factiousness of Opposition at the time prevented this manly demonstration of policy and justice, the evidence was given, in the reign of Paul, when a British fleet crushed the armed neutrality--that trick of French mountebanks imposing on the ambition of the north--and restored Russia to so full a sense of the power and the honour of England, that she sent her fleet into her safe keeping at the approach of Napoleon's invasion, and has been her fast and honourable ally ever since. "Cromwell's ambassador" is the true one for England at all times. A stout British squadron sent to the Baltic in 1780 would have wonderfully solved the difficulties of the British negotiation, have completely cleared the empress's conscience, have enlightened Count Panin's brains, and have convinced even the wily Potemkin himself that the art of political delusion was too dangerous a game to be tried against England.

But the true value of history is to instruct the future. We are now in nearly the same relative position to France in which we were sixty-four years ago relative to Russia. We are exhibiting the same dilatoriness which we exhibited then, and we shall be fortunate if we escape the same consequences. A strong fleet sent to the Mediterranean would do more to calm the elements of strife effectually, than all the remonstrances of all our negotiators. Or, if the French were foolish enough to provoke a battle, a repetition of the 1st of June or the 21st of October would be the tranquillizer of a restless people, who can never suffer Europe to rest in peace but when they themselves have been taught the miseries of war.

In justice to the cabinet of 1780, it must be acknowledged that the personal tone of the ambassador was criticised; and we thus find him making his diplomatic apology to Lord Stormont, then secretary for foreign affairs:--

"I have often been conscious of the remark your lordship makes, and have myself felt that I was not acting up to the character of an English minister, in bestowing such _fulsome incense_ on the empress. But here, too, I was drawn from my system and principles by the conduct of my adversaries. They ever addressed her as a being of a superior nature; and as she goes near to think herself infallible, she expects to be approached with all the reverence due to a divinity." No excuse could be more unsatisfactory. If other men chose to bow down, there would have only been the more manliness, and the more effect too, in refusing to follow such an example.

In 1783, the ambassador obtained permission to return to England. His correspondence at the period immediately previous, is remarkably interesting; and it is striking to see that the successive secretaries for the foreign department, under all changes of administration, formed the same view of the substantial policy of England. When, in 1783, Fox assumed the foreign seals, he thus writes to Harris, in the course of a long letter on the foreign policy of the cabinet:--"You will readily believe me, that my system of foreign politics was too deeply rooted to make it likely that I should have changed it. Alliances with the northern powers _ever have been, and ever will be, the system of every enlightened Englishman_."

In the year following, Sir James Harris was appointed by Pitt to the Dutch embassy, to which he had been previously nominated by Fox, his friend and political leader. The appointment by the new cabinet was thus the strongest testimony to his talents. His letters from the Hague contain a very intelligent statement of the parties and principles which agitated Holland in 1787. The object was the establishment of a democracy and the extinction of the Stadtholderate, or at least its suppression as a hereditary dignity. The court of France was busy in this democratic intrigue; and its partial success unquestionably added new combustibles to the pile on which that unfortunate monarchy, in the hour of infatuation, was preparing to throw itself. The ambassador's language on this occasion is characteristic and memorable. In one of his despatches to the Marquis of Carmarthen, then secretary of state, he thus says:--

"The infamy and profligacy of the French make me long to change my profession, and to fight them with a sharper instrument than a pen. It must be with those (not our pens, but our swords) that we must carry the mediation through, if we mean it should be attended with any success. There are strong reports of a popular insurrection in France:"--"_Si_ Dieu voulait les punir par ou ils ont peche, comme j'admirerais la justice divine!" The remark was natural; it was almost prophetic; and it was on the eve of realization. In 1789, but two years after, the Revolution began.

These volumes contain a great deal of extremely curious material, especially important to every man who may in future be employed in the foreign service of our diplomacy. They supply a model of the manner in which those offices may be most effectively sustained. We have already expressed dissatisfaction at the submissive style used in addressing the Russian empress. But in other instances, the language of the ambassador seems to have been prompt and plain. It is remarkable that England has, at the present time, arrived at a condition of European affairs bearing no slight resemblance to that of the period between 1783 and 1789. It is true that there will be no second French Revolution; one catastrophe of that terrible extent is enough for the world. But there are strong symptoms of those hostilities which the Bourbons were endeavouring to kindle against this country, for at least a dozen years before the Revolution which crushed their monarchy.

