Chapter XX: Book I: , chap. i. Description of the World.... Book II., chap. i (6)

Madame Winthrop whispered to Everell that she was going, with his father, to look in upon a sick neighbor, and would thank him to see her niece home. Everell stole a glance at Hope, and dutifully offered his arm to Miss Downing.

Hope, intent only on one object, was hurrying out of the pew, intending, in the jostling of the crowd, to escape alone; but she was arrested by Madame Winthrop's saying, "Miss Leslie, Sir Philip offers you his arm;" and at the same moment, her aunt stooped forward to beg her to wait a moment, till she could send a message to Deacon Knowles' wife, that she might wear her new gown with the Turkish sleeves, the next day.... "It is but doing as a body would be done by, to let Mistress Knowles know she may come out in her new gown to-morrow."

* * * * *

From "The Linwoods."

=_288._= KOSCIUSKO'S GARDEN AT WEST POINT.

The harmonies of Nature's orchestra were the only and the fitting sounds in this seclusion; the early wooing of the birds; the water from the fountains of the heights, that, filtering through the rocks, dropped from ledge to ledge with the regularity of a water-clock; the ripple of the waves, as they broke upon the rocky points of the shore, or softly kissed its pebbly margin; and the voice of the tiny stream, that, gliding down a dark, deep, and almost hidden channel in the rocks, disappeared and welled up again in the center of the turfy slope, stole over it, and trickled down the lower ledge of granite to the river. Tradition has named this little, green shelf on the rocks, "Kosciusko's Garden;" but, as no traces have been discovered of any other than Nature's plantings, it was probably merely his favorite retreat, and, as such, is a monument of his taste and love of nature.

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=_John Neal, 1793-._= (Manual, p. 510.)

From "Randolph."

=_289._= THE NATURE OF TRUE POETRY.

Poetry is the naked expression of power and eloquence; but, for many hundred years, poetry has been confounded with false music, measure, and cadence, the soul with the body, the thought with the language, the manner of speaking with the mode of thinking.... What I call poetry, has nothing to do with art or learning. It is a natural music, the music of woods and waters, not that of the orchestra.... Poetry is a religion, as well as a music. Nay, it is eloquence. It is whatever affects, touches, or disturbs the animal or moral sense of man. I care not how poetry may be expressed, nor in what language; it is still poetry; as the melody of the waters, wherever they may run, in the desert or the wilderness, among the rocks or the grass, will always be melody.... It is not the composition of a master, the language of art, painfully and entirely exact, but is the wild, capricious melody of nature, pathetic or brilliant, like the roundelay of innumerable birds whistling all about you, in the wind and water, sky and air, or the coquetting of a river breeze over the fine string's of an Aeolian harp, concealed among green, leaves and apple blossoms.

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=_John Pendleton Kennedy, 1795-1870._= (Manual, pp. 490, 510.)

From "Swallow Barn."

=_290._= THE MANSION AND THE BARN.

Swallow Barn is an aristocratical old edifice, which sits, like a brooding hen, on the southern bank of the James River. It looks down upon a shady pocket, or nook, formed by an indentation of the shore, from a gentle acclivity, thinly sprinkled with oaks, whose magnificent branches afford habitation to sundry friendly colonies of squirrels and woodpeckers.

This time-honored mansion was the residence of the family of Hazards....

The main building is more than a century old. It is built with thick brick walls, but one story in height, and surmounted by a double-faced or hipped roof, which gives the idea of a ship, bottom upwards. Later buildings have been added to this, as the wants or ambition of the family have expanded. These are all constructed of wood, and seem to have been built in defiance of all laws of congruity, just as convenience required....

... Beyond the bridge, at some distance, stands a prominent object in the perspective of this picture,--the most venerable appendage to the establishment,--a huge barn, with an immense roof hanging almost to the ground, and thatched a foot thick with sun-burnt straw, which reaches below the eaves in ragged flakes. It has a singularly drowsy and decrepit aspect.

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=_291._= A DISAPPOINTED POLITICIAN.

"Things are getting worse and worse," replied the other. "I can see how it's going. Here, the first thing General Jackson did, when he came in, he wanted to have the president elected for six years; and, by and by, they will want him for ten; and now they want to cut up our orchards and meadows, whether or no. That's just the way Bonaparte went on. What's the use of states, if they are all to be cut up with canals, and railroads, and tariffs? No, no, gentlemen; you may depend Old Virginny's not going to let Congress carry on in her day."

"How can they help it?" asked Sandy.

"We haven't _fout_ and bled," rejoined the other, taking out of his pocket a large piece of tobacco, and cutting off a quid, as he spoke in a somewhat subdued tone,--"we haven't _fout_ and bled for our liberties to have our posterity and their land circumcised after this rate, to suit the figaries of Congress. So let them try it when they will."

"Mr. Ned Hazard, what do you call state rights?" demanded Sandy.

"It's a sort of a law," said the other speaker, taking the answer to himself, "against cotton and wool."

* * * * *

From his "Life of William Wirt."

=_292._= WIRT'S STYLE OF ORATORY.

