Chapter II: Front Matter (2)

The insignificance of the material in which the painter worked, when compared with the effect which he produced, is also remarkable in this unique work of Art. For Holbein's Dance of Death is not, like the others, either a great fresco painting, or a series of sculptures; it is not a painting at all,--but merely a series of very small woodcuts, fifty-three in number, forty-six of which were published at Lyons in 1538, and the whole afterwards at Bâle in 1554, under the title, _Simulachres de la Mort, Icones Mortis:_ that is, in French and Latin, "Images of Death,"--for the title "Dance of Death" is of recent origin. The leaves on which the cuts are printed make but part of a little book not so large as a child's primer; but a copy of it is now worth ten times its weight in gold. It was copied and republished in numberless editions, as a popular book, merely for the sake of the subject, and the great lesson taught by it,--each print being accompanied by an admonitory stanza, and a quotation from the Bible. Beside these editions, endeavors have been made of later years to imitate it satisfactorily as a work of Art,--but in vain. Great as we think our advancement in the arts has been,--the mechanical part of them, at least,--all the efforts of the lithographer, the wood-cutter, and even the line-engraver, to reproduce the spirit or the very lines of this work, have been but partially successful. There is as much difference between the most carefully-executed and costliest copies and good impressions of the original wood-cuts, made three hundred years ago, and sold for a franc or two, as there is between pinchbeck and gold.

Any attempt to reproduce the effect of those groups in words can hardly fail to fall equally short of the mark; but we will tell our readers what they are, and endeavor to give some notion of their purpose and spirit.

The first shows the Creation of Woman;--we have seen before why she is made thus prominent in the Dance. The composition is crowded with the denizens of the earth, the air, and the water; the sun, the moon, and the stars all appear; the four winds of heaven issue from the laboring cheeks of figures that impersonate them. The Creator, in the form of an aged man in royal robes, and wearing the imperial crown, lifts Eve bodily from the side of the sleeping Adam.

The second represents the Temptation. Eve reclines upon the ground, and shows Adam the fruit which she has plucked. Adam stands grasping the tree with his left hand, and raises his right to gather for himself. The serpent, who looks down upon Eve, has the face and body of a woman. The forms in this group are fine; Adam's is remarkable for its symmetry and grace; but Eve's face is ignoble. Indeed, Holbein, like Rembrandt, seems to have been incapable of an idea of female beauty.

In the third we see the Expulsion from Paradise; and here the Dance begins. Our guilty parents fly before the flaming sword,--poor Eve cowering, and her hair streaming in a wavy flood upon the wind; and before them, but unseen, Death leaps and curvets to the sound of a vielle or rote,--an old musical stringed instrument,--which he has hung about his neck. His glee, as he leads forth his victims into the valley where his shadow lies, is perceptible in every line of his angular anatomy; his very toes curl up like those of a baby in its merriment.

In the fourth, Adam has begun to till the ground. The pioneer of his race, he is uprooting a huge tree, all unconscious that another figure is laboring at his side. It is not Eve, who sits in the background with her first-born at her breast and her distaff by her side,--but Death, who, with a huge lever in his bony gripe, goes at his work with a fierce energy which puts the efforts of his muscular companion to shame. The people of Holbein's day not only saw in this subject the beginning of that toil which is the lot of humankind, but, as they looked upon the common ancestors of all men, laboring for the means of life, they asked, in the words of an old distich,--

"When Adam delved and Eve span,
Where was then the gentleman?"

The fifth composition seems to represent a general rejoicing over the Triumph of Death. It shows a churchyard and porch filled with skeletons, who blow trumpets of all sorts and sizes; one beats frantically upon a pair of kettle-drums, and another, wearing a woman's nightcap, with a broad frill border, plays the hurdy-gurdy.

In the sixth, a Pope, the highest earthly potentate, is in the act of crowning an Emperor, who kneels to kiss his toe. But the successor of St. Peter does not see, as he sits upon his throne, giving authority and sanction to the ruler of an empire, that a skeleton leans from behind that throne, and grins in his face, and that another in a cardinal's hat mingles with the throng before him.

The seventh is one of the finest of the series. An Emperor is enthroned, with his courtiers round him. He is threatening one with his sword for some act of injustice from which a poor peasant who kneels before him has suffered. But, unseen by all, a skeleton bestrides the shoulders of the monarch and lays his hand upon his very crown. There can be no doubt that Shakspeare had this subject in his mind when he wrote that fine passage in "King Richard the Second,"--

"Within the hollow crown
That rounds the mortal temples of a king
Keeps Death his court; and there the antic sits,
Scoffing his state and grinning at his pomp;
Allowing him a breath, a little scene
To monarchize, be feared, and kill with looks;
Infusing him with self and vain conceit,
As if this flesh which walls about our life
Were brass impregnable; and humored thus,
Comes at the last, and with a little pin
Bores through his castle wall, and--farewell, King!"

In the eighth we see a King (it is unmistakably Francis I.) dining under a canopy, and served by a splendid retinue. He stretches out his hand to receive a wine-cup; for he does not see that Death is filling it.

A Cardinal appears in the ninth, selling an indulgence for a heavy bribe; and we all rejoice to see that Death has laid hands upon his hat,--the symbol of his rank,--and is about to tear it from his head.

In the tenth, an Empress, passing through her palace-yard, attended by her ladies, is led by the favorite on whom she leans, and who she does not see is Death, into an open grave.

