Introductory material (continued 2)

¹ Goldsmith is the only natural historian, I believe, who has urged the claim of the goose to a participation in this enviable human quality, vanity. In his "Animated Nature" he has the following remark in his natural history of the goose, of which I can give only the substance, not having the volume before me. Speaking of the action commonly called "the strutting of the gander," he says: that in this situation, there is probably no animal on the face of the earth more important in the eyes of another, than a gander in the eyes of a goose!! Verily, I think, (with due submission) he is mistaken; for a fully whiskered, well mustached beau, with all his bristly honors thick upon him, is to a belle, as far above the gander in the estimation of a goose, as imagination can possibly conceive.

At the head of these fashions or customs, pre-eminent above the rest, we find the Conversation Party, the Soiree, and the Squeeze. The first is admitted to be an emigrè from Italy, although the term is here anglicised; the second is from France, and the third from —— nobody knows where, unless from our mother country Great Britain; for Johnson gives both a Saxon and a Welsh etymology to it, both meaning to press or crush between two bodies; which meaning their American derivative (much to its honor,) has most faithfully preserved.

The conversation party would naturally be deemed by one not in the secret, a party particularly formed for the pleasures of conversation; for imparting and receiving agreeable thoughts; for blending amusement with oral instruction; in a word, for such a voluntary and talented reciprocation of ideas as would improve the taste, gratify the feelings, and heighten the mental enjoyment of all the parties concerned. Is it this or any thing that bears the slightest resemblance to it? I ask an answer from any individual who has ever been to one of them, no matter with how much care it might have been selected. To these parties, such as they really are, I have no intention here to object. All I wish or aim at now, is, to have them called by their right names, as every thing ought to be, if we really desire to confine language to its proper use, which is, to make ourselves, at all times, clearly understood. But in styling these things Conversation Parties, before persons who had never been at them, we should practice the grossest deception. For instead of such an assemblage as the current meaning of the term would lead them to expect, and might induce them to seek, they would soon find themselves surrounded by a Babel-like confusion of tongues, where all sorts of odds and ends of unconnected exclamations and eliptical sentences are uttered simultaneously, and in the highest vocal key, by every member of the company—the mules only excepted. Why they should ever frequent such uncongenial spots, is more, I believe, than any one can tell. But certain it is that some of them will always be found there, although as much out of place as the Alumni of the Deaf and Dumb Asylums would be in Congress Hall, attempting to take a debating part in that other Tower of Babel, as John Randolph, with his customary felicity of conception, used to call it.

Of the Soirée, I may truly assert that it is an exotic, still so uncongenial, so illy suited to our people, and even to their organs of speech, that not one in a thousand has learned so much as to pronounce its name correctly. Some, even of those who are so far Frenchified as to have been to France, and consequently to interlard their mother tongue with unintelligible French phrases, by way of authenticating the extent of their travels, call it "Swar-ree;" as if it were a place where all the attendants were to have oaths of some sort or other administered to them, so as to entitle them to be designated Sware-rees. Others again, in a more sportsmanlike manner, pronounce it So-ree, which (as Mr. Jefferson has told us,) is the true Indian appellative for the Rallus, or water-rail. Such orthoepists, we may suppose, if asked where they had been, on returning from a party of the kind, might well answer, in the Virginia sportsman's dialect, "we have been so-russ-in;" for this twistification of the term from its original meaning would be nothing comparable to many that have been made by etymologists of the highest reputation. For instance, all Virginia sportsmen, living near fresh water marshes, know well, that at so-russ-in parties, (as they universally call them,) the great object is to kill and eat fat birds. But a principal object of a soirée party being to catch and use what may well be figuratively called fat birds, the substitution of the term "so-russ-in party" for a "soirée party" is amply justified upon all etymological principles. I therefore take the liberty of strongly recommending it, unless our soirée-giving gentry would suspend their operations long enough, at least to learn from some native French teacher how to invite a French gentleman to their parties, in language that he himself would understand; since to ask him to a swàr-ree or sò-rée would be quite unintelligible.

To gratify the curious I have consulted a friend as to the literal meaning of the French word "soirée," (being no French scholar myself) and find that the term, like thousands of others in all languages, has been pressed from its original signification into its present service, by a sort of metonymy, as the rhetoricians call it; and instead of being applied to designate that portion of the twenty-four hours which we call evening, is now used to express the receiving of short evening visits on any named day, by one's friends and acquaintance. This, according to one of Leontine's letters, published in your February number, seems to be the French fashion. But we Southerners of these United States, either from ignorance or design, have so innovated upon the foreign practice, that it would puzzle a much more experienced man than myself in such matters, to explain what is to be understood, in Virginia parlance, by swar-ree or so-ree, or whatever other barbarous pronunciation they choose to give the French word. I can only say, that I myself have seen a few thus variously called, each of which proved a kind of olla podrida or dish of all sorts; fish, flesh and fowl in one place; a non-descript, desultory kind of dancing in another; all talking-and-no-listening politicians battling in a third; and card playing, drinking and uproarious mirth in a fourth part of the general assemblage, wherein were gathered together, as many as could be, of all sizes and sorts of persons, "ring-streaked, speckled and spotted" to the full, as much as Laban's flocks themselves. Take notice, good Mr. Editor, that I am not now daring to censure, but only to describe, as well as I can, what my own eyes have beheld. I am not now "telling tales out of school;" for my school going days furnished me with no such secrets, however "the march of mind" may have since disclosed them to other tyroes in the pursuit of education.

The Squeeze I shall endeavor more particularly to describe; since my reminiscences, although "few and far between," are still so vivid, that I can venture to delineate them without fear of their suffering, at least from forgetfulness. It is true that I cannot say, as Æneas did to queen Dido, of his sufferings at and after the siege of Troy—"quorum pars magna fui;" as one or two experiments quite sufficed for me; but I can truly apply the same line to myself, could I only substitute the word patiens for "magna," without too much offence against the measure of the poetry, and I could then give in my experience, as the Trojan hero did, in perfect sincerity and good faith.

Know then, sir, that in the year and month ——, and on a certain night, I was seduced by curiosity—that fell destroyer of our race—to go, for the first time, to a party called a Squeeze, in the city of Washington, denominated by some "the Grand City of O," after the capital in Cunningham's amusing fiction of "The World without Souls." Being accompanied by one of the initiated, my debut was readily made as others made theirs. Without material obstruction we were ushered through the passage by the escorting valet; but when we reached the door of the principal pressing and crushing room, hic labor, hoc opus est! here commenced that series of efforts and struggles which was not soon to end, as I afterwards found, to the no small detriment of various parts of my body and limbs. Through this door also, my entrance was at last effected; for what obstacle may not perseverance overcome? A strong effort of my own in the van, and the unsolicited aid in the rear of those who, like myself, wished to see all that was to be seen, very soon protruded me "in medias res," which I beg leave to render in idiomatic English—"up to the hub" in the business. Not many minutes however elapsed, before the pressing and crushing became so intense as to excite an earnest desire for a change both of place and posture. Accordingly I bent my course towards another room, having understood there were several prepared for the accommodation! (strange misnomer, thought I,) of the company. This joint removal of body and limbs, which I had a particular fancy should not be disunited, having kept company with each other from my birth, I found toilsome and oppressive in no ordinary degree. For the instant I began to move I was met by a strong counter-current composed of a compact mass of my co-squeezers and squeezees—many of whom were of such "breadth and heft" as would verily have done great honor to a Massachusett's cattle show of the highest grade, had the subjects only been quadrupeds instead of bipeds, and in equal condition for market.

A forcible entry having been made into another room, I found myself standing within a few inches of a strange but very lovely young lady. She also was standing, apparently to execute her part of a cotillion, within a circle which the united pushing and shoving of the eight operatives required for the dance, had not been vigorous enough to enlarge beyond a diameter of some six or seven feet. Being compelled to stand immediately behind her, my eyes naturally fell upon her shoulders, which the dominant fashion then required to be literally half naked. With equal pain and wonderment I observed, that by some invisible machinery, the circulation of the blood was so checked on the visible side of the shoulder strap, as to give a livid appearance to the contiguous skin; while the opposite edges of the scapulæ (I would not for the world, in such a case, say shoulder-blades,) were forced as near touching as they could be without dislocation. This, thought I to myself, must surely be a fashion invented by some bright etherial genius, regardless of bodily suffering, for a squeeze; since its adaptation to that object could not admit of a doubt—an adaptation, by the way, more complete, beyond comparison, than the present much admired, although evidently incompatible fashion of the bishop sleeves.² True, there seemed to be no small loss in shoulder comfort; but the manifest gain in bodily compression, that grand desideratum in a squeeze, to which all else must be sacrificed, appeared far to overbalance it, since according to the best off-hand calculation I could make, ten bodies with their appendant limbs thus prepared, could readily be wedged into a space which before would suffice only for nine, dressed after any previous fashion. But what is there too arduous, too great, for the matchless genius of our fair countrywomen, when stimulated by an adequate cause, and exercised upon a suitable subject!!

² Most, if not all of our fair countrywomen, have vainly supposed this to be quite a modern fashion; but that it is nothing more than an old one revived, and as ancient as the days of the Prophet Ezekiel, when it was all the rage, is indisputably proved by the 18th verse of his 13th chapter. There, the good old man, in all the bitterness of his heart, exclaims—"Wo! to the women that sew pillows to all arm holes, and make kerchiefs upon the head of every structure, to hunt souls!!"