He became, in the maturity of his career, one of the most philosophic and accomplished lawyers of his time. In earlier life, he was remarked for a florid imagination, and a power of vivid declamation,--faculties which are but too apt to seduce their possessor to waste his strength in that flimsier eloquence, which more captivates the crowd without the bar, than the Judge upon the bench, and whose fatal facility often ensnares ambitious youth capable of better things, by its cheap applause and temptation to that indolence which may be indulged without loss of popularity. The public seem to have ascribed to Mr. Wirt some such, reputation as this, when he first attracted notice. He came upon the broader theater of his fame under this disadvantage. He was aware of it himself, and labored with matchless perseverance to disabuse the tribunals, with which he was familiar, of this disparaging opinion. How he succeeded, his compeers at the bar have often testified. None amongst them ever brought to the judgment-seat a more complete preparation for trial--none ever more thoroughly argued a case through minute analysis and nice discrimination of principles. In logical precision of mind, clearness of statement, full investigation of complicated points, and close comparison of precedents, he had no superior at the bar of the Supreme Court. He often relieved the tedium of argument with playful sallies of wit and humor. He had a prompt and effective talent for this exercise, to which his extensive and various reading administered abundant resource; and he indulged it not less to the gratification of his auditory than to the aid of his cause. In such tactics, Mr. Wirt was well versed. In sarcasm and invective he was often exceedingly strong, and denounced with a power that made transgressors tremble; but the bent of his nature being kindly and tolerant of error, he took more pleasure in exciting the laugh, than in conjuring the spirit of censure or rebuke.

His manner in speaking was singularly attractive. His manly form, his intellectual countenance and musical voice, set off by a rare gracefulness of gesture, won, in advance, the favor of his auditory. He was calm, deliberate, and distinct in his enunciation, not often rising into any high exhibition of passion, and never sinking into tameness. His key was that of earnest and animated argument, frequently alternated with that of a playful and sprightly humor. His language was neat, well chosen, and uttered without impediment or slovenly repetition. The tones of his voice played, with a natural skill, through the various cadences most appropriate to express the flitting emotions of his mind, and the changes of his thought. To these external properties of his elocution, we may ascribe the pleasure which persons of all conditions found in listening to him. Women often crowded the court-rooms to hear him, and as often astonished him, not only by the patience, but the visible enjoyment with which they were wont to sit out his argument to the end,--even when the topic was too dry to interest them, or too abstruse for them to understand his discourse.... His oratory was not of that strong, bold, and impetuous nature which is often the chief characteristic of the highest eloquence, and which is said to sway the Senate with absolute dominion, and to imprison or set free the storm of human passion, in the multitude, according to the speaker's will. It was smooth, polished, scholar-like, sparkling with pleasant fancies, and beguiling the listener by its varied graces, out of all note or consciousness of time.

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=_William Ware, 1797-1852._= (Manual, p. 510.)

From "Aurelian, or Rome in the Third Century."

=_293._= THE CHRISTIAN MARTYR.

When now he had stood there not many minutes, one of the doors of the vivaria was suddenly thrown back, and bounding forth with a roar that seemed to shake the walls of the theatre, a lion of huge dimensions leaped upon the arena. Majesty and power were inscribed upon his lordly limbs; and, as he stood there where he had first sprung, and looked round upon the multitude, how did his gentle eye and noble carriage, with which no one for a moment could associate meanness, or cruelty, or revenge, cast shame upon the human monsters assembled to behold a solitary, unarmed man torn limb from limb! When he had in this way looked upon that cloud of faces, he then turned, and moved round the arena through its whole circumference, still looking upwards upon those who filled the seats, not till he had come again to the point from which he started so much as noticing him who stood his victim in the midst. Then, as if apparently for the first time becoming conscious of his presence, he caught the form of Probus, and, moving slowly towards him, looked steadfastly upon him, receiving in return the settled gaze of the Christian. Standing there still a while, each looking upon the other, he then walked round him, then approached nearer, making suddenly, and for a moment, those motions which indicated the roused appetite; but, as it were, in the spirit of self-rebuke, he immediately retreated a few paces, and lay down in the sand, stretching out his head towards Probus, and closing his eyes, as if for sleep.

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=_Lydia Maria Child, 1802-._= (Manual, p. 434.)

From "Autumnal Leaves."

=_294._= ILL TEMPER CONTAGIOUS.

It is curious to observe how a man's spiritual state reflects itself in the people and animals around him; nay, in the very garments, trees, and stones.

Reuben Black was an infestation in the neighborhood where he resided. The very sight of him produced effects similar to the Hindoo magical tune called Raug, which is said to bring on clouds, storms, and earthquakes. His wife seemed lean, sharp, and uncomfortable. The heads of his boys had a bristling aspect, as if each individual hair stood on end with perpetual fear. The cows poked out their horns horizontally, as soon as he opened the barn-yard gate. The dog dropped his tail between his legs, and eyed him askance, to see what humor he was in. The cat looked wild and scraggy, and had been known to rush straight up the chimney when he moved towards her. Fanny Kemble's expressive description of the Pennsylvania stage-horses was exactly suited to Reuben's poor old nag. "His hide resembled an old hair-trunk." Continual whipping and kicking had made him such a stoic, that no amount of blows could quicken his pace, and no chirruping could change the dejected drooping of his head. All his natural language said, as plainly as a horse _could_ say it, that he was a most unhappy beast. Even the trees on Reuben's premises had a gnarled and knotted appearance. The bark wept little sickly tears of gum, and the branches grew awry, as if they felt the continual discord, and made sorry faces at each other behind their owner's back. His fields were red with sorrel, or run over with mullein. Every thing seemed as hard and arid as his own visage. Every day, he cursed the town and the neighborhood, because they poisoned his dogs, and stoned his hens, and shot his cats. Continual law-suits involved him in so much expense, that he had neither time nor money to spend on the improvement of his farm.