Death, in the next, has assumed the guise of a Court Fool, and has seized a Queen at the very gate of her palace. She recognizes him, and struggles, shrieking, to free herself from his grasp; but in vain. With a grin of fierce delight, he lifts up his hour-glass before her, and, in spite of her resistance and that of a gentleman who attends her, is about to bear her off. Every line of this composition is instinct with life.

In the twelfth, Death carries off a Bishop from his flock.

In the thirteenth, an Elector of the Empire, surrounded by his retinue, is approached by a poor woman, who begs his aid in behalf of herself and her child; he repulses her scornfully; for he does not see that Death, the avenger of the oppressed poor, and who is here crowned with oak-leaves, has laid his gripe upon him. Holbein has put such an expression of power into the arm and of wrath into the face of this skeleton, that we expect to see his victim haled off into the air before our very eyes.

The Abbot and the Abbess are the subjects of the next two cuts. In the former, Death has assumed the mitre and the crosier of his victim, and drags him off with such an expression of fun and burlesque pomp as we sometimes see in the face of a mischievous boy who mocks his betters. In the companion group his look is that of a demon; and with his head fantastically dressed, he drags the Abbess off by the scapulary which hangs from her neck.

A Nobleman and a Canon are his prey in the sixteenth and seventeenth groups. We lack space to describe any but the most remarkable with particularity.

The satire of the next three is levelled against the Lawyers, who were held in such little respect in Bâle. They show a Judge who takes a bribe from a rich to wrong a poor suitor, and a Counsellor and an Advocate who lend their talents to wealthy clients, but turn their backs upon the poor victims of "the oppressor's wrong." In one, a demon is blowing suggestions into the Counsellor's ear from a pair of bellows, which he has doubtless used elsewhere for other purposes; in all, Death stands ready to avenge the poor.

In the twenty-first, a Preacher addresses a Congregation, whose interested attention the painter has portrayed with great skill, knowledge of character, and consequent variety and truth of expression. Behind the Preacher stands Death, and, with a kind of grotesque practical pun, holds the jaw of a skeleton over his head, as far more eloquent than his own.

A Priest and a Mendicant Friar are the subjects of the twenty-second and twenty-third.

The twenty-fourth is of peculiar interest. In it we see a youthful Nun, who, it is clear, has taken her vows too hastily, kneeling before the oratory in her cell. But her heart is not in her devotions; for the lover whom she abandoned has made his way into the apartment, and sits on her bed singing to his lute. Her hands are clasped, not in prayer, but in an agony of love and apprehension. She turns from the crucifix to gaze at him; and we see how the interview will end: for an aged female attendant, in coif and scapulary, leans over to extinguish the candles. We see, too, what its consequence will be; for that attendant is Death.

Among the remaining subjects, which we cannot examine particularly, or in their order, are those of the Old Man and Old Woman led by Death, each to the sound of a dulcimer;--the Physician, to whom in mockery Death himself brings a patient;--the Astronomer, to whom the skeleton offers a skull in place of a celestial globe;--the Miser, from whom Death snatches his hoarded gold; and the Merchant, whom the same inexorable hand tears away from his ships and his merchandise;--the storm-tossed ship, with Death snapping the mast;--a Count, dressed in the extreme of courtly splendor, who recognizes Death in the disguise of a peasant who has flung down his flail to seize his lordship's emblazoned shield and dash it to pieces;--a Duchess, whom one skeleton drags rudely from her canopied bed, while another scrapes upon a violin;--a Peddler;--a Ploughman, of whose four-horse team Death is the driver;--Gamblers, Drunkards, and Robbers, all interrupted in their wickedness by Death;--a Wagoner, whose wagon, horse, and load have been tumbled in a ruinous heap by a pair of skeletons;--a Blind Beggar, who stumbles over a stony path after Death, who is his deceitful leader, and who turns back with a look of malicious glee to see his bewilderment and suffering;--and a Court Fool, whom Death, playing on bagpipes, and dancing, approaches, and, plucking him by the garment, wins him, with a coaxing leer, to join his pastime.

A few others claim our more particular attention. Among them is a Knight, armed cap-a-pie, who is run through and through, from back to front, by Death, himself half armed in mockery. There is a concentrated vigor in the thrust of the lance, and a cool venom in the countenance of the assailant, that we may seek in vain in the works of famous battle-painters; and it must always be remembered that Holbein's figure is entirely without those indications of muscular movement by which we express our feelings,--in fact, a mere bare-boned skeleton.

A Bride at her wedding-toilet, whom Holbein has contrived to make almost beautiful, receives a robe from one attendant; another clasps round her neck a collar--of gold and jewels? No,--of bones, and with bony fingers. And the next cut to this shows us the Bridegroom and Bride walking through an apartment hung with arras, while before them dances Death, beating a tabor, like a child beside himself with joy.

One of the finest and most touching conceptions in the whole series represents a dilapidated Cottage,--a mere shanty, so wretched that the love of those who live in it is all their happiness,--nay, all their comfort. The mother is preparing for two little children the simplest and poorest of meals, at a fire made of a few small sticks. She finds consolation in the very pranks that hinder her humble task. Death enters,--there is no door to keep him out,--and, seizing the hand of the younger child, who turns and stretches out the other imploringly to his mother, carries him off, remorseless and exulting, leaving her frantic with grief. We may look with comparative indifference, and sometimes even with sympathy, upon his other feats,--but who is there that does not hate that grinning skeleton?--And yet, perhaps, he exults that he has saved one soul, yet pure, from misery and crime.