Although I felt much for the poor girls thus trussed, thus cross-hobbled, I resolved to wait a few moments to witness the "modus operandi" of this exhilarating dance, which, judging by all the methods that I had ever seen, required for its performance a circle at least three times as large as the one then before me. I knew too, enough of the prevalent fashion of dancing cotillions to be aware, that its most stylish mode then consisted in a kind of alert vigorous movement, which was most truly but somewhat coarsely called, "kicking out." This, it was manifest, could not there be executed according to the law "in that case made and provided," without imminent danger to the anterior tibiæ of the legs—in vulgar parlance, the "shin-bones" of the parties concerned. It was therefore with much apprehension of the danger, at least to "the woman kind," that I awaited the incipient gesticulations of this cotillion party. My fears were soon relieved, by perceiving that the operatives had substituted, with admirable ingenuity, a kind of lackadaisical slipping, sliding, flat-footed motion, which completely guarded them from the danger I had most ignorantly and unnecessarily anticipated. To be sure it no more resembled the lively animating exercise, called dancing in my boyish days, than the dreamy motions of the somnambulist do the elastic springs of the wide awake tight rope dancer. But it possessed the rare merit of perfectly adapted means to ends, and I could ask no more; for Harlequin himself could hardly have done better under similar duresse. By the way, Mr. Editor, I have been told that this somnambulizing motion has now become the very "tip-top" of the mode in all kinds of dancing,—the waltz and the horse-galloping dances only excepted. In this change the arbiters and reformers of our fashions seem to have displayed much more wisdom than we usually find exerted in matters of the kind, since it is the all levelling political principle carried out into our social amusements; for it places the active and the clumsy on a footing (if you will pardon a pun,) of perfect equality, the smooth and even tenor of which is never disturbed; unless when some credulous sexagenarian is over-persuaded to perpetrate the folly of turning out to dance among a party of girls and boys. They make a laughing stock of him, while he, in the sincerity of his heart, and with all the fast perishing vigor of his limbs, caricatures (for he can do nothing more,) the athletic cuts and shuffles of the by-gone century, to which nothing could possibly do anything like justice but an uncommon degree both of youthful vigor and activity. That you, sir, who are quite too young to have any personal knowledge of these important matters, may be sure that I do not exaggerate in making this last assertion, it will suffice to inform you, that the most celebrated steps of that time,—steps, which if perfectly executed, always stampt the performers as first rate dancers—were styled, in the metaphorical language of those merry making days, "forked lightning" and "chicken flutter" for the gentlemen, and "heel and toe" and "cross-shuffle" for the ladies. The first I confess, was rather "a far-fetched metaphor," to say the least of it; but the other three appellations were as perfectly appropriate as could well be conceived. It might also be truly affirmed of all, that there was nothing in any of them, in the slightest degree indecorous, as in the waltz and gallopade; for it seemed not then to have been imagined that dancing could be perverted to any such purpose as the excitation of highly culpable sentiments.

If you will pardon this digression, sir, in consideration that old men will be garrulous and prosing, I will now squeeze you back from the dancing-room to the one first entered, and with somewhat less difficulty, I hope, than I myself encountered.

There I was immediately attracted by a conspicuous gathering of heads; of bodies I could see none, except those in juxtaposition. It was drawn together, as I conjectured, by something rather beyond the common spectacles of the night. Being determined to have my share of the sight, I forced my way near enough to behold, in the midst of a circle not much larger than a hogshead hoop, a tall young lady, elegantly dressed, (that is as far as perfect conformity to the fashion could make her so) and quite a good figure, but too much "drawn" (as the racers say) in the waist. And what, think you, was her employment? Why—attitudinizing and thumping away most theatrically upon a tambourine! This was the finishing stroke—the finale of my squeeze-going days, or rather nights; and I hastened to squeeze myself out, with much more alacrity than I had squeezed myself in—marvelling all the way as I rode home with my equally surfeited companion, at the frequency with which we call actual and severe toils, pleasures; and at the innumerable contrivances to which the devotees of the latter resort intentionally, as we must presume, to gain, but in reality to mar, their object. Of these contrivances I had just swallowed my first and last dose, as I then designed it to be, of the one called a Squeeze; a contrivance which seemed to me altogether matchless in its unsuitability of means to ends; that is, if it was really designed for a party of pleasure! for after one or two hours most diligent search, I had utterly failed in finding a single spot, where even one individual could either sit, stand or walk, with the slightest degree of convenience or comfort!!

To give you a still better idea of the supreme folly justly attributable to such plain country folks as myself, for venturing into places so entirely unsuitable to us, I will conclude this long epistle by relating a real incident once told to me by a gentleman who had it from the sufferer himself.

Some years ago a kind of "Hickory Quaker," (as he called himself,) but whose real name it is needless to mention, found his way, "par hazard," from one of the middle States to Congress. Being thus ranked among the honorables of the land, it was not long before he received an invitation to a Squeeze. His intense curiosity to see something of which he could not, from the name, form the slightest conception, got the better of his prudence, and he very rashly determined to go; although, as he afterwards confessed, in relating his mishaps, not without many misgivings which he with difficulty suppressed. On consulting one or two of his friends, who were already initiated into all the mysteries of squeezes, as to the proper time to go, the only information given was, "be sure not to be the first of the company." This injunction relieved him of much of his apprehension, being very confident of his power to fulfil it. His confidence however, proved too overweening, for having waited and waited until his usual bed hour at home, the sudden fear seized him of erring in the contrary extreme, and finding the party broken up. Under this impression he hurried off, in his best Quaker dress, as fast as his legs could carry him, for taking a hack was out of the question. Having soon arrived, he knocked loudly at the door with his knuckles, not being yet cognizant of the bell-bolt contrivance,—demanding, at the same time, in his customary way, "who keeps the house?" The opening of the door immediately followed, and he was about to enter; but the finely dressed servant whom he mistook for the master of the house, manifesting, not only much surprise, but some strong symptoms of resistance, friend Ephraim (as I beg leave to call him,) deemed it best to say—"I have some particular business with the lady, who sent for me herself." This at once proved an "open sesamè," and in he marched, putting as bold a face on the matter as he could, and anxiously hoping to find, in a few minutes, some friends to keep him in countenance. But alas! it is not in man that liveth, to form hopes which shall not be disappointed; for upon being ushered into the lady's presence, he found her, to his utter astonishment, entirely alone, and looking at him as a perfect stranger; and well she might, having never cast eyes on him before. This most unexpected occurrence, this jumping, as it were, out of the frying-pan into the fire, so utterly confounded him, that he was very near taking to his heels with all possible speed, and escaping by the way he came, if he could find no shorter exit. Luckily however, he bethought him of producing his credentials for admission, which he had most fortunately slipped into his pocket, being yet ignorant of the fashion of leaving it in his room, as if through carelesness, but in reality to display the extent of his honors, so far as these depend upon the number of one's visiting acquaintance. The exhibition of his ticket instantly put matters to rights; the lady's countenance brightened up with smiles ineffable; he was overwhelmed with apologies for not knowing him, although greatly did he marvel how she should; and so much pleasure and happiness was expressed at his having honored her party by his presence, that he began to ask himself, with infinite self-complacency, whether there might not really be, as he had heard when a boy, such a thing as "love at first sight." The repetition however, of nearly the identical expressions to every gentleman who afterwards entered, brought to his mind the mortifying conviction, either that the boyish tale was false, or that his hostess must be in love with every gentleman of the company, which he at once pronounced impossible.

Until more company arrived, our quaker friend found himself in a sad predicament; for having no plausible excuse for escape, and deeming himself bound, at least to try to entertain the lady with some kind of conversation, he sat many minutes pondering over the few topics on which he thought himself able to converse, but finding none that exactly pleased him, he at length resolved to hazard something about cabbages, and peas, and poultry; shrewdly imagining that such matters would be more amusing, as well as instructive to her, than any contained in his "knowledge box." Great was his pleasure and wonderment to find her perfectly at home as to all these mysteries; so much so, indeed, that he could hardly suppress the exclamation, "Oh! that my old woman knew half as much." All things, however, must have an end, although friend Ephraim began to fear that the tête à tête between the lady and himself never would; and when their chat was fast dying away, like the flickering blaze in the nearly empty socket of a candlestick, suddenly the doors were thrown open, and in rushed pellmell, such a mixed multitude, as struck him with speechless astonishment. Very soon (as he himself described the scene,) he had to abandon his seat; and according to his notions of politeness, was every moment making room, first for one stranger and then for another, without having time so much as casually to shake the hand of an acquaintance, before they were thrust apart. Thus elbowed, and shoved, and bumped about on every side, and not knowing how to keep out of every body's way, which seemed a physical impossibility, he found himself, at last, most unexpectedly squeezed into the midst of a party altogether of ladies, whose united voices raised such an unintelligible din, as brought to his recollection what he had read in his Bible, about the confusion of tongues at the tower of Babel. Resolutely bent, however, upon "seeing the show out," he determined to persevere. But, at the same time, having the accommodation of others much at heart, he resolved to try a yet unessayed position, by way of making himself as small as possible. This was to thrust his hands behind him, the first moment space enough was given for the purpose; at the same time straightening his arms as much as practicable, and grasping one wrist with the other hand, to secure their union. He had but a few seconds for self-congratulation upon so ingenious a device, before some sudden, undesigned impetus in front, forced him back, so that his hand was pressed against something hard. Of this he involuntarily took hold, but without turning his head; that indeed being impracticable. He mistook this hard article (as he afterwards found to his cost,) for the end of a narrow shingle, although for the life of him he could not imagine why, or how it got there, as he had seen nothing like building going on about the premises. Scarcely, however, had he taken hold of it, before it was forcibly jerked from his grasp, and his hands were once more disengaged. His conjectures as to what it could possibly be, were still puzzling his brain, when a fierce Pendragon sort of a fellow, whiskered and mustached to the very tip of his nose, forced his way to him through the dense mass by which he was surrounded, and in a very authoritative, menacing tone, told him that Mrs. —— desired to see him. He obeyed the mandate as speedily as possible, but in mortal dread and astonishment as to the cause of it. The moment he reached his hostess, she demanded, with a look of indescribable indignation, "how he dared to insult a lady in her house?" Thunderstruck, as it were, at the accusation, for a few moments he was deprived of speech. But at length recovering the use of his tongue, he averred and protested, and affirmed, that he was utterly unconscious of having committed any such outrage; an outrage which he was altogether incapable of perpetrating. This so far appeased the lady's wrath, as to produce an awkward and embarrassing explanation on both sides, by which it was discovered, that the supposed shingle end had been, in reality, the projecting end of a lady's corset bone, unluckily squeezed out of place, in the general pressing and crushing of the crowd. The conference ended in the lady's being satisfied, and in our worthy quaker resolving from the very bottom of his heart, never again to trust himself in any place under the sun, be the temptation what it might, wherein he could not find a safe place, even for his hands!