Against Joe Smith, a poor laborer in the neighborhood, he had brought three suits in succession. Joe said he had returned a spade he borrowed, and Reuben swore he had not. He sued Joe, and recovered damages, for which he ordered the sheriff to seize his pig. Joe, in his wrath, called him an old swindler, and a curse to the neighborhood. These remarks were soon repeated to Reuben. He brought an action for slander, and recovered twenty-five cents. Provoked at the laugh this occasioned, he watched for Joe to pass by, and set his big dog upon him, screaming furiously, "Call me an old swindler again, will you." An evil spirit is more contagious than the plague. Joe went home and scolded his wife, and boxed little Joe's ears, and kicked the cat; and not one of them knew what it was all for. A fortnight after, Reuben's big dog was found dead by poison. Whereupon he brought another action against Joe Smith, and not being able to prove him guilty of the charge of dog-murder, he took his revenge by poisoning a pet lamb belonging to Mrs. Smith. Thus the bad game went on, with mutual worriment and loss. Joe's temper grew more and more vindictive, and the love of talking over his troubles at the grog-shop increased on him. Poor Mrs. Smith cried, and said it was all owing to Reuben Black; for a better hearted man never lived than her Joe, when she first married him.

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=_Robert M. Bird, 1803-1854._= (Manual, p. 510.)

From "Nick of the Woods: a Tale of Kentucky."

=_295._= THE QUAKER HUNTSMAN.

"I have a thing to say to thee, which it concerns thee and the fair maid, thee cousin, to know. There was a will, friend, a true and lawful last will and testament of thee deceased uncle, in which theeself and thee cousin was made the sole heirs of the same. Truly, friend, I did take it from the breast of the villain that plotted thee ruin; but, truly, it was taken from me again, I know not how."

"I have it safe," said Roland, displaying it, for a moment, with great satisfaction, to Nathan's eyes. "It makes me master of wealth, which you, Nathan, shall be the first to share. You must leave this wild life of the border, go with me to Virginia--"

"I, friend!" exclaimed Nathan, with a melancholy shake of the head; "thee would not have me back in the Settlements, to scandalize them that is of my faith? No, friend; my lot is cast in the woods, and thee must not ask me again to leave them. And, friend, thee must not think I have served thee for the lucre of money or gain; for truly these things are now to me as nothing. The meat that feeds me, the skins that cover, the leaves that make my bed, are all in the forest around me, to be mine when I want them; and what more can I desire? Yet, friend, if thee thinks theeself obliged by whatever I have done for thee, I would ask of thee one favor that thee can grant."

"A hundred!" said the Virginian, warmly.

"Nay, friend," muttered Nathan, with both a warning and beseeching look, "all that I ask is, that thee shall say nothing of me that should scandalize and disparage the faith to which I was born."

"I understand you," said Roland, "and will remember your wish.... Come with us, Nathan; come with us."

But Nathan, ashamed of the weakness which he could not resist, had turned away to conceal his emotion, and, stalking silently off, with the ever-faithful Peter at his heels, was soon hidden from their eyes.

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=_Nathaniel Hawthorne,_= about =_1805-1864._= (Manual, pp. 505, 508.)

From the "Twice-Told Tales."

=_296._= PORTRAIT OF EDWARD RANDOLPH.

Within the antique frame which so recently had enclosed a sable waste of canvas, now appeared a visible picture--still dark, indeed, in its hues and shadings, but thrown forward in strong relief.... The whole portrait started so distinctly out of the background, that it had the effect of a person looking down from the wall at the astonished and awe-stricken spectators. The expression of the face, if any words can convey an idea of it, was that of a wretch detected in some hideous guilt, and exposed to the bitter hatred, and laughter, and withering scorn of a vast, surrounding multitude. There was the struggle of defiance, beaten down and overwhelmed by the crushing weight of ignominy. The torture of the soul had come forth upon the countenance. It seemed as if the picture, while hidden behind the cloud of immemorial years, had been all the time acquiring an intenser depth and darkness of expression, till now it gloomed forth again, and threw its evil omen over the present hour. Such, if the wild legend may be credited, was the portrait of Edward Randolph, as he appeared when a people's curse had wrought its influence upon his nature.

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=_297._= DESCRIPTION OF AN OLD SAILOR.

Many such a day did I sit snugly in Mr. Bartlett's store, attentive to the yarns of Uncle Parker--uncle to the whole village by right of seniority, but of southern blood, with no kindred in New England. His figure is before me now, enthroned upon a mackerel barrel--a lean, old man, of great height, but bent with years, and twisted into an uncouth, shape by seven broken limbs; furrowed, also, and weather-worn, as if every gale, for the better part of a century, had caught him somewhere on the sea. He looked like a harbinger of tempest, a shipmate of the Flying Dutchman.... One of Uncle Parker's eyes had been blown out with gunpowder, and the other did but glimmer in its socket. Turning it upward as he spoke, it was his delight to tell of cruises against the French, and battles with his own ship-mates, when he and an antagonist used to be seated astride of a sailor's chest, each fastened down, by a spike-nail through his trousers, and there to fight it out.