For vigor of movement the group of Death and the Soldier is preëminent. The field is covered with the wounded and the slain, in the midst of which the soldier encounters his last enemy. The man is armed in panoply, and wields a huge two-handed sword with a vigor unabated by former struggles. Death has caught a shield from the arm of some previous victim; but his only offensive weapon is a huge thigh-bone, which we plainly see will bear down all before it. In the distance another figure of Death flies madly over the hills, beating a drum which summons other soldiers to the field. It is impossible to convey in words the fierce eagerness of this figure, minute as it is, and composed of a few lines.

The forty-seventh composition is one which has puzzled the critics and antiquaries; but it is not easy to conjecture why. It shows us a wretched Beggar, naked, sick, lame,--utterly destitute, miserable, and forsaken,--suffering at once all the ills that flesh is heir to. He sits huddled together on some straw, near a large building, and lifts his hands and face up piteously to heaven. Death is not there; and the antiquaries ask in wonder, Why is the subject introduced? Why, but to show that to him alone who would gladly welcome Death, Death will not come?

The work ends, as a connected series, with the Last Judgment, where Christ, who conquered Death, appears seated on the bow of promise,--with his feet resting on a celestial sphere, attended by angels, and showing to a throng of those who have risen from the grave the wounds by which he redeemed them from its power.

To this is added an ornamental tail-piece called Death's Arms. It shows a skull in a battered shield, which has for a crest a regal helmet surmounted by an hour-glass and two bony arms grasping a stone. The supporters to the shield are a gentleman and lady richly dressed,--said to represent Holbein and his wife.

It is not known, positively, when Holbein drew these designs upon the blocks (for of course he did not engrave them); and it has even been disputed by one or two eminent antiquarian critics, that he designed them at all. But there does not appear to be a single valid reason for thus diminishing his fame. He probably was engaged on them between 1531, the date of his first return to Bâle, and 1538, when they were published,--the year in which he refused the solicitation of his townsmen to return to the home of his childhood and the bosom of his family.

Holbein continued to live in London until the year 1554, when that city suffered a visitation of the plague, similar to that which was the occasion of the painting of the Great Dance of Death at Bâle. Holbein was struck by the disease; and Death, knowing gratitude as little as remorse, triumphed over him who had blazoned his triumphs. Upon the painter's fame, however, and that of his great work, Death could not lay his hand; but so long as the grim tyrant shall claim his victims, so long will he perpetuate the memory of Hans Holbein.

Though he was a royal favorite, it is not known where he died; and the place where lie the ashes of him who, on a king's word, was greater than seven earls, is equally unknown; there is not a line or a stone to mark it. So soon after his death as in the reign of Charles I., (within one hundred years,) a nobleman--noble by nature as well as by birth--desirous of erecting a monument to him, sought his grave, but in vain, and was compelled to abandon his design. And thus was Holbein driven to live among strangers, to die without a wife to console or children to mourn him, and to lay his bones in a nameless grave in a foreign land.

Such is an imperfect and brief account of the origin, the various forms, and the meaning of the Dance of Death, and of the life and character of him whose genius has caused it to be called by his name. It may smell too much of mortality and antiquity for this fast-living and forward-looking age; for it is not only a monument of the past, but an exponent of its spirit. We can look back at it, through the mellowing mist of centuries, with curiosity not unmixed with admiration; but we should turn with aversion from such a work, coming from the hands of an artist of our own day. We think, and with some reason, that we do not need its teachings; for we are freed from the thraldom that gave edge to its democratic satire; and we have learned to look with greater calmness, if not with higher hope, upon the future, to which the grave is but the ever-open portal. But we may yet profit by a thoughtful consideration of the eternal truths embodied by Holbein in his Dance of Death; and in the story of his life there is a lesson for every man, and every woman too, if they will but find it.

LIZZY GRISWOLD'S THANKSGIVING.

"So John a'n't a-comin', Miss Gris'ld," squeaked Polly Mariner, entering the great kitchen, where Mrs. Griswold was paring apples and Lizzy straining squash.

"Isn't he?" quietly replied the lady addressed, as the tailoress sat down in the flag-bottomed rocking-chair, and began rocking vehemently, all the time eyeing Lizzy from the depths of her poke-bonnet with patient scrutiny.

"No, he a'n't,--so Mr. Gris'ld says," went on Polly. "You see, I was a-comin' up here from the Centre, so's to see if Sam couldn't wait for his roundabout till arter Thanksgivin'; for Keziah Perkins, she 't was my sister's husband's fust wife's darter, 'n' finally married sister's fust husband's son, she's a real likely woman, and she's wrote over from Taunton to ask me to go there to Thanksgivin'; 'n' to-day's Monday; 'n' I was a-comin' here Tuesday so's to make Sam's roundabout; 'n' yesterday Miss Luken's boy Simon, he 't a'n't but three year old, he got my press-board, when he was a-crawlin' round, 'n' laid it right onto the cookin'-stove, and fust thing Miss Lukens know'd it blazed right up, 'n' I can't get another fixed afore Wednesday, and then I'd ought to be to Taunton, 'cause there a'n't no stage runs Thursday, and there hadn't oughter, of course"----

"We have got a press-board," said Mrs. Griswold, quietly.

"Yes, and I a'n't goin' to grandfather's in my old jacket, Miss Poll," interposed Sam, one of the "terrible" children who are scattered here and there through this world. "Catch me where all the folks are, in that old butternut suit!" added Sam.

But here his father stepped in at the door,--a fine, sturdy, handsome farmer, one of New England's model men, whose honesty was a proverb, and whose goodness a reliance to every creature in Greenfield.