Without any provocation on the part of England, any actual claim, or any desire whatever of war, this country finds itself suddenly made an object of perpetual insult on the part of all the active mind of France. The cry from every organ of public opinion seems to be, war with England, whether with or without cause. A violent clamour is raised for our national ruin; the resources of France are blazoned in all quarters; and the only contemplation popular in France is, how most suddenly and effectually French armies may be poured on our shores, our fields ravaged, our maritime cities burned, and our people massacred! It must be hoped that this detestable spirit does not reach higher than the Jacobin papers, and the villains by whom that principal part of the French press is conducted. Yet we find but little contradiction to it in even the more serious and authentic portion of the national sentiments. In such circumstances, it is only right to be prepared. We find also the still more expressive evidence of this spirit of evil, in the general conduct of the agents of France in her colonies--a habit of sudden encroachment, a growing arrogance, and a full exhibition of that bitter and sneering petulance, which was supposed to have been scourged out of the French by their desperate defeats towards the close of the war. All this insolence may, by possibility, pass away; but it also may go on to further inflammation, and it may be necessary to scourge it again; and this discipline, if once begun, must be carried through more effectually than when the Allies last visited Paris. The respect felt for the French king and his prime minister, as the friends of peace, naturally restrains the language with which aggression deserves to be reprobated. But the French government, if it desires to retain that respect, must exhibit its sincerity in making some substantial effort to preserve peace. No man of sense in Europe can believe in the necessity of the seizure of Algiers, nor in the necessity of the war with Morocco. But every man can see the influence of both on the freedom of the Mediterranean. The seizure of the British consul at Otaheite shows a spirit which must be summarily extinguished, or the preservation of peace will be impossible. In the mean time, we hear from France nothing but a cry for steam-ships, and threats of invasion. We ask, what has England done? Nothing to offend or injure: there is not even an allegation of any thing of the kind. But if war must come, woe be to those by whom it is begun! The history of all the wars of England with France, is one of French defeat. We have beaten the French by land, we have beaten them by sea; and, with the blessing of Heaven on the righteous cause and our own stout hands, we shall always beat them. We have beaten them on the soil of the stranger--we have beaten them on their own. From the fourteenth century, when English soldiers were masters of the half of France, down to Waterloo, we have always beaten France; and if we beat her under Napoleon, there can be no fear of our not beating her under a race so palpably his inferiors. All England deprecates war as useless, unnatural, and criminal. But the crime is solely on the head of the aggressor. Woe to those who begin the next war! It may be final.

The late visit of the Emperor of Russia to this country, which so much perplexed the political circles of both France and England, now probably admits of elucidation. The emperor's visit has been followed by that of the ablest and most powerful diplomatist in his dominions, the Count Nesselrode, his foreign minister. For this visit, too, a speedy elucidation may be found. The visits of the King of Saxony, and the Princes of Prussia and Holland, also have their importance in this point of view; and the malignant insults of the French journals may have had a very influential share in contributing to the increased closeness of our connexion with the sovereignties of Germany and Russia. The maxim of Fox, that the northern alliances are the true policy of England, is as sound as ever. Still, we deprecate war--all rational men deprecate war; and we speak in a feeling which we fully believe to be universal in England, that nothing would be a higher source of rejoicing in Great Britain, than a _safe_ peace with France, and harmony with all the nations of the world.

FOOTNOTES:

{A} _Diaries and Correspondence of James Harris, First Earl of Malmesbury._ Edited by his GRANDSON, the Third Earl. 2 vols.

{B} "Every where to remember his country."

POEMS AND BALLADS OF GOETHE.

No. II.

Goethe's love for the Fine Arts amounted almost to a passion. In his earlier years, he performed the painter's customary pilgrimage through Italy, and not merely surveyed, but studied with intense anxiety, the works of the great modern masters. A poet, if he understands the theory of his own calling, may learn much from pictures; for the analogy between the sister arts is very strong. The secret of preserving richness without glare, fulness without pruriency, and strength without exaggeration, must be attained alike by poet and painter, before either of them can take their rank among the chosen children of immortality. It is a common but most erroneous idea, that an artist is more indebted for success to inspiration, than to severe study. Unquestionably he must possess some portion of the former--that is, he must have within him the power to imagine and to create; for if he has not that, the fundamental faculty is wanting. But how different are the crude shapeless fancies, how meagre and uncertain the outlines of the mental sketch, from the warm, vivid, and glowing perfection of the matured and finished work! It is in the strange and indescribable process of moulding the rude idea, of giving due proportion to each individual part, and combining the whole into symmetry, that the test of excellence lies. _There_ inspiration will help but little; and labour, the common doom of man in the loftiest as well as the lowest walks of life, is requisite to consummate the triumph.

No man better understood, or more thoroughly acted upon the knowledge of this analogy, than Goethe. He wrought rigidly by the rule of the artist. Not one poem, however trifling might be the subject, did he suffer to escape from his hands, until it had received the final touches, and undergone the most thorough revision. So far did he carry this principle, that many of his lesser works seem absolutely mere transcripts or descriptions of pictures, where the sentiment is rather inferred than expressed; and in some, for example that which we are about to quote, he even brings before the reader what may be called the process of mental painting.

CUPID AS A LANDSCAPE PAINTER

Once I sate upon a mountain,
Gazing on the mist before me;
Like a great grey sheet of canvass,
Shrouding all things in its cover,
Did it float 'twixt earth and heaven.