OLIVER OLDSCHOOL.

For the Southern Literary Messenger.

THE SANFORDS.

"Some wild desire, some sad mistake has cast Severe remorse and sorrow for the past; Some former fault shall present solace curb, Or fair occasion lost, his peace disturb; Some fatal chance has ruined every scheme, And proved his brightest prospect all a dream."

About the year 18—, there lived in a populous neighborhood, in the state of Virginia, a lady and gentleman named Sanford. They possessed considerable wealth, which was to be inherited by their only son, whom they called Hugh. The life of this worthy couple, was as quiet and easy as an unruffled stream, save when some slight differences of opinion would occasionally arise, respecting the management of Hugh. But one point on which they always agreed, was, that he should never be thwarted in any wish of his heart.

At the time our story commences, Hugh Sanford was twenty, and had just left college. Whether he ever distinguished himself there, I have not been able to ascertain. However, I know with certainty, that he was by nature gifted with good sense, and he had many fine qualities of the heart. I know not whether the reader will think so, from the sketch I am about to write, but he must bear in mind, that Hugh's natural disposition was so warped by continual indulgence, that not until the fever of youth had subsided, was it truly developed.

A large party had been invited to spend several days at Mr. Sanford's, and his wife had promised them a little dance. We shall pass over the preparations which were made for the party, and which, in the country, always produce so much bustle and excitement; we will even say nothing of the more important business, (to the girls at least) of the toilette; but shall follow them all to the drawing room, which was brilliantly lighted.

Among the girls, Mary Linden, was the most commanding; her splendid dress and jewelry, gave her quite a magnificent air. She was the daughter of a rich widower. Ellen Lorval (the only child of a poor lawyer,) was also much admired. Her light muslin dress and simple wreath of wild flowers were peculiarly becoming.

"My dear Hugh," said Mrs. Sanford, "I wish to speak with you a moment before the dancing commences. Does not Mary look beautiful? Do go and engage her as your partner immediately."

"Not so fast mother," said he smiling.

"My son," said she, "I love Mary as my daughter: could I but think that she would be one to me." She looked at him intently, but he appeared not to understand her meaning, and turning the conversation, he went to join a group of young men.

The scene changes. The enlivening sound of the violin is heard; the couples are beginning to take their places on the floor, when Hugh, to the dismay of his parents, is seen leading out Ellen Lorval. Mary Linden is surrounded by beaux, and it seems has capriciously given her fair hand to the least deserving of them, a would-be-wit, whose whole conversation consists of long words and jests, which have been in print for ages. The party went off well, and all seemed to enjoy themselves, except some few unfortunate wall-flowers, for whom, however, Mrs. Sanford procured partners towards the close of the evening.

Hugh would probably never again have thought of his attentions to Ellen, had not his mother kept him in custody the next morning, while she spoke her mind on the subject. She represented to him "the folly of falling in love with her, when Mary Linden was in the house;" and she even went so far as to say that "there would be a great impropriety in his falling in love with Ellen."

Hugh was greatly astonished at hearing all this, for the idea of falling in love had never entered his imagination. He was sorry to see his mother pained, but since she had put such notions into his head, he could not but see, that if he could be so fortunate as to fall in love, and meet with opposition, it would give a peculiar zest to the monotony of his country life. So he stalked off to the drawing room, and began to think Ellen very interesting. The few succeeding days were passed as they usually are by a large party in the country. They read, talked, rode and played at battledoor; but at length the guests departed, and Mr. and Mrs. Sanford returned to the enjoyment of their usual tranquillity; but Hugh did not feel quite at his ease, as he was conscious that he had pained his parents, not so much by his attentions to Ellen, as by failing to fall in love with Mary Linden. Weeks passed on;—Hugh continued to meet Ellen at all the dinners and parties in the neighborhood, and to pay her attention. Mr. and Mrs. Sanford had seen all their hopes respecting Mary Linden laid low, and they had fretted themselves into ill humor about Ellen: a calm was now ensuing, they began to look on the bright side of things, and even to fancy that Ellen was to be their future daughter.

"My son," said Mr. Sanford, "I wish you to consult your own happiness in every thing. You love Ellen; you have now the consent of your parents to address her."

"Really father, I——." He stammered out something that was unintelligible.

"Say no more, I see you are embarrassed."

"Hear me father——."

"Not a word more at present; good bye."

There is an old saying, that "competition is the life of trade," and I think it is no less true, that "opposition is the life of love," or of something that is frequently mistaken for it by greenhorns, and very young ladies just from school. Now that all opposition was at an end, Hugh was somewhat surprised to find himself entirely OUT of love with Ellen; and indeed, he shrewdly suspected he had never been IN love with her. The gentle girl had seemed pleased with the attentions of the handsome Hugh Sanford, though she acted with the most perfect delicacy, nor have I ever found out whether she imagined him to be serious. I am sorry to say, that the utmost partiality cannot throw a veil over the conduct of Hugh in this instance; and many will say that he does not deserve the title of a hero. "Pshaw!" says a little girl, "I thought all heroes were perfect!" And so they are, in English novels, but not in Old Virginia!

Mrs. Sanford had a widowed sister living in the southern part of the state. Her name was Harrington, and she was the mother of two daughters, who were dashing belles and beauties. Thither Hugh now went, to pay a visit. On a bright evening, he came in sight of his aunt's dwelling. It was situated on a smooth green hill, which gradually sloped to the river ——, which was not very wide here. A tiny canoe was presently visible in the middle of the stream, and much to his surprise he perceived in it a single female figure. "Can that be one of my cousins?" said he; "what mad freak could induce her to go alone?" But, when he arrived at the house, he found both of his cousins and his aunt sitting together. They received him cordially, and while he was answering their inquiries, a light step was heard in the passage, and an eager voice exclaimed: "Oh, Mrs. Harrington, my pigeon flew away from me to the other bank, and I was so much afraid of losing it, that I went over for it by myself." The speaker entered the room, holding the bird triumphantly in her hand; but perceiving a stranger, she was retreating, when Mrs. Harrington recalled her, and she was introduced to Hugh by the appellation of Amy Larone. She was bright as a sunbeam, and beautiful as the roses of spring. Her hazel eyes were large; a delicate carnation bloomed on her cheek, and her brown hair was parted over her smooth brow, and gracefully twisted at the back of her head. She was below the middle size, and the plainest suit of mourning was neatly fitted on her slender shape. Hugh's interest was strongly excited by the air of mystery with which he fancied she was surrounded, and he seized the first opportunity to inquire who she was. Her simple story was soon told. She was nearly sixteen, and was the orphan child of poor and obscure, though honest parents. Her mother died when she was four years old, and she was left to the care of her father, an illiterate, although well-meaning man, who had no idea that education was at all necessary: if he could see his daughter neatly dressed, and hear the neighbors say how beautiful she was, he cared for nothing more. Her beauty and modesty were talked of by rich and poor. Her father had not been dead more than seven or eight months; and Mrs. Harrington pitying her forlorn condition, had taken her to her house. Maria and Theresa Harrington were kind to her, and were anxious to repair somewhat the total neglect of the education of the warm hearted Amy. She was grateful, but as her taste for study had not been formed in childhood, it was with reluctance that she now attempted the drudgery of learning, and, so far as concerned herself, she wished that the makers of books had never existed.

She seemed, however, to possess an instinctive knowledge of what was right and proper to be said or done, even on occasions that were perfectly novel to her; and when a subject was started of which she was ignorant, she acted wisely, and said nothing; or if in the course of conversation a few errors were committed by her, her transcendent beauty was sufficient to atone for all. True, her beauty was not of the spiritual kind, "the rapt soul beaming in the eyes;" but it was just such as is always admired by enthusiastic young men.

Company came in, and Hugh obtaining a seat near Amy, entered into conversation with her, in which to do her justice, she supported her part quite well. He rallied her upon her excursion after her truant bird. She replied—"It was the last thing my father ever gave me, and I love it for his sake."

Several weeks had been passed by Hugh at his aunt's, and he had become deeply interested in the orphan. Amy appeared dejected, and very rarely joined the family party in the sitting room. This conduct only strengthened Hugh's interest. He was now really in love—"fairly caught," as the young ladies express it. Walking out one evening by himself, he encountered Amy unexpectedly, and a gleam of joy lighted up his handsome features.