"John isn't coming, wife," said Mr. Griswold, in a steady, sober tone. "He says business will delay him, so that he can only get to Coventry just as we do."

"So you had a letter," said Mrs. Griswold, carefully avoiding a look at Lizzy.

"Yes," said Mr. Griswold, in a very abrupt way.--"Are you ready to go back, Miss Polly? for I've got to go down to the Centre again with a load of wheat."

"Well, yes, I don't know but I be. I ken stay over, if you want help, Miss Gris'ld. I'm a-goin' to the minister's to help Miss Fletcher a little mite this afternoon, but I guess she don't lot on it none; 'n' seein' it's you, I ken stay, if you want help."

Lizzy looked quickly across the kitchen at her mother.

"Oh! no, thank you, Miss Polly, I know Mrs. Fletcher would feel very badly to lose your help, and I really don't need it until to-morrow."

"Then I'll come round to the door as quick as I've loaded up," said Mr. Griswold; and Miss Polly settled back in her chair to wait comfortably; a process much intensified by a large piece of Mrs. Griswold's gingerbread and a glass of new cider, both brought her by Lizzy's hospitable hands,--readier even than usual just now, in the vain hope of stopping Polly Mariner's clattering tongue. But neither gingerbread nor cider was a specific to that end: Polly talked while she ate, and ate while she talked. But while she finishes her luncheon, let us make known to the patient reader whom and what the tailoress discusses.

John Boynton was a step-cousin of Lizzy Griswold's. Her youngest aunt had married a widower, with one son, some five years older than Lizzy, and had always lived in the old homestead at Coventry, with her father; while the other daughters and sons, six in number, were scattered over the State, returning once a year, at Thanksgiving, to visit their birthplace, and bring their children into acquaintance with each other. Eben Griswold, who lived at Greenfield, was nearer home than any of the others, and Lizzy, consequently, oftener at her grandfather's house than her cousins. She and John Boynton were playmates from childhood, and it was not strange that John, who had never known a pleasure unshared by Lizzy, or suffered a pain without her consolation, should grow up in the idea that he could not possibly live without her, an idea also entertained half-consciously by Miss Lizzy, though neither of them ever yet had expressed it; for John was poor, and had no home to offer any woman, much less the petted child of a rich farmer. So Mr. Boynton, Jr., left home to teach school in Roxbury, five years before the date of our story, without making any confidences on the subject of his hopes and fears to Miss Griswold; and she knit him stockings and hemmed pocket-handkerchiefs for him with the most cold-blooded perseverance, and nobody but the yarn and the needles knew whether she dropped any tears on them or not.

Now it had always been John Boynton's custom to give his school Thanksgiving-week as a vacation,--to take the train on Monday for Greenfield, and stay there till Wednesday, when the whole family set off together for Coventry, to spend the next day, according to time-honored precedent.

Whatever John and Lizzy did in those two dull November days, it never has been made known to the present chronicler; it is only understood that no point-blank love-making went on; yet the days always ran away, instead of creeping; and neither of the twain could believe it was Wednesday when Wednesday came. But this year those forty-eight hours were destined to drag past, for John wasn't coming; why, we shall discover,--for Polly Mariner has finished the cider, and the gingerbread is as much subject of inquiry as "The Indians,--where are they?"

"So John Boynton a'n't a-comin'? Well! Hetty Maria Clapp's jest got home from Bunkertown, that's tew mile from Roxbury, 'n' she told Miss Lucas that Miss Perrit, whose sister's son keeps a grocer's store to Roxbury, told that Mr. Boynton, their teacher to the 'Cademy, was waitin' on Miss Roxany Sharp's cousin, a dreadful pretty gal, who'd come down from Boston to see Roxany, an' liked it so well she staid to Roxbury all through October. I do'no's I should ha' remembered it, only 't I hed the dredfullest jumpin' toothache that ever you did, 'n' Miss Lucas, she'd jest come in to our house, an' she run an' got the lodlum an' was a-puttin' some on't onto some cotton so's to plug the hole, while she was tellin'; 'n' I remember I forgot all about the jumpin' while 't she was talkin', so I ses, ses I, 'Miss Lucas, I guess your talkin's as good as lodlum'; 'n' she bu'st out larfin', 'n' ses she, 'Polly Mariner, I declare for't, you do beat all!' 'Well,' ses I, 'I'd die content, ef I could beat John Boynton; fur ef ever I see a feller payin' attention to a gal, he's been payin' on't to Lizzy Gris'ld this four year; and 'ta'n't no wonder 't I think hard on't, for there never was a prettier-behaved gal than her on Greenfield Hill'; an' I ses"----

Lizzy was on the point of "freeing her mind" just at this juncture, when Mrs. Griswold interposed her quiet voice,--

"Don't trouble yourself to defend Lizzy, Miss Mariner; you know John Boynton is her cousin, and he has been here a good deal. Folks will talk, I suppose, always; but if John Boynton marries well, I don't think anybody 'll be more forward to shake hands with him than our Lizzy."

"Of course I shall," said the young lady, with a most indignant toss of her head. "Pray, keep your pity, Miss Polly, for somebody else. I don't need it."

"H'm," sniffed the sagacious Polly. "Well, I didn't suppose you'd allow 't you felt put out about it; and I wouldn't, if I was you. Besides, there's as good fish in the sea as----I declare for 't! there's Mr. Gris'ld! I'll come round early to-morrer. Good-day, all on ye!"