Then a child appear'd beside me;
Saying, "Friend, it is not seemly,
Thus to gaze in idle wonder,
With that noble breadth before thee.
Hast thou lost thine inspiration?
Hath the spirit of the painter
Died within thee utterly?"

But I turn'd and look'd upon him,
Speaking not, but thinking inly,
"Will he read a lesson now!"

"Folded hands," pursued the infant,
"Never yet have won a triumph.
Look! I'll paint for thee a picture
Such as none have seen before."

And he pointed with his finger,
Which like any rose was ruddy,
And upon the breadth of vapour
With that finger 'gan to draw.

First a glorious sun he painted,
Dazzling when I look'd upon it;
And he made the inner border
Of the clouds around it golden,
With the light rays through the masses
Pouring down in streams of splendour.
Then the tender taper summits
Of the trees, all leaf and glitter,
Started from the sullen void;
And the slopes behind them rising,
Graceful-lined in undulation,
Glided backwards one by one.
Underneath, be sure, was water;
And the stream was drawn so truly
That it seem'd to break and shimmer,
That it seem'd as if cascading
From the lofty rolling wheel.

There were flowers beside the brooklet;
There were colours on the meadow--
Gold and azure, green and purple,
Emerald and bright carbuncle.
Clear and pure he work'd the ether
As with lapis-lazuli,
And the mountains in the distance
Stretching blue and far away--
All so well, that I, in rapture
At this second revelation,
Turn'd to gaze upon the painter
From the picture which he drew.

"Have I not," he said, "convinced thee
That I know the painter's secret?
Yet the greatest is to come."

Then he drew with gentle finger,
Still more delicately pointed,
In the wood, about its margin,
Where the sun within the water
Glanced as from the clearest mirror,
Such a maiden's form!
Perfect shape in perfect raiment,
Fair young cheeks 'neath glossy ringlets,
And the cheeks were of the colour
Of the finger whence they came.

"Child," I cried, "what wond'rous master
In his school of art hath form'd thee,
That so deftly and so truly,
From the sketch unto the burnish,
Thou hast finish'd such a gem?"

As I spoke, a breeze arising
Stirr'd the tree-tops in the picture,
Ruffled every pool of water,
Waved the garments of the maiden;
And, what more than all amazed me,
Her small feet took motion also,
And she came towards the station
Where I sat beside the boy.

So, when every thing was moving,
Leaves and water, flowers and raiment,
And the footsteps of the darling--
Think you I remain'd as lifeless
As the rock on which I rested?
No, I trow--not I!

This is as perfect a landscape as one of Berghem's sunniest.

An artist is, to our mind, one of the happiest creatures in God's creation. Now that the race of wandering minstrels has passed away, your painter is the only free joyous denizen of the earth, who can give way to his natural impulses without fear of reproach, and who can indulge his enthusiasm for the bright and beautiful to the utmost. He has his troubles, no doubt; for he is ambitious, and too often he is poor; but it is something to pursue ambition along the natural path with unwarped energies, and ardent and sincere devotion. As to poverty, that is a fault that must daily mend, if he is only true to himself. In a few years, the foot-sore wanderer of the Alps, with little more worldly goods than the wallet and sketch-book he carries, will be the royal academician, the Rubens or the Reynolds of his day, with the most _recherche_ studio in London, and more orders upon his list than he has either time or inclination to execute. Goethe has let us into the secret of the young German artist's life. Let us look upon him in the dawnings of his fame, before he is summoned to adorn the stately halls of Munich with frescoes from the Niebelungen Lied.

* * * * *

THE ARTIST'S MORNING SONG.

My dwelling is the Muses' home--
What matters it how small?
And here, within my heart, is set
The holiest place of all.

When, waken'd by the early sun,
I rise from slumbers sound,
I see the ever-living forms
In radiance group'd around.

I pray, and songs of thanks and praise
Are more than half my prayer,
With simple notes of music, tuned
To some harmonious air.

I bow before the altar then,
And read, as well I may,
From noble Homer's master-work,
The lesson for the day.

He takes me to the furious fight,
Where lion warriors throng;
Where god-descended heroes whirl
In iron cars along.

And steeds go down before the cars;
And round the cumber'd wheel,
Both friend and foe are rolling now,
All blood from head to heel!

Then comes the champion of them all,
Pelides' friend is he,
And crashes through the dense array,
Though thousands ten they be!

And ever smites that fiery sword
Through helmet, shield, and mail;
Until he falls by craft divine,
Where might could not prevail.

Down from the glorious pile he rolls,
Which he himself had made,
And foemen trample on the limbs
From which they shrank afraid.

Then start I up, with arms in hand,
What arms the painter bears;
And soon along my kindling wall
The fight at Troy appears.

On! on again! The wrath is here
Of battle rolling red;
Shield strikes on shield, and sword on helm,
And dead men fall on dead!