"Miss Larone," said he, "why have you deserted us; the time has been too, too long since we met."

"Three days, sir," said Amy, slightly smiling.

"I can hardly believe it possible," said he, "for it seems almost as many months to me."

Amy assumed a look of coldness, and said she did not understand him; but her countenance betrayed that she did.

They walked on in silence to the bank of the river, and Hugh looking on the beautiful stream and its romantic banks, said, "Could I but think that you would walk here after I am gone, and think of me—Amy, I will confess that from the first moment I saw you, I felt the strongest interest in you. Nay more, that I do now love you most ardently. Will you give me your heart?" She remained silent and agitated, and at length tears came to her relief. "Oh, why do you weep? Say to me Amy, that I may at least hope you love me!" She raised her mild tearful eyes, and that glance betrayed that her heart was his.—"Now, heaven bless you Amy, let us record our vows, and you will be my bride ere long." "Mr. Sanford," she said, "'tis true that I love you, but yet I can never be yours. Your parents would never receive me as their daughter." "Hush Amy," said he, "my parents love me too well to withhold their consent." Struggling with her emotion, she said, "There are other weighty reasons why I cannot be your wife. No, no, it cannot be." "Amy, you distract me; whatever those reasons are, they shall be overcome." She shook her head, and darted off from him ere he was aware of her determination. Hugh was bewildered; but he resolved to seek another interview with Amy. The next day he entreated her as a last favor, to walk with him. So reasonable a request could not be refused. He told her that unless she changed her determination, on the morrow he would depart, whither he neither knew or cared. Her compassion was so much excited, that before their return to the house, she had permitted him to hope. He told her he would set off directly for his home, and that he would return in a few weeks,—adding that he would write to her immediately. It was not until after much entreaty, that she consented to receive his letters; but when he requested her to answer them, her agitation knew no bounds. Poor Amy!

The next day he took leave of all; and ere long, a letter fraught with expressions of the most tender regard, was handed to Amy. She did not answer it. Another soon followed, gently chiding her for her silence. After this, all were answered. Mrs. Harrington and Maria were in arms about the match. His parents yielded a reluctant consent; and at the appointed time they were married. Hugh wrote to his mother to apprize her of it, and to appoint a time for their arrival at the home of his childhood—he now thought himself perfectly happy. The honey-moon was nearly past, when, one day as he was gazing with rapture on the loveliness of his young bride, Mrs. Harrington entered, saying, "Here is a letter directed to 'Mrs. Hugh Sanford,' from my sister, I think." She handed Amy the letter, with a look of peculiar significance. Amy broke the seal mechanically, blushed deeply, and bent her eyes on the ground.—"Amy," said Hugh, "why do you not read my mother's letter?" She sank down, and could only say, "Forgive me—oh, forgive me!" "For what, dearest? You that never in thought or word offended. Look up, Amy," said he, smiling, "you have no need of forgiveness." "Oh, you do not know; I—" She could scarce articulate; but at length came the terrible confession, that she could scarcely read, and could not write!

We have mentioned the total neglect of her education, and the "weighty reasons" which she told Hugh would prevent her from marrying him. All is now explained. But how, you may ask, did she manage to answer his letters, when she was unable to write? She made Theresa Harrington her confidant; and she, without thinking of the consequences, answered them in Amy's name. The deception was cruel; but Amy's conduct is not entirely without some palliation. Her love of Hugh, and the shame of her ignorance, combated fiercely in her bosom; and she did refuse him—partly.

Hugh had first been won by her beauty and her destitute condition; her refusal of his offered hand had only added fuel to the flame. Absence, "making the heart grow fonder," and the letters he received, all conspired to blind him. Sincerely was he to be pitied, for he possessed many fine qualities, and was nobly disinterested. The veil was now removed from his eyes, and the dream of love was fast deserting him, like shadows of the morning, when the bright sunlight rises o'er the hills. They went to his parents. We shall pass over the various mortifications which Hugh had to endure. Amy idolized her husband, and he was too kind-hearted to be proof against her fondness. He exerted himself day after day to instruct her, but I do not believe she went much beyond learning to read and write legibly. His parents lived only a few years after these events, and his beautiful wife was attacked about four years after they were married with a slight cough, which was soon followed by that bright flush, which is too frequently the harbinger of death. A southern climate, and every possible means were resorted to, for her restoration to health, but in vain! Her last prayers were offered up for her husband, and a daughter then two years old. Hugh never married again. He continued to live at the family mansion, occupied almost entirely with the education of Eva. When she was ten years of age, she was sent to New York to school. Her life has been attended with circumstances which are not without romance. Should any curiosity be felt on the subject, I may at a future time give a sketch of the life of Eva Sanford.

Years have passed since these events transpired, and the once young and handsome Hugh Sanford is now an old man. His appearance is very much changed, and his faults and foibles have been lost in his progress through life, or have become softened by the hand of time. Certain it is, he is now a very estimable man, and is looked up to with reverence both in public and private life.

A.

For the Southern Literary Messenger.

A SCENE FROM "ARNOLD AND ANDRE,"

An unpublished Drama, by the author of "Herbert Barclay," and translator of Schiller's "Don Carlos."

ACT I. Scene 2. New York, towards the end of the summer of 1780.

Sir Henry Clinton. Colonel Robinson. An Old British Officer.

SIR H. CLINTON.

Rebellion's tatter'd banner droops at last, Wanting the breath of stirring confidence. Discord, twin-brother to defeat, now lifts Within the Congress walls her grating voice— Fit sound for rebel ears—and in their camp, Lean want breeds discontent and mutiny: The while o'er our embattled squadrons waves High-crested victory, and flaps her wings, Fanning the fire of native valor. Soon Shall peace revisit this oppressed land, So long bestrid by war, whose iron heel With her own life-blood madly stains her sides.

ROBINSON.

Our arms' success upon the southern shore,— Whose thirsty sands are saturate with streams From rebel wounds,—and the discomfiture Of new-born hopes of aid from fickle France, Brought on by Rodney's timely coming, have Ev'n to the stoutest hearts struck black dismay.

OLD OFFICER.

Cast down they may be, but despair's unknown To their determin'd spirits. Washington's The same as when in seventy-six he pass'd The Delaware, and in a darker hour Than this is, rallied his dishearten'd troops, And by a stroke of generalship, as shrewd As bold, back turn'd the tide of victory.

ROBINSON.

But years of fruitless warfare, sucking up Alike the people's blood and substance, weigh Upon th' exhausted land, like heaped debts Of failed enterprise, that clog the step Of action.

OLD OFFICER.

Deem ye not the spirit dull'd, Which first impell'd this people to take arms And brave our mighty power; nor yet the hope Extinct which has their roused energies Upheld against such fearful odds. The blood They've shed, is blood of martyrs—precious oil— Rich fuel to the flame that's boldly lit On Freedom's altar, and whose dear perfume, Upward ascending, is by heroes snuff'd, Strength'ning the soul of patriotic love With ireful vengeance.

SIR H. CLINTON.

Whence, my vet'ran Colonel, Comes it, that you, whose scarred body bears The outward proofs of inward loyalty, Do entertain for rebels such regard?

OLD OFFICER.

Custom of war has not so steel'd my heart, But that its pulse will beat in admiration Of noble deeds, ev'n though by foemen done. Nor does my sworn allegiance to my king Forbid all sympathy with men, who fight— And fight too with a valiantness which naught But conscious justice could inspire—for rights Inherited from British ancestors.

SIR H. CLINTON.

Their yet unconquer'd souls, and the stern front They have so long oppos'd in equal strife To our war-practis'd soldiery, attest Their valor: and for us to stint the meed Of praise for gallant bearing in the field, Were self-disparagement, seeing that still They hold at bay our far-outnumb'ring host. But for the justice of their cause,—the wrong, Skill'd to bedeck itself in garb of right, Oft cheats the conscience broad credulity, And thus will vice, with virtue's armature Engirt, fight often unabash'd. Unloose The spurs, wherewith desire of change, the pride Of will, hot blood of restless uncurb'd youth Wanting a distant parent's discipline, And bold ambition of aspiring chiefs, Do prick them on to this unnatural war; And then, how tam'd would be their fiery mettle, Heated alone by patriotic warmth.

OLD OFFICER.