So Polly departed.

"I don't care, if he is!" said Lizzy, flinging herself down on the settle, when the door closed behind Polly's blue cloak.

Mrs. Griswold said nothing, but Sam looked up from his whittling, and coolly remarked,--

"It looks as if you did, though!"

"Sam!" said his mother, with--emphasis.

Sam whistled, and, with his hands in his pockets, having shut his jack-knife with a click, and kicked his shavings into the fire, muttered something about feeding the pigs, and beat an ignominious retreat,--snubbed, as the race of Adam daily are, and daily will be, let us hope, for telling "the truth, the whole truth, and nothing but the truth."

For Lizzy certainly did look as if she cared. A pretty enough picture she made, too, flung down on the old black settle, one well-shaped hand pinching the arm as if it had been--John Boynton's!--the other as vigorously clenched on a harmless check-apron that showed no disposition to get away; her bright red lips trembling a little, and her gray eyes suspiciously shiny about the lashes, while her soft black hair had fallen from part of its restraints on to the gay calico dress she wore, and her foot beat time to some quick step that she didn't sing!

Mrs. Griswold did not care for the picturesque, just then; she cared much more for Lizzy, and her acute feminine instinct helped her to the right word.

"I don't believe it, dear!" said she; "you'd better finish straining that squash, or Widow Peters won't have her pies for Thursday."

Lizzy went to work,--work is a grand panacea, even for sentimental troubles,--and in doing battle with the obstinate squash,--which was not as well cooked as it might have been,--Lizzy, for the moment, looked quite bright, and forgot John, till her father came in to dinner.

Somebody once said that Mrs. Griswold was "a lesser Providence," and Lizzy thought so now; for scarce were they all seated at dinner, when she remarked, in a very unconcerned and natural way,--

"What keeps John in Roxbury so long, father?"

"He has business in Boston," curtly answered Mr. Griswold.--"Sam, did you go over to the Corners, yesterday, about those sheep?"

Sam answered, and the conversation went on, but John's name did not enter it, nor did Mr. Griswold offer to show his letter either to mother or Lizzy.

Now the latter lady, not being a perfect woman, had sundry small faults; she was proud, after a certain fashion of her own; slightly sentimental, which is rather a failing than a fault; but her worst trait was a brooding, fault-seeing, persevering tact at making herself miserable, scarce ever equalled. The smallest bit of vantage-ground was enough for a start, and on that foundation Lizzy took but a few hours of suspicion and imagination to build up a whole Castle Doubting. The cause she had to-day was even greater than was necessary; it was peculiar that her father should be so reserved; it was more strange that he so perseveringly withheld John's letter; and certainly he watched Lizzy at her work with unusually tender eyes, that sometimes filled with a sort of mist. All these things heaped up evidence for the poor girl; she brooded over each separate item all night, and added to the sum Polly Mariner's gossip, and looked forward to the day when everybody in Greenfield should say, "Lizzy Griswold's had a disapp'intment of John Boynton!" Poor, dear, Lizzy! as if that were an unheard-of pang! as if nine-tenths of her accusers were not "disapp'inted" themselves,--some before, some after marriage,--some in themselves, some in their children, some in their wretched, dreary lives! But there was only one John and only one heart-break present to her vision.

Polly Mariner came to breakfast next day, and pervaded the kitchen like a daily paper. Horrible murders, barn-burnings, failures, deaths, births, marriages, separations, lawsuits, slanders, and petty larcenies outran each other in her glib speech, and her fingers flew as fast on Sam's blue jacket as her tongue clappered above it.

Lizzy's pride kept her up before the old woman; she was in and out and everywhere, a pretty spot of crimson on either fair cheek, her eyes as sparkling and her step as light as any belle's in a ballroom, and her whole manner so gay and charming that Polly inwardly pronounced John Boynton a mighty fool, if he dodged such a pretty girl as that, and one with "means."

But night came, and Polly went. Lizzy went to bed with a bad headache,--convenient synonyme for aches of soul or body that one does not care to christen! Sleep she certainly did that night, for she dreamed John was married to a rich Boston girl with red hair and a yellow flannel dress, and that Polly Mariner was bridesmaid in the peculiar costume of a blue roundabout and pantaloons! But sleep with such dreams was scarcely a restorer; and Wednesday morning, when Mrs. Griswold asked Lizzy if she had put up her carpet-bag to go to Coventry, she received for answer a flood of tears, and a very earnest petition to be left at home.

"Leave you, Lizzy! Why, grandfather couldn't have Thanksgiving without you! And Uncle Boynton! And Aunt Lizzy is coming up from Stonington with the new baby;--and--John, too! You must go, Lizzy, dear!"

"I can't, mother! I can't!" said the poor girl, sobbing after every word; "please don't ask me. I can't! I've got a headache; oh, dear!" Here a fresh burst of tears followed, as Lizzy buried her head in her mother's lap.

Mrs. Griswold was both grieved and astonished; she sat speechless, stroking the soft hair that swept over her knee, till Lizzy's sobs quieted, and then said,--

"Well, dear, if you're set on staying at home, I won't oppose it, if your father thinks best; but I must ask him; only what will you do, Lizzy, here alone all night?"

"Chloe and Peter will be here, mother; and I'll make Chloe sleep in Sam's room, and leave the door open; and when they go down to Dinah's, I'll lock up, and I shan't feel afraid in broad day."

Mrs. Griswold shook her head doubtfully.