I throng into the inner press,
Where loudest rings the din;
For there, around their hero's corpse,
Fight on his furious kin!

A rescue! rescue! bear him hence
Into the leaguer near;
Pour balsam in his glorious wounds,
And weep above his bier.

And when from that hot trance I pass,
Great Love, I feel thy charm;
There hangs my lady's picture near--
A picture yet so warm!

How fair she was, reclining there;
What languish in her look!
How thrill'd her glance through all my frame!
The very pencil shook.

Her eyes, her cheeks, her lovely lips,
Were all the world to me;
And in my breast a younger life
Rose wild and wantonly.

Oh! turn again, and bide thee here,
Nor fear such rude alarms;
How could I think of battles more
With thee within my arms!

But thou shalt lend thy perfect form
To all I fashion best;
I'll paint thee first, Madonna-wise,
The infant on thy breast.

I'll paint thee as a startled nymph,
Myself a following fawn;
And still pursue thy flying feet
Across the woodland lawn.

With helm on head, like Mars, I'll lie
By thee, the Queen of Love,
And draw a net around us twain,
And smile on heaven above.

And every god that comes shall pour
His blessings on thy head,
And envious eyes be far away
From that dear marriage-bed!

There is abundance of spirit here. For once, in describing the battle and fall of Patroclus, Goethe seems to have caught a spark of Homeric inspiration, and the lines ring out as clearly as the stroke of the hammer on the anvil. There is no rhyme in the original, which, we confess, appears to us a fault; more especially as the rhythm is that of the ordinary ballad. We have, therefore, ventured to supply it, with as little deviation otherwise as possible. It is for the reader to judge whether the effect is diminished.

Our next selection shall be "The God and the Bayadere"--a poem which is little inferior in beauty to the Bride of Corinth, and which, from its structure, opposes to the translator quite as serious a difficulty. The subject is taken from the Hindoo mythology, and conveys a very touching moral of humanity and forbearance; somewhat daring, perhaps, from its novelty, and the peculiar customs and religious faith of an eastern land, yet, withal, most delicately handled.

* * * * *

THE GOD AND THE BAYADERE.

AN INDIAN LEGEND.

I.

Mahadeh, earth's lord, descending
To its mansions comes again,
That, like man with mortals blending,
He may feel their joy and pain;
Stoops to try life's varied changes,
And with human eyes to see,
Ere he praises or avenges,
What their fitful lot may be.
He has pass'd through the city, has look'd on them all;
He has watch'd o'er the great, nor forgotten the small,
And at evening went forth on his journey so free.

II.

In the outskirts of the city,
Where the straggling huts are piled,
At a casement stood a pretty
Painted thing, almost a child.
"Greet thee, maiden!" "Thanks--art weary?
Wait, and quickly I'll appear!"
"What art thou?"--"A Bayadere,
And the home of love is here."
She rises; the cymbals she strikes as she dances,
And whirling, and bending with grace, she advances,
And offers him flowers as she undulates near.

III.

O'er the threshold gliding lightly
In she leads him to her room.
"Fear not, gentle stranger; brightly
Shall my lamp dispel the gloom.
Art thou weary? I'll relieve thee--
Bathe thy feet, and soothe their smart;
All thou askest I can give thee--
Rest, or song, or joy impart."
She labours to soothe him, she labours to please;
The Deity smiles; for with pleasure he sees
Through deep degradation a right-loving heart.

IV.

And he asks for service menial,
And she only strives the more,
Nature's impulse now is genial
Where but art prevail'd before.
As the fruit succeeds the blossom,
Swells and ripens day by day,
So, where kindness fills the bosom,
Love is never far away.
But he, whose vast motive was deeper and higher,
Selected, more keenly and clearly to try her,
Love, follow'd by anguish, and death, and dismay.

V.

And her rosy cheeks he presses,
And she feels love's torment sore,
And, thrill'd through by his caresses,
Weeps, that never wept before.
Droops beside him, not dissembling,
Or for passion or for gain,
But her limbs grow faint and trembling,
And no more their strength retain.
Meanwhile the still hours of the night stealing by,
Spread their shadowy woof o'er the face of the sky,
Bringing love and its festival joys in their train.

VI.

Lately roused, her arms around him,
Waking up from broken rest,
Dead upon her breast she found him,
Dead--that dearly-cherish'd guest!
Shrieking loud, she flings her o'er him,
But he answers not her cry;
And unto the pile they bore him,
Stark of limb and cold of eye.
She hears the priests chanting--she hears the death-song,
And frantic she rises, and bursts through the throng.
"Who is she? what seeks she? why comes she so nigh?"

VII.

But the bier she falleth over,
And her shrieks are loud and shrill--
"I _will_ have my lord, my lover!
In the grave I seek him still.
Shall that godlike frame be wasted
By the fire's consuming blight?
Mine it was--yea mine! though tasted
Only one delicious night!"
But the priests, they chant ever--"We carry the old,
When their watching is over, their journeys are told;
We carry the young, when they pass from the light!