My General, I know this people well. And all the virtues which Old England claims, As the foundations of her happiness And greatness,—such as reverence of law And custom, prudence, female chastity, And with them, independence, fortitude, Courage and sturdiness of purpose,—have Been here transplanted from their native soil, And flourish undegenerate. From these,— Sources exhaustible but with the life That feeds them,—their severe intents take birth, And draw the lusty sustenance to mould The limbs and body of their own fulfilment, So that performance lag not after purpose. They are our countrymen. They are, as well In manly resolution as in blood, The children of our fathers. Washington Doth know no other language than the one We speak: and never did an English tongue Give voice unto a larger, wiser mind. You'll task your judgment vainly to point out Through all this desp'rate conflict, in his plans A flaw, or fault in execution. He In spirit is unconquerable, as In genius perfect. Side by side I fought With him in that disastrous enterprise, Where brave young Braddock fell; and there I mark'd The vet'ran's skill contend for mastery With youthful courage in his wondrous deeds. Well might the bloody Indian warrior pause, Amid his massacre confounded, and His baffled rifle's aim, till then unerring, Turn from "that tall young man," and deem in awe That the Great Spirit hover'd over him; For he, of all our mounted officers, Alone came out unscath'd from that dread carnage, To guard our shatter'd army's swift retreat. For years did his majestic form hold place Upon my mind, stampt in that perilous hour, In th' image of a strong-arm'd friend, until I met him next, as a resistless foe. 'Twas at the fight near Princeton. In quick march, Victorious o'er his van, onward we press'd; When, moving with firm pace, led by the Chief Himself, the central force encounter'd us. One moment paus'd th' opposing hosts—and then The rattling volley hid the death it bore: Another—and the sudden cloud, uproll'd, Display'd, midway between the adverse lines, His drawn sword gleaming high, the Chief—as though That crash of deadly music, and the burst Of sulphurous vapor, had from out the earth Summon'd the God of war. Doubly exposed He stood unharm'd. Like eagles tempest-borne Rush'd to his side his men; and had our souls And arms with two-fold strength been braced, we yet Had not withstood that onset. Thus does he Keep ever with occasion even step,— Now, warily before our eager speed Retreating, tempting us with battle's promise Only to toil us with a vain pursuit— Now, wheeling rapidly about our flanks, Startling our ears with sudden peal of war, And fronting in the thickest of the fight The common soldier's death, stirring the blood Of faintest hearts to deeds of bravery By his great presence,—and his every act, Of heady onslaught as of backward march, From thoughtful judgment first infer'd.

ROBINSON.

If that You do report him truly, and your words Be not the wings to float a brain-born vision, But are true heralds who deliver that Which will in corporal doings be avouch'd, Then was this man born to command. And shall Ingrate revolt be justified by fate, And Britain's side bleed with the rending off Of this vast member; they will find it so, Who seek to gain a greater liberty Than does befit man's passion-guided state. Jove's bird as soon shall quail his cloud-wet plumage, Sinking his sinewy wafture to the flight Of common pinions,—or the silent tide Break its mysterious law at the wind's bidding, Remitting for a day its mighty flood Upon this shore,—as that, one recogniz'd To have all kingly qualities, shall not Assert his natural supremacy, And weaker men submit to his full sway. Power does grow unto the palm that wields it. The necks that bend to make ambition's seat, Must still uphold its overtopping weight, Or, moving, be crush'd under it.

OLD OFFICER.

And heads That quit the roof of shelt'ring peace, and bare them To war's fierce lightning for a principle, Do crown the limbs of men, each one a rock Baffling with loftiness ambition's step, Whose ladder is servility. Were they Susceptible of usurpation's sway, This conflict had not been; and then the world Had miss'd a Washington, whose greatness is Of greatness born. Him have they rais'd because Of his great worth; and he has headed them For that they knew to value him. Had he Been less, then they had pass'd him by; and had Their souls lack'd nobleness, his tow'ring trunk, Scanted of genial sap, had fail'd to reach Its proper altitude. No smiling time Is this for hypocritical ambition To cheat men's minds with virtue's counterfeit. What made him Washington, makes him the chief Of this vast league,—and that's integrity, The which his noble qualities enlinks In one great arch, to bear the sudden weight Of a new cause, and, strength'ning ever, hold Compact 'gainst time's all-whelming step.

SIR H. CLINTON.

What now You speak, you'll be reminded of, belike, Ere many weeks are past. And well I know, Your arm will not be backward, if there's need, To prove your own words' falsity. Meanwhile, Hold you in readiness for sudden march.

[Exit Old Officer.]

ROBINSON.

A better soldier than a prophet.

SIR H. CLINTON.

Yet, Scarce does his liberal extolment stretch Beyond its object's merits; for, were he Not rooted in his compeers' confidence, And in his generalship unmatched, this league Had long since crumbled from within, and o'er Its sever'd bands our arms had quickly triumph'd. In all his mighty spirit's ordinant, The while his warriors, rang'd in council round him, Listen to plans of learned generalship. Within the Congress is his voiceless will Potential as the wisest senator's. Ever between their reeling cause and us, Comes his stern brow to awe fell Ruin's spirit. 'Tis a grand game he plays, and, by my soul, Worthy the game and player is the stake. A fair broad continent is't for a kingdom: If he can win't, he's welcome to't.

For the Southern Literary Messenger.

ENGLISH POETRY.

CHAP. II.

I have heard it remarked, that the study of our early poets was like a journey through a country of rich groves and pleasant gardens. There surely is something pleasing in the study of old poetry. A ripeness of feeling meets us on the yellow and stained page, which, gradually mingling with the legitimate feelings of our own hearts, "makes us to glow with a rich fervor."

But this pleasure, like all other exquisite pleasures, is rather of the inexpressible kind. To impart it, condensation is necessary: and to condense it, is like bottling fragrance, or gathering foam into a beaker.

The reader may therefore prepare himself for nothing more than a straight forward story—broken in upon at intervals, by such rambling episodes of "remark" as I may think suitable.

I. Geoffry Chaucer, the poet

"That made first to dystylle and rayne The gold dewe dropys of speche and eloquence, Into our tunge thrugh his excellence."¹

has ever stood first among the writers who have drunk at "the well of English undefiled."² He has been called the father of English verse, and properly. He travelled several times into the countries of the south, and, as great minds are seldom idle ones, we might infer, without the proof which exists in so many shapes, that he became a pupil to the Italian masters.

¹ Lydgate.

² The term "well of English undefiled," was applied to Chaucer by Spenser, because he arranged and settled the language—stripping it of many barbarisms and foreign incumbrances. I am aware that he introduced as many foreign words as he cast out; but the rejected were corrupt fragments of the Norman French, which yet (though soft compared with the Saxon,) bore in part a mark of its parentage; and the selections made for the purpose of replacing them, were from the Langue D'Oc—the most beautifully musical of all tongues. He consequently did not defile the English language.

He was a student, and returned to England laden with the fruits of his study. It was his fate to come between the scholars of that and preceding ages, who worked their religious and scientific instructions into heavy Latin metre, and the court minions, who sang to their mistresses and patrons in Norman French, and lay a solid foundation out of the scattered fragments of real English poetry. With little fancy, less imagination, and the little of the first clipped, by his matter-of-fact employment as wool inspector, he has succeeded in story-telling better than any of his successors. In a tale, the more vivid the picture drawn, the more interesting the tale. To be minute and particular in description, is to beget a vivid picture: and this is the secret of Chaucer's popularity. He writes as if he were taking an inventory of, rather than describing, things around him. Ages after, when this same talent for descending skilfully into particulars, was used in the description of natural scenery and of the workings of the human breast, it gave Spenser's Pastorals, and the tragedies of Shakspeare and poor Shelly, a beauty which in the first two, men have long ago learned to appreciate, and which in the course of time, will place the last on the seat to which he is entitled. The whole secret of Chaucer's charm is, as I have said, particularity. If he had used this talent in describing the many workings of the human heart, he would probably have failed—for no man can describe that of which he is ignorant.³ If he had turned his attention to pastoral poetry, he might have succeeded; and indeed, in the descriptions of nature scattered throughout his various poems, he has succeeded admirably. But something more is wanting than this power of description, in the song of a shepherd. From his wild and unrestrained life among the hills of a legendary country—surrounded as he is, by "kids and lambs, and blithe birds," we not only look for minuteness of description, but affecting plaintiveness and imaginative imbodyings. This last is one great aid to Spenser's pastoral poetry. But I am anticipating my subject.

³ Chaucer has the reputation of being a great "painter of characters;" but he excels in describing manner, bearing, dress, &c.—not in picturing the workings of the "human heart."

Chaucer was the founder of a style which after poets have often attempted to imitate. Dryden and Pope have paraphrased his works; and Keates tells us that he is too weak to do other than "stammer where Dan Chaucer sung." The Canterbury tales were modelled after, and for the most part copied from the Decameron of Boccacio. The prologue to these is the most perfect thing of its kind extant. His satires are strong, and chiefly aimed against the enemies of Wickliffe, and his patron John of Lancaster. Chaucer was a philosopher too—a great one for his age. His treatise on the Astrolabe, intended for the benefit of his son, manifests more information than we would look for in the reign of Edward III. His satires against the opponents of Wickliffe are rather political than religious. In religious matters he seems to have possessed a praiseworthy spirit of toleration—a quality unknown for ages after to the "agents elect" of a peace-loving Christ.⁴ Altogether, Chaucer was a wonderful man, and certainly, for his time, a poet as "parfite" and as "gentil" as his own knight.⁵ His Canterbury tales are his great works: they gave a tone to English poetry. In these days, when all literature has lost its freshness, it would be a pleasant thing if we could

"Call up him that left half told The story of Cambuscan bold, Of Camball and of Algarsife, And who had Canacè to wife, That owned the virtuous ring and glass, And of the wondrous horse of brass On which the Tartan king did ride."⁶

I should like to believe in the Pythagorean doctrine, if only for the pleasant consciousness that old Geoffry Chaucer had left his spirit behind him. He died on the 25th of October, (the same day of the same month on which died King Alfred,) in the year 1400; and was buried in Westminster Abbey, where for a long time these words were upon his tomb:

"Galfridus Chaucer, vates et fama poesis Maternæ hac sacra sum tumulatis humo."

⁴ It is in a letter to his son, where he is remarking upon the merits of the different sects that we find this odd similitude—"There are many roads leading to Rome." He was not narrow brained enough to believe that there was but one.

⁵ "He was a veray parfite gentil knight."—Prol. Can. Tales.

⁶ Milton's Il Pensoroso, in allusion to the Squire's tale in Chaucer.

II. Before passing on to the celebrated poets of the time of Henry VIII, I will make a few remarks upon the ancient ballad of "Chevy Chase."