"I'll see what father says," said she. So Lizzy lifted her head, and smoothed her hair, while her mother went out to the barn to consult "father."

Here she was, if anything, more puzzled. Mr. Griswold heard the proposal with a rather misty look, as if he didn't see why, and when his wife finished, said, gravely,--

"What is it, Susan? Anybody 't has lived as long as I have knows pretty well that a woman's headache stands for a whole dictionary."

"Why, you see," said Mrs. Griswold, twisting a little lock of hay in her fingers, and faintly blushing, as if the question had been of herself rather than Lizzy, "she--well, the fact is, husband, she's kind of riled about John's not coming; you see we haven't been real particular about the children, and so"----

"You needn't spell it, Susan," said Mr. Griswold, with a half smile; "Polly Mariner's tongue helped on, I guess. You let Lizzy stay, if she wants to; 'twon't hurt her; when folks want to sulk, I generally let 'em. She can stay."

He began to whistle "Yankee Doodle" and pitch hay energetically, while "Susan" was within hearing; but how would that dear woman's soul have floundered deeper and deeper in the fog that clouded it now, had she seen her grave husband sit down on one end of the hay-mow and laugh till the tears stood in his keen eyes, and then, drawing his coat-sleeve across the shaggy lashes, say to himself, "Poor child!" and begin his work with fresh strength!

So matters were all arranged. After dinner, the rusty, dusty, old carriage appeared at the door, with the farm-horses harnessed thereto, jingling, and creaking, and snapping, as if oil and use were strange to its dry joints and stiff straps. Mrs. Griswold mounted to the back seat, after kissing Lizzy with hearty regret and tenderness,--her old gray pelisse and green winter bonnet harmonizing with the useful age of her conveyance. "Father," in a sturdy great-coat and buckskin mittens, took the reins; and Sam, whose blue jacket was at that moment crushing his mother's Sunday cap in a bandbox that sat where Lizzy should have been, clambered over the front wheel, to the great detriment of the despised butternut suit, and, seizing the whip, applied it so suddenly to Tom and Jerry that they started off down the Coventry road at a pace that threatened a solution of continuity to bones and sinews, as well as wood and leather.

Lizzy turned away sadly from the door. Who can say that just at that minute she did not wish she had gone, too? But nobody heard her say so. She went up-stairs to her room, and tried to read, but couldn't attach any ideas to the words; she was half an hour over a page of a very good book, and then flung it upon the bed with an expression of disgust, as if it were the book's fault. Poor authors! toil your fingers off, and spin your brains out! be as wise as Solomon, or witty as Sheridan! your work is vanity and vexation of spirit, unless the reader's brain choose to receive and vivify the hieroglyphs of your ideas; think yourselves successful because a great man praises you, and to-morrow that man is twisted with dyspepsia, or some woman passes him without a smile, and your sparkling sketch, your pathetic poem are declared trash! Such is fame! Of which little homily the moral is,--Write for money! What a thing it is to be worldly-wise! So was not Lizzy; if she had been, she would now be at Coventry, kissed and caressed by grandfather, aunts, uncles, cousins, and----But we won't anticipate.

Lizzy flung down the book, and went to her closet for another; but it was as good (or as bad) as Bluebeard's closet, for there hung the pretty crimson merino, with delicate lace at the throat and round the short sleeves, in which Miss Lizzy Griswold once intended to electrify Mr. John Boynton this very evening. True it is that short sleeves are not the most sensible things for November; but Lizzy was twenty, and had such round, white arms, that she liked to wear short sleeves, as any girl would; and who is going to blame her? Not I! A girl doesn't know her privileges who was never just a little vain,--just a little glad to be pretty when John is by. Lizzy looked at the crimson merino, and at the smart slippers on the door with a shining black bow on each instep. There, too, on a little low table, was a green box; somebody had left it open,--mother, perhaps,--so she saw on its cotton bed a red coral bracelet, that came from Roxbury, or thereabout, last year at this time. Lizzy shut up the box, and went down-stairs to get tea.

Chloe was indignant to think "Miss 'Lisbeth" thought she couldn't get supper without help, and Miss 'Lisbeth was vexed with Chloe for being cross. And then, when supper came, the tea seemed to be very unwilling to be swallowed, and the new bread was full of large lumps that choked a person, and the lamps didn't burn clearly at all,--and--and--when Chloe, still sulky, had cleared the table, Lizzy sat down on a low cricket beside her mother's stuffed rocking-chair, and had as good a cry as ever she had in her life, and felt much better for it.

So she sat there, with her head on the arm of the chair, rather tired with the cry, rather downhearted for want of the supper she hadn't eaten, and making pictures in the fire, when all of a sudden it came into her head to wonder what they were doing at Coventry. There was grandfather, no doubt, in the keeping-room, telling his never-tiring stories of Little Robby, and Old Bose, and the Babes in the Wood; of singing the ever-new ditty of

"Did you ever, ever, ever, ever, ever, ever, ever,"--

and so on, _ad infinitum_, till you got to--

"See a man eat a whale?"

to some half dozen children; while sweet Aunt Lizzy, serenely smiling, rocked the fair little baby that fifteen cousins had kissed for welcome that day; and Uncle Boynton trotted the baby's brother on his knee, inviting him persistently to go to Boston and buy a penny-cake, greatly to little Eben's aggravation, who would end, Lizzy knew, by crying for the cake, and being sent to bed. Then there were Sam, and Lucy Peters, and Jim Boynton, up to all sorts of mischief in the kitchen,--Susan Boynton and Nelly James cracking nuts and their fingers on the hearth,--father and mother up-stairs in grandmother's room; for grandmother was bedridden, but kindly, and good, and humorous, and patient, even in her hopeless bed, and nobody was dearer to the whole family than she. Then, of course, there was a fire in the best parlor, and there were all the older cousins, telling conundrums and stories, and playing grown-up games, and some two, or four, may-be, looking out in couples at the moonshine, from behind the curtains,--Sue James, perhaps, and John. Sue was so pretty!