VIII.

"Hear us, woman! Him we carry
Was not, could not be, thy spouse.
Art thou not a Bayadere?
So hast thou no nuptial vows.
Only to death's silent hollow
With the body goes the shade;
Only wives their husbands follow:
Thus alone is duty paid.
Strike loud the wild turmoil of drum and of gong!
Receive him, ye gods, in your glorious throng--
Receive him in garments of burning array'd!"

IX.

Harsh their words, and unavailing,
Swift she threaded through the quire,
And with arms outstretch'd, unquailing
Leap'd into the crackling fire.
But the deed alone sufficeth--
Robed in might and majesty,
From the pile the god ariseth
With the ransom'd one on high.
Divinity joys in a sinner repenting,
And the lost ones of earth, by immortals relenting,
Are borne upon pinions of fire to the sky!

* * * * *

Let us now take a poem of the Hartz mountains, containing no common allegory. Every man is more or less a Treasure-seeker--a hater of labour--until he has received the important truth, that labour alone can bring content and happiness. There is an affinity, strange as it may appear, between those whose lot in life is the most exalted, and the haggard hollow-eyed wretch who prowls incessantly around the crumbling ruins of the past, in the belief that there lies beneath their mysterious foundations a mighty treasure, over which some jealous demon keeps watch for evermore. But Goethe shall read the moral to us himself.

THE TREASURE-SEEKER.

I.

Many weary days I suffer'd,
Sick of heart and poor of purse;
Riches are the greatest blessing--
Poverty the deepest curse!
Till at last to dig a treasure
Forth I went into the wood--
"Fiend! my soul is thine for ever!"
And I sign'd the scroll with blood.

II.

Then I drew the magic circles,
Kindled the mysterious fire,
Placed the herbs and bones in order,
Spoke the incantation dire.
And I sought the buried metal
With a spell of mickle might--
Sought it as my master taught me;
Black and stormy was the night.

III.

And I saw a light appearing
In the distance, like a star;
When the midnight hour was tolling,
Came it waxing from afar:
Came it flashing, swift and sudden;
As if fiery wine it were,
Flowing from an open chalice,
Which a beauteous boy did bear.

IV.

And he wore a lustrous chaplet,
And his eyes were full of thought,
As he stepp'd into the circle
With the radiance that he brought.
And he bade me taste the goblet;
And I thought--"It cannot be,
That this boy should be the bearer
Of the Demon's gifts to me!"

V.

"Taste the draught of pure existence
Sparkling in this golden urn,
And no more with baneful magic
Shalt thou hitherward return.
Do not dig for treasures longer;
Let thy future spellwords be
Days of labour, nights of resting;
So shall peace return to thee!"

* * * * *

Pass we away now from the Hartz to Heidelberg, in the company of our glorious poet. We all know the magnificent ruins of the Neckar, the feudal turrets which look down upon one of the sweetest spots that ever filled the soul of a weary man with yearning for a long repose. Many a year has gone by since the helmet of the warder was seen glancing on these lofty battlements, since the tramp of the steed was heard in the court-yard, and the banner floated proudly from the topmost turret; but fancy has a power to call them back, and the shattered stone is restored in an instant by the touch of that sublimest architect:--

THE CASTLE ON THE MOUNTAIN.

There stands an ancient castle
On yonder mountain height,
Where, fenced with door and portal,
Once tarried steed and knight.

But gone are door and portal,
And all is hush'd and still;
O'er ruin'd wall and rafter
I clamber as I will.

A cellar with many a vintage
Once lay in yonder nook;
Where now are the cellarer's flagons,
And where is his jovial look?

No more he sets the beakers
For the guests at the wassail feast;
Nor fills a flask from the oldest cask
For the duties of the priest.

No more he gives on the staircase
The stoup to the thirsty squires,
And a hurried thanks for the hurried gift
Receives, nor more requires.

For burn'd are roof and rafter,
And they hang begrimed and black;
And stair, and hall, and chapel,
Are turn'd to dust and wrack.

Yet, as with song and cittern,
One day when the sun was bright,
I saw my love ascending
With me the rocky height;

From the hush and desolation
Sweet fancies did unfold,
And it seem'd as we were living
In the merry days of old.

As if the stateliest chambers
For noble guests were spread,
And out from the prime of that glorious time
A youth a maiden led.

And, standing in the chapel,
The good old priest did say,
"Will ye wed with one another?"
And we smiled and we answer'd "Yea!"

We sung, and our hearts they bounded
To the thrilling lays we sung,
And every note was doubled
By the echo's catching tongue.

And when, as eve descended,
We left the silence still,
And the setting sun look'd upward
On that great castled hill;

Then far and wide, like lord and bride,
In the radiant light we shone--
It sank; and again the ruins
Stood desolate and lone!