Little or nothing more than the name of the author of this fine old heroic ballad, is at present known. Dr. Percy's conjecture with regard to the date of its composition, may or may not be correct. But I will assume it as an accurate one. The manuscript copy belonging to the Harleian Library, has the name of Richard Sheale attached to it. Sheale perhaps lived in the reign of Henry VI, and as probably was from the north country. He may indeed have been a minstrel in the Percy family; but this is mere conjecture. In reference to some of the characteristics of this ballad, it strikes me that Sir Philip Sidney's remark, in his "Apology for Poetry," is in very bad taste. After regretting that so fine and stirring an old song should be "apparelled in the dust and cobwebb of that uncivill age," he asks, "what would it not work trimmed in the gorgeous eloquence of Pindar?" Dr. Percy speaks of the song as one "recommended to the most refined, and endeared to the most simple reader, by genuine strokes of nature and artless passion." Are gorgeous eloquence and nature fit comates? Would the natural and manly simplicity, for which the greatest works of man are so renowned, be well exchanged for the diffuse and ornate style of a Grecian lyric poet? I think not. As for this old ballad's roughness, I think that rather a merit. Bating some uncouthness, I think the language really better, much better adapted to the subject than our own more polished diction might be possibly. Dr. Johnson, in a paper of the Rambler, treats of the adaptation of sound to meaning; and quotes many examples illustrating his ground, from Greek, Latin and English poetry. He certainly is correct to a certain extent, if not wholly, and I will apply his rules to the present case.

"Through the hunt and battle, the author's style is fiery and severe, with the exception of a stanza or more, in which Percy and Douglass rest upon their swords, and after the manner of Homer's heroes, applaud each the other's gallantry. The poet in this place, seems to pause in the same graceful rest which he has given his heroes. But the battle renews; and his metre personates its stormy vigor. At last the minstrel sinks from his high place into the hollows of grief; for the 'weeping widows' are before us, with 'birch and hazel biers,' carrying the dead men to their burial. And then with what skill does he shake off individual tenderness, and proclaim the 'national regret!'"

All in all—beauty on beauty— Chevy Chase has never been matched, and does much better "unapparelled in the gorgeous eloquence of a Pindar." Truly, the obscure author of this one ballad stands alone—the father of English heroic poetry.

"Res gestæ, regumque, ducumque, et tristia bella, Quo scribi possent numero monstravit Homerus."

But he has attained excellence, without following the path which Homer "has shown;" and without using Homer's "numbers," has sung a great song.

III. Next on the list of those poets to whom the English language and English literature are indebted, stand Wyatt and Surrey. With regard to the first, I will hardly say more than that he was an Anacreon compared with his contemporaries. Rather gentle in his genius, he wrote love verses intuitively, and added in no slight degree to the melody of the language.

But Surrey added more. His love for the fair haired Lady Geraldine sent him "knight-erranting" among the romances and romantic grounds of Italy; and he is said to have been so well acquainted with the Tuscan tongue, and so well read in Italian authors, as to be a marvel, even in the days when Venice was the Paris of young English noblemen, and the Appenines their Switzerland. It may be as well to quote a few lines from Surrey's poems, as he has the reputation of having introduced much of the southern softness into English verse.

"Lines writ by Henry Howard Lord Surrey—being a complaynt that hys Ladie, after she knew of hys love, kept her face always hydden from hym.

"I never sawe my ladie laye apart Her cornet blacke, in colde, nor yet in heate, Sith first she knew my griefe was growen so greate, (Whyche other fansies dryveth from my harte, That to myself, I do the thought reserve,— The which, unwares, did wound my woful brest;) But on her face, mine eies mote never rest: Yet synce I knew I dyd her love and serve, Her golden tresses—cladd allway with blacke, Her smyling lookes, that had thus evermore, And that restraynes which I desire so sore: So doth this cornet governe me alacke! In sommer sunne, in winter's breathe, a frost Wherebye the lyghte of her fayre lookes I lost."

The reader will recognize this as a paraphrase, or indeed almost literal version of one of Petrarch's canzoni. He may, if curious enough, amuse himself by studying it with the original, not for the purpose of detecting the very visible theft, but for comparing a specimen of English verse, while not nearly escaped from its rudeness, with the Tuscan of perhaps the most musical of all bards.

The sonnet, so frequently used by Surrey, and after him by Shakspeare and nearly every other English poet, was (according to Sir W. Jones,) introduced from Arabia into Italy: thence, with other stanzaic structures into England by Chaucer, who in one of his visits to the south, is reported to have met Petrarch and made his friendship, in Genoa. Surrey was doubtless the most skilful sonnet-weaver of his day, and though too fond of the inversion, for which Milton is so much blamed, for the most part pleases both ear and understanding. His end was an unfortunate one. Henry VIII added the poet lover to the list of those whom tyranny brought to the scaffold. He was beheaded in the year 1500.

IV. Sir Philip Sidney was famous throughout all Europe for his intellectual and personal accomplishments. He was spoken of as a candidate for the throne of Poland on the death of Sigismond Augustus, but Elizabeth was unwilling to lose the "prime jewel of all England," and retained him at the English court. It is more than probable that he would have been defeated; for the claim of a Duke of Anjou, pleaded by so wily an advocate as Montluc, "the happy embassador," would have been more than strong enough to vanquish that of an honest, open-minded British gentleman.

The character of Sir Philip Sidney was without reproach. Not unlike Lord Surrey in his renown, he was yet more a hero than his illustrious precursor. Lord Surrey was an accomplished and illustrious patrician, the first of his age; but Sidney was a refinement upon nobility. He was like the abstract and essence of romantic fiction, having the courage (but not the barbarity) of the preux chevaliers of ancient time—their unwearied patience—their tender and stainless attachment. He was a hero of chivalry, without the grossness and frailty of the flesh. He lived beloved and admired, and died universally and deservedly lamented. He is the last of those who have passed into a marvel; and he is now remembered almost as the ideal personification of a true knight.

Sir Philip Sidney's poetry was not without the faults of his time. It abounds with conceits and strained similes, and the versification is occasionally cramped. Nevertheless, many of his sonnets contain beautiful images and deep sentiment, (such as the 31, 82, 84, and others,) though a little impoverished by this alloy. But Sidney's reputation was won upon crimson fields, as well as upon poetic mountains. He wooed Bellona, as well as the Muses; and his last great act, when dying at Zutphen, is of itself enough to justify the high admiration of his countrymen.⁷

⁷ Vid. article "Poetry," in No. LXXXIII of Edin. Review, April 1825.

V. Edmond Spenser—Dryden's "father," and Southey's "dear master"—the poet who "threw a rainbow across the heaven of poetry," was born in London. He found, at the age of eighteen or thereabout, that a cousin whom he loved would not receive his suit, and went into Cumberland, where, to pour out his sorrow, he wrote the most mournful portions of the "Shepherd's Calendar." He was for some time Secretary in Ireland,⁸ under Lord Grey de Wilton, where his Fairy Queen was conceived and partly written; and died A.D. 1598, aged forty-five years.

⁸ If I mistake not, Edmund Burke spent a portion of his boyhood within sight of the garden where Spenser composed much of his Fairy Queen. What better spot could there be for the education of genius? This life, among scenes constantly exciting associations of the most poetical and refined nature, may have assisted in giving Burke's mind the poetic coloring for which it was so remarkable.

Spenser and the other "fathers" of the English schools of poetry should rather be called "masters of ceremonies," for they certainly did not beget their different orders of composition. Italy was the cradle of these orders, not England. I will however adopt the first and common title, and call Spenser father of the English allegorical and pastoral poetry. And on these I will say a few words before I proceed to his more striking excellencies.

The ancients were particularly fond of allegory. A field as vast as could be desired was here opened for their poets. The whole heathen mythology was a splendid allegory. Virgil's Ænead may be called an allegory. As Eneas conducted the remnant of his countrymen from the Trojan ruins to a new settlement in Italy, so Augustus, from the ruins of the aristocracy, modelled a completely new government. I have not leisure to pursue the parallel. Homer has in the Odyssey many allegorical fables; as for instance those of Circe and Calypso. In imitation of these, Virgil introduced his Dido. Going farther on we find the love of allegory increasing in Italy. Ariosto's Alcina and the Armida of Tasso are "copies from the copy" of Virgil; and coming on English ground we find Spenser stealing from Tasso. As for the kinds of poetry in which allegory should be used—In an epic, persons of the "imaginary life," such as Virgil's

"Strife that shakes Her hissing tresses, and unfolds her snakes,"

and Spenser's "gnawing JEALOUSY sitting alone and biting his bitter lips"—should by no means enter into the action of the poem. Virgil knew this and made them nothing more than "gate posts to his entrance into Hades."⁹ The introduction of allegorical personages into the drama is unpardonable. Even in ages when men were laid open by superstition to the insinuating beauty of allegory; when the ignorant imagined every rock to be the pent-house of some spirit; when the timid walked abroad in fear and trembling, and when in consequence of this feeling allegorical paintings even of a wild sort seemed natural and agreeable to truth, its introduction into the drama met with but little applause. Æschylus has often been criticised severely for his frequent errors of this sort; one of which is his introduction of STRENGTH, as a character who assists Vulcan in binding Prometheus to his rock.

⁹ All lavish embellishment—such as Tasso's description of the bower of bliss, in his "Jerusalem," which the reader will find transplanted into the second book of Spenser's Fairy Queen—should likewise be excluded from the epic. This species of poem—the grandest of all species—should be superior to such embellishment.