Lizzy's head bent lower on the arm of the chair; her thoughts travelled back over a great many Thanksgivings,--years ago, when she wore short frocks, and used to go with John to see the turkeys fed, and be so scared when they gobbled and strutted with rage at her scarlet bombazette;--how they used to pick up frozen apples and thaw them in the dish-kettle; how she pounded her thumb, cracking butternuts with a flat-iron, and John kissed it to make it well,--only it didn't! And then how they slid down-hill before church, and sat a long two hours thereafter in the square pew, smelling of "meetin'-seed," and dinted with the kicks of weary boys in new boots; and finally, after the first anthem and the two hymns and the three prayers and the long sermon were over, came home to dinner, where the children had their own table at the end of the grown people's board, and Lizzy always took the head and John the foot,--till, exhausted by the good things they had eaten, and tantalized by the good things they couldn't eat, they crept away to the fire and their picture-books for a quiet hour, winding up the day with all the plays that country and city children alike delight in.

Then came recollections of later days, when John was a young man, and Lizzy still a little girl,--when long talks banished turkeys and apples and sliding,--when new books or sleigh-rides crowded out the old games,--when the two days of John's yearly visit were half-spent in the leafless, sunny woods, gathering mosses and acorn-cups, delicate fern leaves, and clusters of fire-moss, and red winter-green berries, for the pretty frames and baskets Lizzy's skilful fingers fabricated,--when he shook hands at coming and going, instead of kissing her;--but it seemed just the same, somehow. Dear me! those days were all gone! John didn't care about her any more! he was in love with a beautiful Boston lady. Why should he care about a homely little country cousin? He would go to live in Boston in a great big house, and he'd be a great man, and people would talk about him, and she should see his name in the papers, but he never would come to Coventry any more! And he'd acted as if he did love her, too!--that was men's way,--heartless things! If John had a good time, what did he care if Lizzy did grow into a gray-haired, puckered-up old maid, like Miss Case, with nobody to love her, or take care of her, or ask about her, or--or--kiss her?--The climax was too much for Lizzy; great big tears ran down on the arm of the stuffed chair, and she would have sobbed out loud, only Chloe opened the door, to put up the tea-things, I suppose, and Lizzy wouldn't cry before her. But, for all that, she didn't hear Chloe come to the fireplace; she only felt her sit down in the big chair, and, simultaneously, a pair of strong arms lifted Miss Lizzy on to John Boynton's knee, and held her there. It wasn't Chloe.

I declare, one gets out of patience with these men! they do astonish a person so sometimes, one doesn't know what to do or say. Lizzy had been thinking to herself, not two minutes ago, with what cool and smiling reserve she should meet John Boynton, how dignified and kindly distant she would be to him,--and now,--well! it was so sudden,--and then, as I said before, these men do get round one so,--if you happen to love them.--Lizzy forgot, I suppose; at any rate, she wasn't dignified, or reserved, or proper, or anything of the kind, for she just hid her pretty head on his square shoulder, and said, "Oh, John!"--"slowly, and nothing more,"--as Mr. Tennyson remarks about cutting Iphigenia's head off with a sharp knife.

I don't know that John talked much, either. I rather think Lizzy got over the climax that had troubled her a little while ago. Presently, she raised her head and gathered up her hair that had fallen down, and became painfully aware that she had on only a blue calico! John never knew it; he knew somebody had a very sweet face, full of cloudy blushes and sunshiny smiles, and, not being a Pre-Raphaelite, the foreground was of no consequence to him.

So, after a time, Lizzy slipped down to her cricket again, still leaning on the arm--of the chair,--and John expounded to her the excellent reason that had delayed his coming home. He had been offered a large salary to take the head of a public school in Boston, and those two days had been devoted to arranging the affair; he had satisfied the school-committee as to his capacity, and made up his mind on several points of minor importance to them,--but, perhaps, greater to him. Among others, he had found a house, a tiny house, with a little yard behind, and a view of Boston Harbor from the upper windows, all at a reasonable rent, prospect thrown in; this house he had hired, and now--he had come to Greenfield for a housekeeper.

Lizzy suddenly discovered that she was hungry, and invited John into the kitchen to get a piece of pie; but, after all, instead of eating hers while he was eating his, she went up-stairs, brushed out her hair and coiled it up with a coral-topped comb, that came to light, very strangely, just in time,--put on her merino frock, her bracelet, and her slippers,--rolled herself up in shawls and hoods and mittens, and was lifted into John's buggy, to old Chloe's great delight, who held the lamp, grinning like a lantern herself, and tucking "Mr. John's" fox-skin round his feet, as if he had been ten years old.

So Lizzy Griswold did get to Coventry the night before Thanksgiving, after all; and when Uncle Boynton met her at the door, he called her "my dear daughter." Perhaps, as John had told Lizzy, on the drive over, that her father had heard all about his business and his intentions, in that letter she did not see, the young lady had decided to disinherit him, and adopt Uncle Boynton in his place; rather an unfair proceeding, it is true, since the letter was withheld by John's special request; and, indeed, Lizzy didn't act like a "cruel parient" to her father, when he came, after uncle, to give her a welcome.