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From the "Blithedale Romance."

=_298._= A PICTURE OF GIRLHOOD.

Priscilla had now grown to be a very pretty girl, and still kept budding and blossoming, and daily putting on some new charm, which you no sooner became sensible of than you thought it worth all she had previously possessed. So unformed, vague, and without substance, as she had come to us, it seemed as if we could see Nature shaping out a woman before our very eyes, and yet had only a more reverential sense of the mystery of a woman's soul and frame. Yesterday, her cheek was pale,--to-day it had a bloom. Priscilla's smile, like a baby's first one, was a wondrous novelty. Her imperfections and short-comings affected me with a kind of playful pathos, which was as absolutely bewitching a sensation as ever I experienced. After she had been a month or two at Blithedale, her animal spirits waxed high, and kept her pretty constantly in a state of bubble and ferment, impelling her to far more bodily activity than she had yet strength to endure. She was very fond of playing with the other girls out of doors. There is hardly another sight in the world so pretty as that of a company of young girls, almost women grown, at play, and so giving themselves up to their airy impulse that their tiptoes barely touch the ground.

Girls are incomparably wilder and more effervescent than boys, more untamable, and regardless of rule and limit, with an ever-shifting variety, breaking continually into new modes of fun, yet with a harmonious propriety through all. Their steps, their voices, appear free as the wind, but keep consonance with a strain of music inaudible to us. Young men and boys, on the other hand, play according to recognized law, old, traditionary games, permitting no caprioles of fancy, but with scope enough for the outbreak of savage instincts....

Especially it is delightful to see a vigorous young girl run a race, with her head thrown back, her limbs moving more friskily than they need, and an air between that of a bird and a young colt. But Priscilla's peculiar, charm, in a foot-race, was the weakness and irregularity with which she ran....

When she had come to be quite at home among us, I used to fancy that Priscilla played more pranks, and perpetrated more mischief, than any other girl in the community. For example, I once heard Silas Foster, in a very gruff voice, threatening to rivet three horse-shoes round Priscilla's neck, and chain her to a post, because she, with some other young people, had clambered upon a load of hay, and caused it to slide off the cart. How she made her peace I never knew; but very soon afterwards I saw old Silas, with his brawny hands round Priscilla's waist, swinging her to and fro, and finally depositing her on one of the oxen, to take her first lessons in riding. She met with terrible mishaps in her efforts to milk a cow; she let the poultry into the garden; she generally spoilt whatever part of the dinner she took in charge; she broke crockery; she dropped our biggest pitcher into the well; and--except with her needle and those little wooden instruments for purse-making--was as unserviceable a member of society as any young lady in the land. There was no other sort of efficiency about her. Yet everybody was kind to Priscilla; everybody loved her and laughed at her to her face, and did not laugh behind her back; everybody would have given her half of his last crust, or the bigger share of his plum-cake. These were pretty certain indications that we were all conscious of a pleasant weakness in the girl, and considered her not quite able to look after her own interests, or fight her battle with the world.

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From "The Marble Faun."

=_299._= SCULPTURE: ART AND ARTISTS.

A sculptor, indeed, to meet the demands which our preconceptions make upon him, should be even more indispensably a poet than those who deal in measured verse and rhyme. His material, or instrument, which serves him in the stead of shifting and transitory language, is a pure, white, undecaying substance. It insures immortality to whatever is wrought in it, and therefore makes it a religious obligation to commit no idea to its mighty guardianship, save such as may repay the marble for its faithful care, its incorruptible fidelity, by warming it with an etherial life. Under this aspect, marble assumes a sacred character; and no man should dare to touch it unless he feels within himself a certain consecration and a priesthood, the only evidence of which, for the public eye, will be the high treatment of heroic subjects, or the delicate evolution of spiritual, through material beauty....

No ideas such as the foregoing--no misgivings suggested by them--probably troubled the self complacency of most of these clever sculptors. Marble, in their view, had no such sanctity as we impute to it....

Yet we love the artists, in every kind; even these, whose merits we are not quite able to appreciate. Sculptors, painters, crayon sketchers, or whatever branch of aesthetics they adopted, were certainly pleasanter people, as we saw them that evening, than the average whom we meet in ordinary society. They were not wholly confined within the sordid compass of practical life; they had a pursuit which, if followed faithfully out, would lead them to the beautiful, and always had a tendency thitherward, even if they lingered to gather up golden drops by the wayside. Their actual business (though they talked about it very much as other men talk of cotton, politics, flour barrels, and sugar) necessarily illuminated their conversation with something akin to the ideal....

As interesting as any of these relics was a large portfolio of old drawings, some of which, in the opinion of their possessor, bore evidence on their faces of the touch of master-hands.