* * * * *

We shall now select, from the songs that are scattered throughout the tale of Wilhelm Meister, one of the most genial and sweet. It is an in-door picture of evening, and of those odorous flowers of life which expand their petals only at the approach of Hesperus.

PHILINE'S SONG.

Sing not thus in notes of sadness
Of the loneliness of night;
No! 'tis made for social gladness,
Converse sweet, and love's delight.

As to rugged man his wife is,
As his fairest half decreed,
So dear night the half of life is,
And the fairest half indeed.

Canst thou in the day have pleasure,
Which but breaks on rapture in,
Scares us from our dreams of leisure
With its glare and irksome din?

But when night is come, and glowing
Is the lamp's attemper'd ray,
And from lip to lip are flowing
Love and mirth, in sparkling play;

When the fiery boy, that wildly
Rushes in his wayward mood,
Calms to rest, disporting mildly,
By some trivial gift subdued;

When the nightingale is trilling
Songs of love to lovers' ears,
Which, to hearts with sorrow thrilling,
Seem but sighs and waken tears;

Then, with bosom lightly springing,
Dost thou listen to the bell,
That, with midnight's number ringing,
Speaks of rest and joy so well?

Then, dear heart, this comfort borrow
From the long day's lingering light--
Every day hath its own sorrow,
Gladness cometh with the night!

We are somewhat puzzled as to the title which we ought to prefix to our next specimen. Goethe rather maliciously calls it "Gegenwart," which may be equivalent to the word "Presentiality," if, indeed, such a word belongs to the English language. We, therefore, prefer dedicating it to our own ladye love; and we could not find for her any where a sweeter strain, unless we were to commit depredation upon the minor poems of Ben Jonson or of Shakspeare.

TO MY MISTRESS.

All that's lovely speaks of thee!
When the glorious sun appeareth,
'Tis thy harbinger to me:
Only thus he cheereth.

In the garden where thou go'st,
There art thou the rose of roses,
First of lilies, fragrant most
Of the fragrant posies.

When thou movest in the dance,
All the stars with thee are moving,
And around thee gleam and glance,
Never tired of loving.

Night!--and would the night were here!
Yet the moon would lose her duty,
Though her sheen be soft and clear,
Softer is thy beauty!

Fair, and kind, and gentle one!
Do not moon, and stars, and flowers
Pay that homage to their sun
That we pay to ours?

Sun of mine, that art so dear--
Sun, that art above all sorrow!
Shine, I pray thee, on me here
Till the eternal morrow.

Another little poem makes us think of "poor Ophelia." We suspect that Goethe had the music of her broken ballad floating in his mind, when he composed the following verses:--

THE WILD ROSE.

A boy espied, in morning light,
A little rosebud blowing.
'Twas so delicate and bright,
That he came to feast his sight,
And wonder at its growing.
Rosebud, rosebud, rosebud red,
Rosebud brightly blowing!

I will gather thee--he cried--
Rosebud brightly blowing!
Then I'll sting thee, it replied,
And you'll quickly start aside
With the prickle glowing.
Rosebud, rosebud, rosebud red,
Rosebud brightly blowing!

But he pluck'd it from the plain,
The rosebud brightly blowing!
It turn'd and stung him, but in vain--
He regarded not the pain,
Homewards with it going.
Rosebud, rosebud, rosebud red,
Rosebud brightly blowing!

We are sure that the votaries of Wordsworth will thank us for the next translation, which embodies a most noble idea. See how the eye of the poet is scanning the silent march of the heavens, and mark with what solemn music he invests the stately thought!

A NIGHT THOUGHT.

I do not envy you, ye joyless stars,
Though fair ye be, and glorious to the sight--
The seaman's hope amidst the 'whelming storm,
When help from God or man there cometh none.
No! for ye love not, nor have ever loved!
Through the broad fields of heaven, the eternal hours
Lead on your circling spheres unceasingly.
How vast a journey have ye travell'd o'er,
Since I, upon the bosom of my love,
Forgot all memory of night or you!

Let us follow up these glorious lines with a conception worthy of AEschylus--indeed an abstract of his master-subject. It were out of place here to dilate upon the mythical grandeur of Prometheus, and the heroic endurance of his character, as depicted by the ancient poet. To our mind and ear, the modern is scarcely inferior.

PROMETHEUS.

Curtain thy heavens, thou Jove, with clouds and mist,
And, like a boy that moweth thistles down,
Unloose thy spleen on oaks and mountain-tops;
Yet canst thou not deprive me of my earth,
Nor of my hut, the which thou didst not build,
Nor of my hearth, whose little cheerful flame
Thou enviest me!

I know not aught within the universe
More slight, more pitiful than you, ye Gods!
Who nurse your majesty with scant supplies
Of offerings wrung from fear, and mutter'd prayers,
And needs must starve, were't not that babes and beggars
Are hope-besotted fools!