They had a merry time at Coventry that Thanksgiving,--even merrier than another smaller assemblage, that took place at Greenfield about Christmas, when Polly Mariner came over a week before-hand to make Sam a new suit throughout, and Lizzy looked prettier than anybody ever did before, in a fresh white dress, and a white rose, off grandmother's tea-rose-bush, in her hair. It is on record, that she behaved no better than she did that evening when somebody found her crying in a blue calico; for Sam was overheard to say, as Polly hustled him off to bed, that, "if ever he was married, he guessed they wouldn't catch him makin' a fool of himself by kissin' a girl right before the minister!--if he'd have been Lizzy, John Boynton's ears would have sung for one while; but girls _were_ fools!"

So John Boynton got a housekeeper; and Lizzy had more than one Thanksgiving-day in her life, beside the Governor's appointments.

* * * * *

ACHMED AND HIS MARE.

An old Arabian tale the truth conveys,
That, honor's passion avarice outweighs.

* * * * *

Brave Achmed owned a mare of wondrous speed;
He prized her much above his wife or creed.

And lest some one should steal that precious mare,
He guarded her with unremitting care.

He tied her every night before his tent;
The fastening-cord then round his pillow went.

When all in slumber lay, the robber crept,
Unloosed the cord, and on the courser leapt.

"Wake up!" he cries,--"'tis I, the thief, who call;
See now if she in flight is chief of all!"

Mount Achmed and his tribe in wrath and shame,
And chase him as a tempest chases flame.

Hot Achmed nearly to the robber came,
When thus he thought: "My mare will lose her fame.

"If I o'ertake her, she is then outrun;
But if I reach her not, I am undone.

"Oh, better she were stolen before my face
Than have her vanquished in this desperate race!"

One secret sign his mare was taught to heed,
Whenever she must try her utmost speed.

He to the robber screamed, "Quick, pinch her ear!"
The sign she felt with answering love and fear.

As like a level thunderbolt she flew,
All chase was vain, the vexed pursuers knew.

Before this self-betrayal blank surprise
Fills Achmed's comrades, and their wondering cries

Demand, "How shall thy foolish act be named?"--
"My mare is lost, her glory is not shamed."

He says: "I knew, that, if her ear he nipped,
The darling prize could never be outstripped."

CHARLES LAMB AND SYDNEY SMITH.

There were in Great Britain, soon after the commencement of the present century, three remarkable groups of young men. Distinct schools of thought, like the philosophic schools of Greece, each of the groups was marked by peculiar ideas, tastes, and sympathies. The French Revolution, with its menace of fundamental changes, clashing with sentiments and convictions which ages had rendered habitual and dear, called for an inquiry into great principles and the grounds of things. The Napoleonic age had the terrific formlessness of chaos. Did it premonish the passing away of old things, and herald the birth of a new order and a new social state? or did the trouble spring from innate madness in the "younger strengths" which were trying to overthrow the world's kingdoms? Should venerable Royalty, after howling in the wilderness and storm, be again enthroned? or should men attempt to realize the fair ideals which the word Republic suggested? Should religion be supplanted? should Protestantism be confirmed? or should, perchance, the crosier of the Old Church be again waved over Europe? These were the questions that were mooted, and they aroused unwonted activity and vigor of thought as well in literature as in politics.

The old century left in England few celebrated names to take part in the literature of the new. The men who made the poems, romances, dramas, reviews, and criticisms for the first quarter of our century had almost all been in youth contemporaries of the Reign of Terror, and had been tried in that unparalleled period as by a fiery furnace, while their opinions were in a formative state. Crabbe and Rogers were traditions of the time of Goldsmith and Johnson; Gilford wrote with a virulence and ability which he might have learned in boyhood from Junius; but with these exceptions, English literature fifty years ago was represented by young men.

We mention, as the first group of young thinkers, the founders of the "Edinburgh Review,"--Sydney Smith, Francis Jeffrey, Francis Horner, and Henry Brougham,--whose united ages, when the first number of that review appeared in 1802, made one hundred and seven years. Members of the Whig party, possessing much learning and more vivacity and earnestness, and having among them, if not severally, abundance both of daring and prudence, they startled conservative people, evoked the best efforts of authors by their brilliant castigations, and inaugurated the discussion of measures of reform which it took thirty years to get through Parliament. The critic of the company was Francis Jeffrey, whose happiness it was to live just when he was needed. Without capacity to excel either in the realm of ideas or of facts, he was unrivalled in the power of discovering the relations between the two. He was neither a statesman, philosopher, nor poet; but while the heavens and the earth threatened to rush in confusion together, he was an admirable _cicerone_ to the troubled and wandering wits of men. He had no inherent qualities, and, if other people had not existed, would not have been alive himself; his faculty was simply an eye for relations, and his mental life began when some one threw a series of thoughts across his line of vision. He could tell all about those thoughts,--how large each was, what complexion they had, how they stood in order with each other, and how they compared with other thoughts which he remembered having seen before. Such a mind might have achieved success among the technicalities of the law, but nowhere else, had not the "Edinburgh Review" been created. Jeffrey's critical articles have little value when regarded according to their aim and as integral compositions; the arguments which they contain are often insufficient, and the literary judgments wrong. But they are full of the scattered elements of thought. Many of the best ideas of the books and men of which they treat are stated in them with admirable clearness and piquancy, and they are, therefore, pleasant secondary sources of information.