... According to the judgment of several connoisseurs, Raphael's own hand had communicated its magnetism to one of these sketches; and if genuine, it was evidently his first conception of a favorite Madonna, now hanging in the private apartment of the Grand Duke, at Florence.... There were at least half a dozen others, to which the owner assigned as high an origin. It was delightful to believe in their authenticity, at all events; for these things make the spectator, more vividly sensible of a great painter's power, than the final glow and perfected art of the most consummate picture that may have been elaborated from them. There is an effluence of divinity in the first sketch; and there, if any where, you find the pure light of inspiration, which the subsequent toil of the artist serves to bring out in stronger lustre, indeed, but likewise adulterates it with what belongs to an inferior mood. The aroma and fragrance of new thought were perceptible in these designs, after three centuries of wear and tear. The charm lay partly in their very imperfection; for this is suggestive, and sets the imagination at work; whereas, the finished picture, if a good one, leaves the spectator nothing to do, and if bad, confuses, stupefies, disenchants, and disheartens him.

* * * * *

From the "English Note Books."

=_300._= RUINS OF FURNESS ABBEY.

The most interesting part is that which was formerly the church, and which, though now roofless, is still surrounded by walls, and retains the remnants of the pillars that formerly supported the intermingling curves of the arches. The floor is all overgrown with grass strewn with fragments and capitals of pillars. It was a great and stately edifice, the length of the nave and choir having been nearly three hundred feet, and that of the transept more than half as much. The pillars along the nave were alternately, a round solid one, and a clustered one. Now, what remains of some of them is even with the ground: others present a stump just high enough to form a seat; and others are perhaps a man's height from the ground; and all are mossy, and with grass and weeds rooted into their chinks, and here and there a tuft of flowers giving its tender little beauty to their decay. The material of the edifice is a soft red stone, and it is now extensively overgrown with a lichen of a very light gray hue, which at a little distance makes the walls look as if they had long ago been whitewashed and now had partially returned to their original color. The arches of the nave and transept were noble and immense; there were four of them together, supporting a tower which has long since disappeared,--arches loftier than I ever conceived to have been made by man. Very possibly, in some cathedral that I have seen, or am yet to see, there may be arches as stately as these, but I doubt whether they can ever show to such advantage in a perfect edifice as they do in this ruin,--most of them broken, only one, as far as I recollect, still completing its sweep. In this state they suggest a greater majesty and beauty than any finished human work can show; the crumbling traces of the half-obliterated design producing somewhat of the effect of the first idea of any thing admirable, when it dawns upon the mind of an artist or a poet,--an idea which, do what he may, he is sure to fall short of in his attempt to embody it....

Conceive all these shattered walls, with here and there an arched door, or the great arched vacancy of a window; these broken stones and monuments scattered about; these rows of pillars up and down the nave, these arches, through which a giant might have stepped, and not needed to bow his head, unless in reverence to the sanctity of the place,--conceive it all, with such verdure and embroidery of flowers as the gentle, kindly moisture of the English climate procreates on all old things, making them more beautiful than new, conceive it with the grass for sole pavement of the long and spacious aisle, and the sky above for the only roof. The sky, to be sure, is more majestic than the tallest of those arches; and yet these latter, perhaps, make the stronger impression of sublimity, because they translate the sweep of the sky to our finite comprehension. It was a most beautiful, warm, sunny day, and the ruins had all the pictorial advantage of bright light, and deep shadows. I must not forget that birds flew in and out among the recesses, and chirped and warbled, and made themselves at home there. Doubtless, the birds of the present generation are the posterity of those who first settled in the ruins, after the Reformation; and perhaps the old monks of a still earlier day may have watched them building about the abbey, before it was a ruin at all.

* * * * *

From the "American Note Books."

=_301._= SCENERY OF THE MERRIMAC.

I never could have conceived that there was so beautiful a river-scene in Concord as this of the North Branch. The stream flows through the midmost privacy and deepest heart of a wood, which, as if but half satisfied with its presence, calm, gentle and unobtrusive as it is, seems to crowd upon it, and barely to allow it passage, for the trees are rooted on the very verge of the water, and dip their pendent branches into it. On one side there is a high bank forming the side of a hill, the Indian name of which I have forgotten, though Mr. Thoreau told it to me; and here in some instances the trees stand leaning over the river, stretching out their arms as if about to plunge in headlong. On the other side, the bank is almost on a level with the water, and there the quiet congregation of trees stood with feet in the flood, and fringed with foliage down to its very surface. Vines here and there twine themselves about bushes or aspens or alder-trees, and hang their clusters, though scanty and infrequent this season, so that I can reach them from my boat, I scarcely remember a scene of more complete and lovely seclusion than the passage of the river through this wood. Even an Indian canoe in olden times, could not have floated onward in deeper solitude than my boat. I have never elsewhere had such an opportunity to observe how much more beautiful reflection is than what we call reality. The sky and the clustering foliage on either hand, and the effect of sunlight as it found its way through the shade, giving lightsome hues in contrast with the quiet depth of the prevailing tints, all these seemed unsurpassably beautiful when beheld in upper air. But on gazing downward, there they were, the same even to the minutest particular, yet arrayed in ideal beauty which satisfied the spirit incomparably more than the actual scene. I am half convinced that the reflection is indeed the reality, the real thing which Nature imperfectly images to our grosser sense. At any rate the disembodied shadow is nearest to the soul.

* * * * *

From the "French and Italian Note Books."

=_302._= A DUNGEON OF ANCIENT ROME.