Though excluded from epic and dramatic poetry, it may be used with great aptness in poems of a descriptive nature. We thus find that pastoral poetry often admits of an allegorical vein. Spenser knew this, and has given us a happy instance in that eclogue of his Shepherd's Calendar, in which he represents the union of the rivers Briqoq and Mulla. He has still happier instances in Æcloga tertia and in Æcloga quinta.

Spenser likewise acted as master of ceremonies to pastoral poetry in its introduction to English literature. The great father of this order was Theocritus. His follower was Virgil, who combined very skilfully the merum rus of the Idyllia with his own courtly grace. Tasso in his Aminta imitated Virgil, and was in turn imitated by a host of contemporary and subsequent poets among his countrymen. Without copying Tasso in this as in other things, Spenser became the head of English pastoral poetry, and has never yet been excelled.

Mr. Pope's remarks in the preface to his pastorals are evidently correct. "The simplest states of life and feeling best suit this style of poetry." Spenser's early pastorals, written

"amongst the cooly shade Of the green alders by the Mulla's shore,"

are minute and beautiful pictures of the country and of country life. Indeed, one of his poems may be likened to a country scene. Here are musical brooks; there old woods cloaked in ornamental foliage; here a succession of bold thoughts shaped into a chain of tall hills; there the low vale of quiet unobtrusive beauty—all this, too, mellowed by the gawsy twilight of love. Such are Spenser's early pictures, but after mingling with the world, and losing his primitive simplicity of temper, the elegance and refinement which gave such a charm to the "Fairy Queen," spoiled his rural poetry. It was no longer a picture of nature: his plant was a hot house one: his fruit had the hortus siccus flavor: his nightingales were caged, and sang from an embayed window. This difference may be seen by comparing "Colin come home again" with its predecessors.

But the Fairy Queen is his wonderful work. The elegant and sometimes magnificent beauty of that lay, where the "great bard"

"In sage and solemn tunes hath sung Of tourneys and of trophies hung, Of forests and enchantments drear, Where more is meant than meets the ear"—

has elevated his name to the high place which it fills with such brilliancy. Every poetic palate will relish "the grapes of hidden meaning so abundant under the vine-leaves of his exquisite allegory."

On the whole, as for Spenser as a natural poet, all unite in pronouncing him imaginative, bold, and even witty: as an artist, or educated poet, skilful, elegant, and full. His language is, for the most part, rich and expressive; his verse (remarkably various in arrangement) could scarcely be more melodious and pleasing. I will close this portion of my remarks with a quotation, the source of which I forget, but which I find pencilled upon the margin of my Chaucer.

"Spenser and Chaucer, instead of being forced into death by their antiquated language, will, by their use of it, perpetuate its remembrance. The ancient English is their servant. They are not and never will be its victims."

VI. These are biographical times. A moiety of centuries ago, not even a Shakspeare could find a biographer willing to follow the windings of his career. We know nothing more of him certainly than that he remained on the Avon with his wife Anne Hatheway—his senior by eight years—and three children, the last two of which were twins—until ambition led him to London. That there his plays were written; and his evenings spent with Ned Alleyne, Ben Jonson, Marlow and others, in drinking canary wine, and in "tilting in the lists of literary controversie." We have little knowledge of their pleasant discussions—

"words— Spoke in the mermaid"—

but in such a company, wit and humor must have been gods of the entertainment. We are told that in table debate, "Jonson was like a great Spanish gallion, and Shakspeare an English man of war. Master Jonson was built far higher in learning; solid but slow in his performances. Shakspeare lesser in bulk, but lighter in sailing, could turn with all tides, and take advantage of all winds by the quickness of his wit and invention." We can easily fancy the plethoric Ben writhing and chafing under the quickness of his adversary's attacks.

Within the last twenty years Shakspeare has become popular with the German critics—the best perhaps of the age. The critical mania has been imparted to the English, and I have observed lately in the English Magazines several articles pretty much in the German tone. One writer, for example, is engaged in building up a "life" of the poet from rather strange materiel—his sonnets. This idea was started by Schlegel, I believe—and is certainly a happy one: for all authors have sorrows, and at times must seek relief by giving them utterance. Indeed the works of an author's leisure moments are usually all of one piece—all of the same tone—all harping upon the one black thread in his fortune. Shakspeare asks in one of his sonnets—

"Why write I still all one, ever the same, And keep invention in a noted weed That every word doth almost tell my name Showing their birth and where they did proceed? O know, sweet love, I always write of you, And you and love are still my argument."

This brooding and inward looking is a common habit.¹⁰ Chatterton, Kirk White, and Dermody, have dissected their very hearts. Byron lives in his vagrant "Childe," and bating some most disgusting affectation in his Corsair—Lara—Giaour. Shelley groans with his Prometheus—breathes in his Laon—and draws his own image with the life of his Helen.¹¹ This may have been the case with Shakspeare. Giving free scope to his heart's inmost workings, he has given posterity, in his sonnets, a record of feeling so expressed as to render it easy to build upon it a fabric of fact—a true and accurate 'life.'

¹⁰ Bulwer says in the Disowned, that his effort is, at all times to "avoid a self-picture in his writings." The very fact that an effort must be made, proves the existence of this yearning egotism. In writings never intended for the world's eye there is no drawback to the inclination, and it is followed. Shakspeare's sonnets were not "writ for the world."

¹¹ This self-identity is not so visible in the tragedies of Byron and Shelley, for the simple reason, perhaps, that these are more the works of art—more the creatures of the brain than heart—abound more in skill than feeling.

His sonnets, as they now stand, are hardly intelligible, but when placed in proper order, tell one unbroken story. We learn, inter alia that Shakspeare had a male friend whom he loved most dearly: that this friend "broke a two-fold truth"—and the question is, in what manner. Searching farther we gain the clew, and find that the poet had imbodied his vision of poetic loveliness—his Iris en air—in one, whom in the midst of his dream of purity and beauty unearthly, he found "as black as hell and as dark as night." That friend wins her to his arms, and this is where he is "led to riot" and to break a "two-fold truth." The poet finally discovers her wretched nature and asks—

"Why should my heart think that a several plot Which my heart knows the wide world's common place?"

Then pauses in the midst of the deeply affecting portraiture of self-feeling, to whisper the exquisite self-excuse: "How could

Love's eye be true That is so vexed with watching and with tears."

Perhaps self-portraiture might be even detected in his plays. Goethe's comprehension of the incomprehensible Hamlet, (viz. That with a great and philosophic mind he was too shrinking and sensitive for the execution of his high resolves—in a word, that like a porcelain jar attempting to enfold the roots of an oak, until shattered in the attempt, his shrinking nature tottered under the pressure of a purpose too mighty,) may have been a picture of Shakspeare's self: violent ambition acting upon the poet's fine nature, as other passions did upon that of Hamlet.

I have occupied so much space with that part of Shakspeare's history little known, that it has given me an excuse for shunning the beaten track altogether. I will however quote Dryden's eulogy, as it is short and famous for its pith.¹²

"He was the man who of all modern and perhaps all ancient poets, had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously but luckily: when he describes any thing, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards and found her there. I cannot say he is every where alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clinches, his serious swelling into bombast. But he is always great, when some great occasion is presented to him: no man can say he ever had a fit subject for his wit, and did not then raise himself as high above the rest of poets,

'Quantum lenta solent inter viberna cupressi.'"

¹² Dryden lauds the "commixture of comedy and tragedy," of which Shakspeare has been so often guilty. This always seemed to me unhappy. The "tragi-comic feeling" is at best an April day matter—a fit of the hystericks—neither downright weeping, nor hearty laughter. Or, yielding that sorrow is deeply impressed on the mind by the melancholy pictures of the one portion, will a sudden transition to merriment wipe it away? Dryden says, "why should we imagine the soul of man more heavy than his senses? Does not the eye pass from an unpleasant object to a pleasant in a very moment?" Receiving this sophistry as genuine wisdom, it follows of course, that all actual grief is transient. I would it were so. There would then be no need for the fountain of Lethe or the poppies of Ennor. One does not forget the fall of the sod when his eye turns from the newly covered grave to the glitter and glare of life.

The mixture certainly is unhappy. Perhaps, as Coleridge has surmised, it was the fruit of a proud carelesness. The poet, in the hour of composition, feels that he has just written successfully. He is elated and runs riot for awhile heedless, or, it may be, scarcely conscious of what he writes. On this principle we may account for a prodigious deal of extravagance, otherwise unaccountable.

VII. Of Ben Jonson I will hardly say much. His "learning and heavy-headedness" would scarcely render him the 'rare Ben' that he once was, in this age of learned professors and profound scholars.

His learning gave him an undue admiration of Aristotle, and in his plays he has followed the Grecian model too closely. Unity of time and place is particularly inculcated in the rules of the Grecian schools; and in France this had long been strictly observed. It was made matter of minute inquiry in tragedy, whether such and such transactions could be gone through while a talkative hero ranted so many verses. Or, in comedy, whether an unfortunate shepherdess could go through the Juno Lucina fer opem ceremony, while a lewd city clerk stood by, and made so many studied surmises—sotto voce. Unless unity of time and place was observed in a drama, these 'line and rule Greekling Franks' damned it. The consequence was that one plot—one method—Aristotle's [Greek: go êythos]—was worked upon by successive dramatists, too timid to 'blanch the beaten track,' until it was threadbare. These fetters which Shakspeare snapped, Jonson hugged.