When I was yet a child, and knew not whence
My being came, nor where to turn its powers,
Up to the sun I bent my wilder'd eye,
As though above, within its glorious orb,
There dwelt an ear to listen to my plaint,
A heart, like mine, to pity the oppress'd.

Who gave me succour
Against the Titans in their tyrannous might?
Who rescued me from death--from slavery?
Thou!--thou, my soul, burning with hallow'd fire,
Thou hast thyself alone achieved it all!
Yet didst thou, in thy young simplicity,
Glow with misguided thankfulness to him
That slumbers on in idlesse there above!

I reverence thee?
Wherefore? Hast thou ever
Lighten'd the sorrows of the heavy-laden?
_Thou_ ever stretch'd thy hand to still the tears
Of the perplex'd in spirit?
Was it not
Almighty Time, and ever-during Fate--
My lords and thine--that shaped and fashion'd me
Into the MAN I am?

Belike it was thy dream,
That I should hate life--fly to wastes and wilds,
For that the buds of visionary thought
Did not all ripen into goodly flowers?

Here do I sit, and mould
Men after mine own image--
A race that may be like unto myself,
To suffer, weep; to enjoy, and to rejoice;
And, like myself, unheeding all of thee!

We shall close this Number with a ballad of a different cast, but, lest the transition should be too violent, we shall interpolate the space with a very beautiful lyric. We claim no merit for this translation, for, to say the truth, we could not have done it half so well. Perhaps the fair hand that penned it, will turn over the pages of Maga in distant Wales, and a happy blush over-spread her cheek when she sees, enshrined in these columns, the effort of her maiden Muse.

* * * * *

NEW LOVE, NEW LIFE.

Heart--my heart! what means this feeling?
Say what weighs thee down so sore?
What new life is this revealing!
What thou wert, thou art no more.
All once dear to thee is vanish'd,
All that marr'd thy peace is banish'd,
Gone thy trouble and thine ease--
Ah! whence come such woes as these?

Does the bloom of youth bright-gleaming--
Does that form of purest light--
Do these eyes so sweetly beaming,
Chain thee with resistless might?
When the charm I'd wildly sever--
Man myself to fly for ever--
Ah! or yet the thought can stir,
Back my footsteps fly to her.

With such magic meshes laden,
All too closely round me cast,
Holds me that bewitching maiden,
An unwilling captive fast.
In her charmed sphere delaying,
Must I live, her will obeying--
Ah! how great the change in me!
Love--O love, do set me free!

One other mood of love, and we leave the apprentice of Cornelius Agrippa to bring up the rear. Goethe is said to have been somewhat fickle in his attachments--most poets are--but here is one instance where passion appears to have prevailed over absence.

* * * * *

SEPARATION.

I think of thee whene'er the sun is glowing
Upon the lake;
Of thee, when in the crystal fountain flowing
The moonbeams shake.

I see thee when the wanton wind is busy,
And dust-clouds rise;
In the deep night, when o'er the bridge so dizzy
The wanderer hies.

I hear thee when the waves, with hollow roaring,
Gush forth their fill;
Often along the heath I go exploring,
When all is still.

I am with thee! Though far thou art and darkling,
Yet art thou near.
The sun goes down, the stars will soon be sparkling--
Oh, wert thou here!

If we recollect right--for it is a long time since we studied the occult sciences--Wierius, in his erudite volume "De Prestigiis Demonum," recounts the story which is celebrated in the following ballad. Something like it is to be found in the biography of every magician; for the household staff of a wizard was not complete without a _famulus_, who usually proved to be a fellow of considerable humour, but endowed with the meddling propensities of a monkey. Thus, Doctor Faustus of Wittenburg--not at all to be confounded with the illustrious printer--had a perfect jewel in the person of his attendant Wagner; and our English Friar Bacon was equally fortunate in Miles, his trusty squire. Each of these gentlemen, in their master's absence, attempted a little conjuring on their own account; but with no better success than the nameless attendant of Agrippa, whom Goethe has sought to immortalize. There is a great deal of grotesque humour in the manufacture, agility, and multiplication of the domestic Kobold.

* * * * *

THE MAGICIAN'S APPRENTICE.

Huzzah, huzzah! His back is fairly
Turn'd about, the wizard old;
And I'll now his spirits rarely
To my will and pleasure mould!
His spells and orgies--ha'n't I
Mark'd them all aright?
And I'll do wonders, sha'n't I?
And deeds of mickle might.
Bubble, bubble;
Fast and faster!
Hear your master,
Hear his calling--
Water! flow in measures double,
To the bath in torrents falling!

Ho, thou batter'd broomstick! take ye
This old seedy coat, and wear it--
Ah, thou household drudge, I'll make ye
Do my bidding; ay, and fear it.
Stand on legs, old tramper!
Here's a head--I've stuck it--
Now be off--hey, scamper
With the water-bucket!
Bubble, bubble;
Fast and faster!
Hear your master,
Hear his calling--
Water! flow in measure double,
To the bath in torrents falling!