We were now in the deepest and ugliest part of the old Mamertine Prison, one of the few remains of the kingly period of Rome, and which served the Romans as a state prison for hundreds of years before the Christian era. A multitude of criminals or innocent persons, no doubt, have languished here in misery, and perished in darkness. Here Jugurtha starved; here Catiline's adherents were strangled; and methinks, there can not be in the world another such an evil den, so haunted with black memories and indistinct surmises of guilt and suffering. In old Rome, I suppose, the citizens never spoke of this dungeon above their breath. It looks just as bad as it is; round, only seven paces across, yet so obscure that our tapers could not illuminate it from side to side,--the stones of which it is constructed being as black as midnight. The custode showed us a stone post at the side of the cell, with the hole in the top of it, into which, he said, St. Peter's chain had been fastened; and he uncovered a spring of water, in the middle of the stone floor, which he told us had miraculously gushed up to enable the Saint to baptize his jailor. The miracle was perhaps the more easily wrought, inasmuch as Jugurtha had found the floor of the dungeon oozy with wet. However, it is best to be as simple and childlike as we can in these matters; and whether St. Peter stamped his visage into the stone, and wrought this other miracle or no, and whether or no he ever was in the prison at all, still the belief of a thousand years and more, gives a sort of reality and substance to such traditions. The custode dipped an iron ladle into the miraculous water, and we each of us drank a sip; and, what is very, remarkable, to me it seemed hard water and almost brackish, while many persons think it the sweetest in Rome. I suspect that St. Peter still dabbles in this water, and tempers its qualities according to the faith of those who drink it.

* * * * *

=_William Gilmore Simms, 1806-1870._= (Manual, pp. 490, 510.)

From "Eutaw, a Sequel to The Foragers."

=_303._= THE BATTLE OF EUTAW.

Up to this moment nothing had seemed more certain than the victory of the Americans. The consternation in the British camp was complete. Everything was given up for lost by a considerable portion of the army. The commissaries destroyed their stores, the loyalists and American deserters, dreading the rope, seizing every horse which they could command, fled incontinently for Charleston, whither they carried such an alarm that the stores along the road were destroyed, and the trees felled across it for the obstruction of the victorious Americans, who were supposed to be pressing down upon the city with all their might.

Equally deceived were the conquerors. Flushed with success, the infantry scattered themselves about the British camp, which, as all the tents had been left standing, presented a thousand objects to tempt the appetites of a half-starved and half-naked soldiery. Insubordination followed disorder....

No more could be done. The laurels won in the first act of this exciting drama, were all withered in the second. Both parties claimed a victory. It belonged to neither. The British were beaten from the field at the point of the bayonet, sought shelter in a fortress, and repulsed their assailants from that fortress. It is to the shame and discredit of the Americans that they were repulsed. The victory was in their hands.

* * * * *

From the "Life of Francis Marion."

=_304._= CHARACTER AND SERVICES OF GENERAL MARION.

No commander had ever been more solicitous of the safety and comfort of his men. It was this which had rendered him so sure of their fidelity, which had enabled him to extract from them such admirable service. This simple entreaty stayed their quarrels; ... No duel took place among his officers during the whole of his command.

The province which was assigned to his control by Governor Rutledge, was the constant theatre of war. He was required to cover an immense extent of country. With a force constantly unequal and constantly fluctuating, he contrived to supply its deficiencies by the resources of his own vigilance and skill. His personal bravery was frequently shown, and the fact that he himself conducted an enterprise, was enough to convince his men that they were certain to be led to victory.... He had no lives to waste, and the game he played was that which enabled him to secure the greatest results, with the smallest amount of hazard. Yet, when the occasion seemed to require it, he could advance and strike with an audacity, which in the ordinary relations of the leader with the soldier, might well be thought inexcusable rashness.... The reader will perceive a singular discrepancy between the actual events detailed in the life of every popular hero, and the peculiar fame which he holds in the minds of his countrymen. Thus, while Marion is every where regarded as the peculiar representative in the southern States, of the genius of partizan warfare, we are surprised, when we would trace, in the pages of the annalist, the sources of this fame, to find the details so meagre and so unsatisfactory. Tradition mumbles over his broken memories, which we vainly strive to pluck from his lips, and bind together in coherent and satisfactory records. The spirited surprise, the happy ambush, the daring onslaught, the fortunate escape,--these, as they involve no monstrous slaughter,--no murderous strife of masses,--no rending of walled towns and sack of cities, the ordinary historian disdains. The military reputation of Marion consists in the frequent performance of deeds, unexpectedly, with inferior means, by which the enemy was annoyed and dispirited, and the hearts and courage of his countrymen warmed into corresponding exertions with his own. To him we owe that the fires of patriotism were never extinguished, even in the most disastrous hours, in the low country of South Carolina. He made our swamps and forests sacred, as well because of the refuge which they gave to the fugitive patriot, as for the frequent sacrifices which they enabled him to make, on the altars of liberty and a befitting vengeance.... It is enough that his fame has entered largely into that of his country, forming a valuable portion of its national stock of character. His memory is in the very hearts of our people.

* * * * *

=_Harriet Beecher Stowe, 1812-._= (Manual, p. 484.)

From "Uncle Tom's Cabin."

=_305._= MEMORIALS OF A DEAD CHILD.

At the door, however, he stopped a moment, and then coming back, he said, with some hesitation,--

"Mary, I don't know how you'd feel about it, but there's that drawer full of things-of-of-poor little Henry's." So saying, he turned quickly on his heel, and shut the door after him.