Old Ben, as he was called, was once young, but the history of his youth is rather cloudy. It seems probable, however, that the accounts delivered us by his contemporaries, are true, notwithstanding Mr. Gifford's sweeping denial. Following them, we learn, that Ben's step-father was a bricklayer; that Ben himself "served at the trade," until he left it from weariness, and joined a company of strolling players: that he enlisted and went with the English army into Flanders, where he "killed his man, and bore off the spoils." His prime and after life were spent in literary pursuits.

Old Ben was a quarrelsome, peevish companion; his body that of a bloated giant; his face filthy, with a scorbutic affection, or, as Decker quaintly says, "a face par-boiled, punched full of eyelet holes, like the cover of a warming pan." His literary quarrels with Decker, Marston, and other "men of London," eventuated in a surly retreat on the part of Jonson. He was driven from comedy to Tragedy, and we find him closing one of his poetic defences with the consoling reflection, that

"There's something come into my thought, That must and shall be sung, high and aloof, Safe from the wolf's black jaw, and the dull ass's hoof."

But the poet "died of sack," and lies in Westminster with a plain slab above him, on which are these words:

"O RARE BEN JONSON!"

VIII. I pass with reluctance over the contemporaries of Spenser and Shakspeare; contemporaries who aided in gaining for the Elizabethan age the title of "Augustan."¹³ I will not, however, leave this ground, without quoting a few verses, imitated from the Italian of Petrarch, by Elizabeth herself. The lines begin a little poem, composed by the queen, "upon Mount Zeur's departure."¹⁴ They are not wanting in music:

"I grieve, yet dare not shew my discontent; I love, and yet am forst to seem to hate; I doe, yet dare not say I ever meant; I seeme starke mute, but inwardly do prate; I am, and not; I freeze and yet am burned, Since from myself my other self I turned."

¹³ It was for wit that the reign of Augustus was celebrated. The age preceding, was that of strength. The Elizabethan age combined these.

¹⁴ Ashmol. muss. MSS. p. 142.

Passing on, we find "the melancholy Cowley." Cowley has ever been a favorite with lovers; for love maddens men, and madness will always find pleasant aliment in the metaphysical and metaphorical love verses of this unnatural poet. The following is a loose paraphrase of one of Anacreon's wine songs; so loose that we may as well style it original, and adduce it as a specimen not only of Cowley's strange conceits, but also of all the poetry in England, or rather at the court of the King, during the reign of Charles II.¹⁵ The sample is a happy one.

¹⁵ Cowley died in 1667, too early to have thoroughly imbibed the peculiarities of the "poets of the restoration," if he had remained in England before. But this was not the case; he was secretary to the Earl of St. Albans, in Paris, during the Protectorature, and there acquired these peculiarities.

"DRINKING.

The thirsty earth soaks up the rain, And drinks and gapes for drink again; The plants suck from the earth, and are With constant drinking fresh and fair; The sea itself, (which one would think, Should have but little need of drink,) Drinks twice ten thousand rivers up, So filled that they o'erflow the cup. The busy sun, (and one would guess By his drunken, fiery face no less,) Drinks up the sea; and when he's done, The moon and stars drink up the sun: They drink and dance by their own light; They drink and revel all the night. Nothing in nature's sober found, But an eternal health goes round; Fill up the bowl, then, fill it high; Fill all the glasses there; for why Should every creature drink but I? Why, man of morals, tell me why?"

The question in the last line, is easily answered. If in no other way, by the ridiculous death of Polycrates' minion, the immortal Anacreon, who lost his mortality through the agency of an ingrate grape stone.

IX. To praise such men as Shakspeare and Milton, is like praising Hercules. However, I am not one of those who think it idle to cry out "O deare moon, O choyce stars!" when we look upon these in their loveliness. And, leaving this question of the utility or inutility of panegyric, to be discussed elsewhere, I will continue pari passu upon the same track which I have hitherto pursued.—Of,

"A genius universal as his theme; Astonishing as chaos; as the bloom Of blowing Eden, fair; as heaven, sublime,"

Milton was fully equal to the vast labor, at his daring in undertaking which, his friend old Andrew Marvel so marvelled. Like Amphion, he sung of the wonders of creation; of Gods and immortal essences. His Satan is a magnificent creation; a personification of all gloom and all grandeur. Vast strength, angelic fashioning, revenge that nothing can soothe, endurance that never shrinks, the intellect of heaven and the pride of earth, ambition immeasurably high, and a courage which quails not even before God, go to constitute a creation essentially ideal. Satan is not like Macbeth or Lear, real in himself, literally true, and only lifted into poetry by circumstance: but he is altogether moulded in a dream of the imagination. Heaven, and earth, and hell, are explored for gifts to make him eminent and peerless. He is compounded of all; and at last stands up before us, with the starry grandeur of darkness upon his forehead, but having the passions of clay within his heart, and his home and foundation in the depths below. It is thus gleaning, as it were, from every element, and compounding them all in one grand design, which constitutes the poetry of the character. Perhaps Ariel and Caliban are as purely ideal, as the hero of Milton, and approach as nearly to him as any other fiction; but the latter is incontestably a grander formation, and a mightier agent, and moves through the perplexities of his career, with a power that defies competition. And these are his comrades of Pandemonium: Moloch, who changed the pleasant valley of Hinnom into black Gehenna; Belial, the "manna tongued," than whom "a fairer person lost not heaven;" Azaziel, Chemos, Peor, and the wonderful Astarte;

"To whose bright image, nightly by the moon, Sidonian virgins paid their vows and songs."

Rimmon, too—he so dreaded by the "men of Abbana and Pharphar;" and the wily Mammon,

"The least erected spirit that fell From heaven.... ... admiring more, The riches of heaven's pavement, trodden gold, Then aught divine or holy else enjoyed; A vision beatific."

These, all these, are splendid creations of the human intellect; and how rich and poetic is his account of Mulsiber, who "dropt from the zenith like a falling star." Of this description it has been written, that "music and poetry run clasped together down a stream of divine verse." But it is most in his Satan, that Milton's way becomes the "terribile via" of Michael Angelo, which no one before or since has been able to tread.

Comparisons have been instituted between Milton and Dantè; but however excellent the Florentine may be, he had not the grasp, nor the soaring power of the English poet. The images of Dantè, pass by like the phantasms on a wall, clear indeed, and picturesque; but although true, in a great measure to fact, wanting in reality. They have complexion and shape, but not flesh or blood. Milton's earthly creatures have the flush of living beauty upon them, and shew the changes of human infirmity. They inhale the odors of the garden of Paradise, and wander at will over lawns and flowers: they listen to God; they talk to angels; they love, and are tempted, and fall! and with all this there is a living principle about them, and (although Milton's faculty was by no means generally dramatic,) they are brought before the reader, and made, not the shadows of what once existed, but present probable truths. His fiercer creations possess the grandeur of dreams, but they have vitality within them also, and in character and substance are as solid as the rock.¹⁶

¹⁶ Vide art. "Poetry," No. 82, Edin. Rev. April, 1825. This article is another proof how difficult a matter it is to write of poetry, without becoming poetical.

His "Il Pensoroso," L'Allegro, and many of his sonnets, are enriched by an antique vein. "Barbaric pearl and gold," crusted with age, mingle with the airy and twinkling gems of his fancy. His spirit was, at times, idle, dreaming, and voluptuous. He sometimes seems as though he had slumbered through summer evenings in caves or forests, by solitary streams, or by the murmuring ocean.

Dr. Blair's parallel between Homer and Milton, throws more light upon the true character of Milton's mind, so far as sublimity is concerned, than anything I have seen. "Homer's (sublimity) is generally accompanied with fire and impetuosity; Milton's possesses more of a calm and amazing grandeur. Homer warms and hurries us along; Milton fixes us in a state of astonishment and elevation. Homer's sublimity appears most in the description of actions; Milton's in that of wonderful and stupendous objects." I would further apply a remark which I have seen in the "table talk" of Coleridge, the poet, upon the sublimity of Schiller, and that of Shakspeare. "Both are sublime, but Homer's is the material sublime."

These remarks are confined to his sublimity; but beauty, tender beauty, was on the catalogue of his excellencies. I heard a lady once liken Milton's mind to a sea shell. The wildest and most terrible blasts, the gentlest and most honeyed breathings issue from the same secret depths.

Milton has many singularities. One which, Addison I believe, praises, is a habit of repeating in the answer the words of the question. Take for example, these lines in Comus:

"Was I deceived, or did a sable cloud Turn forth her silver lining on the night? I did not err: there does a sable cloud Turn forth her silver lining on the night."¹⁷

¹⁷ The reader will remember a beautiful instance of this in "Alroy," a work brimful of genius.

He was also a pedant; but pedantry should only call forth censure, when coupled with weakness. He used inversion to excess; about the propriety of which no two critics agree. And any other faults than these excusable ones, it would be difficult to discover.

In his Sampson Agonistes, he manifested great solidity and power: in his Lycidas, the most exquisitely pathetic elegance; in his Comus, a fine wandering philosophy. All these qualities were united in his Paradise Lost, and (in not so great a degree, however,) in the "Paradise Regained."

As a man, John Milton has been accused of time-serving. The truth of this charge is rather problematical. Milton was no more a time-server, so far at least as I am able to discover, than any timid old man living in his troubled age, would have been, from fear. Terror led him into acts assuredly mean; but that terror should be his excuse; it overruled a natural soundness and rectitude of heart. However, meanness it was, and the reason that he has had his fame injured, is a simple one. A beautiful thing, when at all tainted, is more disgusting than if a greater taint were upon one less beautiful.