See, 'tis off--'tis at the river--
In the stream the bucket flashes;
Now 'tis back--and down, or ever
You can wink; the burden dashes.
Again, again, and quicker!
The floor is in a swim,
And every stoup and bicker
Is running o'er the brim.
Stop, now stop!
For you've granted
All I wanted
Well and neatly--
Gracious me! I'm like to drop--
I've forgot the word completely!

Oh, the word, so strong and baleful,
To make it what it was before!
There it skips with pail on pailful--
Would thou wert a broom once more!
Still new streams he scatters,
Round and ever round me--
Oh, a hundred waters
Rushing in have bound me!
No--no longer
Can I bear it.
No, I swear it!
Gifts and graces!
Woe is me, my fears grow stronger,
Look what grinnings, what grimaces!

Wilt thou, offspring of the devil,
Soak the house to please thy funning?
Even now, above the level
Of the door the water's running.
Broom accurst, that will not
Hear, although I roar!
Stick! be now, and fail not,
What thou wert before!
You will joke me?
I'll not bear it,
No, I swear it!
I will catch you;
And with axe, if you provoke me,
In a twinkling I'll dispatch you.

Back it comes--will nought prevent it?
If I only turn me to thee,
Soon, O Kobold! thou'lt repent it,
When the steel goes crashing through thee.
Bravely struck, and surely!
There it goes in twain;
Now I move securely,
And I breathe again!
Woe and wonder!
As it parted,
Up there started,
'Quipp'd aright,
Goblins twain that rush asunder.
Help, oh help, ye powers of might!

Deep and deeper grows the water
On the stairs and in the hall,
Rushing in with roar and clatter--
Lord and master, hear me call!
Ah, here comes the master--
Sore, sir, is my straight;
I raised this spirit faster
Far than I can lay't.
"To your hole!
As you were, be
Broom! and there be
Still; for none
But the wizard can control,
And make you on his errands run!"

THE GREAT DROUGHT.

In the spring and summer of 1844 rain began to fail, and the first things that perished for want of water died that year. But the moisture of the earth was still abundant, and the plants which took deep root found sustenance below; so that the forest trees showed an abundance of foliage, and the harvest in some kinds was plentiful. Towards the autumn rain returned again, and every thing appeared to be recovering its former order; but the dry winter, the dry spring, dry summer of the next year, told upon the face of creation. Many trees put forth small and scanty leaves, and many perished altogether; whole species were cut off; for instance, except where they were artificially preserved, one could not find a living ash or beech--few were kept alive by means of man; for water began to be hoarded for the necessaries of life. The wheat was watered, and, where such a thing was possible, the hay-fields also; but numbers of animals died, and numbers were killed this year--the first from thirst, and the last to reduce the consumers of the precious element. Still the rich commanded the necessaries, and many of the luxuries of life; and the arts which required a consumption of water were carried on as yet, and continued in practice even longer than prudence warranted: so strong was the force of habit, and the pressure of the artificial necessities which they supplied. The railroads were as yet in activity, and when water failed along the line, it was brought from the sea by the rich companies concerned in the traffic; only the fares were raised, and the trains which ran for pleasure merely, were suspended. But, in the midst of business and interest, there was a deep gloom. Projects which affected the fortunes of nations were in suspense, because there was no rain. Cares for the succession of crowns, and the formation of constitutions, might all be futile, if there should be no rain: and it seemed as if there never would be any; for this was now the third year, and the earth had not received a shower. And now, ceasing to be supplied from their usual sources, the springs and rivers withered and shrank. Water became in many places not dear, but unattainable. The greatest people of the land left it, and used their wealth in chasing the retreating element from place to place on the earth. In some cases, among these luxurious spirits there were scenes of extravagant revelry still; they had no employment except to live, and they endeavoured to make the act of living as exciting as their old amusements had been. But accounts of foreign countries came more and more rarely to England; for when the fourth rainless year arrived, drought and famine had slain three-fourths of its inhabitants, and commerce and agriculture were alike suspended. When a vessel came as far up in the mouth of a river as the sinking waters permitted, it brought tidings of desolation from whatever port it had left. Stories began to spread of dry land in parts of the ocean where it had never been seen before; marks which had stood in the deep of the sea might now be walked round at all times of the tide, and thick crusts of salt were beginning to spread upon tracts of the great deep. These tidings from foreign lands came at long intervals, and at long intervals was a ship sent from any English haven. The few dwellers of the coast knew not if there were still any dwellers of the interior: for England was become like the desert; and there were no beasts to carry one across it, and no water to be hoarded in skins for the passage. Traffic of every kind ceased; industry was gone; the secrets of science, and the cultivated mind of the philosopher, were all bent to the production of water; and many a precious object was resolved back into its elements, and afforded a scanty supply to a few parched mouths. The lingering inhabitants had the produce of past years only to live upon, which nothing replenished as it diminished, and to renew which the baked earth was wholly incompetent.