His wife opened the little bedroom door adjoining her room, and taking the candle, set it down on the top of a bureau there; then from a small recess she took a key, and put it thoughtfully in the lock of a drawer, and made a sudden pause, while two boys, who, boy-like, had followed close on her heels, stood looking, with silent, significant glances, at their mother. And O, mother that reads this, has there never been in your house a drawer, or a closet, the opening of which has been to you like the opening again of a little grave? Ah! happy mother that you are, if it has not been so.

Mrs. Bird slowly opened the drawer. There were little coats, of many a form and pattern, piles of aprons, and rows of small stockings; and even a pair of little shoes, worn and rubbed at the toes, were peeping from the folds of a paper. There was a toy horse and wagon, a top, a ball,--memorials gathered with many a tear and many a heart-break! She sat down by the drawer, and leaning her head on her hands over it, wept till the tears fell through her fingers into the drawer; then, suddenly raising her head, she began, with nervous haste, selecting the plainest and most substantial articles, and gathering them into a bundle.

"Mamma," said one of the boys, gently touching her arm, "are you going to give away those things?"

"My dear boys," she said, softly and earnestly, "if our dear loving little Henry looks down from heaven, he would be glad to have us do this. I could not find it in my heart to give them away to any common person--to anybody that was happy; but I give them to a mother more heart-broken and sorrowful than I am; and I hope God will send his blessing with, them!"

* * * * *

From "Old-Town Folks."

=_306._= THE OLD MEETING HOUSE.

Going to meeting, in that state of society into which I was born, was as necessary and inevitable a consequence of waking up on Sunday morning, as eating one's breakfast. Nobody thought of staying away,--and, for that matter, nobody wanted to stay away. Our weekly life was simple, monotonous, and laborious; and the chance of seeing the whole neighborhood together in their best clothes on Sunday, was a thing which, in the dearth of all other sources of amusement, appealed to the idlest and most unspiritual of loafers. They who did not care for the sermon or the prayers, wanted to see Major Broad's scarlet coat and laced ruffles, and his wife's brocade dress, and the new bonnet which Lady Lothrop had just had sent up from Boston. Whoever had not seen these would be out of society for a week to come, and not be able to converse understandingly on the topics of the day.

The meeting on Sunday united in those days, as nearly as possible, the whole population of a town,--men, women, and children. There was then in a village but one fold and one shepherd, and long habit had made the tendency to this one central point so much a necessity to every one, that to stay away from "meetin," for any reason whatever, was always a secret source of uneasiness. I remember in my early days, sometimes when I had been left at home by reason of some of the transient ailments of childhood, how ghostly and supernatural the stillness of the whole house and village outside the meeting-house used to appear to me, how loudly the clock ticked and the flies buzzed down the window-pane, and how I listened in the breathless stillness to the distant psalm-singing, the solemn tones of the long prayer, and then to the monotone of the sermon, and then again to the closing echoes of the last hymn, and thought sadly, what if some day I should be left out, when all my relations and friends had gone to meeting in the New Jerusalem, and hear afar the music from the crystal walls.

The arrangement of our house of worship in Oldtown was somewhat peculiar, owing to the fact of its having originally been built as a missionary church for the Indians. The central portion of the house, usually appropriated to the best pews, was in ours devoted to them; and here were arranged benches of the simplest and most primitive form; on which were collected every Sunday, the thin and wasted remnants of what once was a numerous and powerful tribe. There were four or five respectable Indian families, who owned comfortable farms in the neighborhood, and came to meeting in their farm-wagons, like any of their white neighbors.

... Besides our Indian population, we had also a few negroes, and a side gallery was appropriated to them. One of them was that of Aunt Nancy Prime, famous for making election-cake and ginger-pop, and who was sent for at all the great houses on occasions of high festivity, as learned in all mysteries relating to the confection of cakes and pies. A tight, trig, bustling body she, black and polished as ebony, smooth-spoken and respectful, and quite a favorite with everybody. Nancy had treated herself to an expensive luxury in the shape of a husband,--an idle, worthless mulatto man, who was owned as a slave in Boston. Nancy bought him, by intense labors in spinning flax, but found him an undesirable acquisition, and was often heard to declare, in the bitterness of her soul, when her husband returned from his drinking bouts, that she should never buy another nigger, she knew. Prominent there was the stately form of old Boston Foodah, an African Prince, who had been stolen from the coast of Guinea in early youth, and sold in Boston at some period of antiquity whereto the memory of man runneth not.

* * * * *

=_Maria J. McIntosh, 1815-._= (Manual, p. 484.)

From "Two Pictures."

=_307._= DEBATE BETWEEN WEBSTER AND HAYNE.

... Webster, Clay, Calhoun--the triumvirate to which, it is to be feared, we shall long have to look back as to our last, were still living; and as Augusta Moray gazed on the dark, melancholy eyes of the first, shadowed by that wonderful brow, or looked into the face of the second, where if prescient thought sometimes rose as a flitting cloud, it was chased away before the glow of the warm heart and the quick kindling fancy, or turned to the sharp angular lines and firmly compressed lips that marked the iron strength of the third, she felt that she stood in the midst of her dream fulfilment. The session was one of peculiar interest. Great questions agitated the public mind, and were treated greatly. Two great parties, springing from the very foundations of our civil polity, strove for supremacy in our legislative halls. The one, looking into the depths of our colonial history, took its stand on the unquestionable truth, that each state of the Union was sovereign over herself, from which was drawn the corollary, that she was as free to leave as she had been to enter the Union. The other contended that the present constitution of these United States defined the boundary of the powers of each state, as well as of the great whole into which they had been voluntarily fused; that to look behind that, was such a resort to first principles or natural rights, as is involved in revolution, and must be decided as revolution ever is, by the relative strength of the ruling and the revolting forces.

On neither side was there any trickery, any bullying, any flimsy display of rhetorical power. All was grand as the subject for which they contended, solemn as the doom to which they seemed, approaching. In the chief magistrate of that time all saw the unflinching executor of the nation's will--a man whose words were the sure prefigurements of his deeds. Their verdict must be carefully weighed, for it would be surely executed. In stern silence each sat to hear, to deliberate, to judge. The sharp logic and fiery vehemence of Hayne called up no angry flash, roused no personal vindictiveness; and the deep tones of Webster found as ready an entrance to southern as to northern hearts, while in those powerful, words which seemed the fit weapons of a nation's champion, his mighty mind swept away all that opposed it, save that principle which lay imbedded in the very deepest stratum of the life of his opponents, and which could not be torn away from them till feeling and life were extinct.

It was in the capital, and in the presence of these great men, that Augusta liked best to find herself. We are afraid she did not always listen when men of more ordinary power occupied the floor,--the gallery was an excellent dreaming place at such times.

* * * * *

=_Catharine Anne Warfield,[70] 1817-._=

From "The Romance of Beauseincourt."

=_308._= VIEW OF THE SKY BY NIGHT.

I had derived great and constant pleasure from the undisturbed possession of this place of promenade during my whole sojourn.... Often, when my mind had been distracted with anxious cares, I had literally waited down its excitement and anguish in my fierce and rapid movements to and fro, over its smooth painted floor, the daily care of Sylphy, who might be heard in the hot season busily employed in refreshing it with mop and broom and water during the first hours of the morning, the pleasant, dewy freshness of which operation might be felt gratefully in the atmosphere of our heated chamber.

The long gallery was very solitary, of course, at an hour like this, and it was with a feeling of calm relief that I paced its lonely length, stopping at intervals to look out upon the night; one of cloudy sultriness, occasionally relieved by gusts of warm, damp wind, that bore the distant odors of swamp and forest on its wings, and promised speedy rain. Here and there in the dappled heavens were liquid purple spaces, like the open sea described by Arctic voyagers, around which hung masses of silvery clouds, projecting like ice cliffs; and into these patches of sky the large yellow moon would now and then sail majestically, suddenly emerging, like a ship from a fog, from the fleecy screen that veiled her light, to cross these spaces, and plunge into mist and shadow again.

There was something in the whole effect calculated to absorb the mind of an absent dreamer, intent on the future, and for the first time for many weeks putting aside all foreign considerations, in favor of self too long merged in others and neglected.

[Footnote 70: One of our most accomplished female writers; a native of Mississippi, but long resident in Kentucky.]

* * * * *

=_Herman Melville, 1819-._= (Manual, p. 505.)

From "Moby Dick."

=_309._= SPERM WHALE FISHING.

It was a sight full of quick wonder and awe! The vast swells of the omnipotent sea; the surging, hollow roar they made as they rolled along the eight gunwales, like gigantic bowls in a boundless bowling-green; the brief suspended agony of the boat, as it would tip for an instant on the knife-like edge of the sharper waves, that almost seemed threatening to cut it in two; the sudden profound dip into the watery glens and hollows; the keen spurrings and goadings to gain the top of the opposite hill; the headlong, sled-like slide down its other side; all these, with the cries of the headsmen and harpooners, and the shuddering gasps of the oarsmen, with the wondrous sight of the ivory Pequod bearing down upon her boats, with outstretched sails, like a wild hen after her screaming brood; all this was thrilling. Not the raw recruit, marching from the bosom of his wife into the fever heat of his first battle; not the dead man's ghost, encountering the first unknown phantom in the other world; neither of these can feel stranger and stronger emotions than that man does, who for the first time finds himself pulling into the charmed, churned circle of the hunted sperm whale.

Soon we were running through a suffusing wide veil of mist; neither ship nor boat to be seen.

"Give way, men," whispered Starbuck, drawing still further aft the sheet of his sail; "there is time to kill a fish yet before the squall comes. There's white water again! close to! Spring!" Though not one of the oarsmen was then facing the life and death peril so close to them ahead, yet with their eyes on the intense countenance of the mate in the stern of the boat, they knew that the imminent instant had come; they heard, too, an enormous wallowing sound as of fifty elephants stirring in their litter. Meanwhile the boat was still booming through the mist, the waves curling and hissing around us like the erected crests of enraged serpents.

"That's his hump. _There, there_, give it to him!" whispered Starbuck.

A short rushing sound leaped out of the boat; it was the darted iron of Queequeg. Then all in one welded commotion, came an invisible push from astern, while forward the boat seemed striking on a ledge; the sail collapsed and exploded; a gush of scalding vapor shot up near by; something rolled and tumbled like an earthquake beneath us. The whole crew were half suffocated as they were tossed helter-skelter into the white curdling cream of the squall. Squall, whale, and harpoon had all blended together and the whale, merely grazed by the iron, escaped.