Chapter V: Front Matter (5)

Now, dear Don, in the great case of Virtue _vs_. Money, I appear for the defendant. Confound Virtue, say I, and the whole tribe of the Virtuous! I am as weary of both as was that sensible Athenian of hearing Aristides called _The Just_; and if I had been there, and a legal voter, I know into which box my humble oyster-shell would have been plumped. Such was the vile, self-complacent habit of the Athenians, that I suspect the best fellows then were not good fellows at all. And what did the son of Lysimachus make by being recalled from banishment? He died so poor, that he was buried at the public charge, and left a couple of daughters as out-door pensioners upon public charity. The Athenians, I aver, were a duncified race; and it would have pleased me hugely to have been in the neighborhood when Alcibiades rescinded his dog's charming tail,--a fine practical protest, although unpleasant to the dog. Virtue may be well enough by way of variety; but for a good, steady, permanent pleasure, commend me to Avarice! Yes, O my Bobus, I, who was once, as to money, "still in motion of raging waste," and, like Timon, "senseless of expense,"--I, who have many a time borrowed cash of you with amiable recklessness, and have never asked you to take it back again,--I, who have had many a race with the constable, and have sometimes been overtaken,--I, who have in my callow days spoken disrespectfully of Mammon in several charming copies of verses,--I am waxing sordid. I am for the King of Lydia against Solon. How do I know that the insolent Cyras was not blandished out of his bloodthirsty intention of roasting his deposed brother by a little cash which the son of Gyges had saved out of the wide, weltering wreck of his wealth, and had concealed in his boots? Royal palms were not wholly free from _pruritus_ even then. Why has this silly world still persisted in putting long ears upon Midas? I do not know whether he sang better or worse than Apollo; and I am sure it is much better, and bespeaks more sense, to play the flute ill than to play it well. Depend upon it, his Majesty of Phrygia has been very much abused by the mythologists. With that particular skill of his, during an epidemic of the _brevitas pecuniaria_, (_Angl._ shorts,) he would have been just the person to coax into one's house of accompt, at five minutes before two o'clock in the afternoon, to work a little involuntary transmutation,--to change the coal-scuttle into ingots, and the ruler into a great, gorged, glittering _rouleau_. So little would his auricular eccentricity have hindered his welcome, that I verily believe he would have been heartily received, if he had come with ensanguined chaps straight from the pillory, and had left both ears nailed to the post.

Don't talk to me about filthy lucre! Pray, when would Sheikh Tâhâr, that eminent Koordish saint, have become convinced that he was a great sinner, if they had not carried about the contribution-boxes in the little New England churches? Do you think it has cost nothing to demonstrate to the widows of Scindiah the folly of _suttee_? Don't you know that it has been an expensive work to persuade the Khonds of Goomsoor to give up roasting each other in the name of Heaven? Very fine is Epictetus,--but wilt he be your bail? Will Diogenes bring home legs of mutton? Can you breakfast upon the simple fact that riches have wings and use them? Can you lunch upon _vanitas vanitatum_? Are loaves and fishes intrinsically wicked? As for Virtue, we have the opinion of Horace himself, that it is viler than the vilest weed, without fortune to support it. Poets, of all men, are supposed to live most easily upon air; and yet, Don Bob, is not a fat poet, like Jamie Thomson, quite likely, although plumper than beseems a bard, to be ten thousand times healthier in his singing than my Lord Byron thinning himself upon cold potatoes and vinegar? Do you think that Ovid cuts a very respectable figure, blubbering on the Euxine shore and sending penitential letters to Augustus and afterward to Tiberius? He was a poor puppy, and as well deserved to have three wives as any sinner I ever heard of. Don't you think, that, if the cities of Smyrna, Chios, Colophon, Salamis, Rhodes, Argos, and Athens had given over disputing about the birthplace of the author of the "Iliad" and other poems, and had "pooled in" a handsome sum to send him to a blind asylum, it would have been a sensible proceeding? Do you think Milton would have written less sublimely, if he had been more prosperous? Do you think Otway choking, or Hudibras Butler dying by inches of slow starvation, pleasant to look upon? Are we to keep any terms with the thin-visaged jade, Poverty, after she has broken down a great soul like John Dryden's? That is a very foolish notion which has so long and so universally prevailed, that a poet must, by the necessity of the case, be poor. David was reckoned an eminent bard in his day, and he was a king; and Solomon, another sweet singer, was a king also. Depend upon it, no man sings, or thinks, or, if he be a man, works, the worse for being tolerably provided for in basket and pocket-money.

Objectively considered, I say that there is not in this world a sadder sight, one so touchingly suggestive of departed joys, departed never to return, as a pocketbook, flat, planed, exenterated, crushed by the elephantine foot of Fate,--nor is there one so ridiculous, inutile, impertinent, possibly reproachful and disagreeably didactic. Think of it, Don Bob,--for you in your day, as I in mine, have seen it. 'Tis so much leather stripped from the innocent beast, and cured and colored and polished and stamped to no purpose,--with a prodigious show of empty compartments, like banquet-halls deserted. It has a clasp to mount guard over nothing,--a clasp made of steel digged from the bowels of the earth, and smelted and hammered and burnished, only to keep watch and ward after the thief has made his visit leisurely. 'Tis an egregious chaos. 'Tis an absurd vacuum. To make it still more unpleasant, there are your memoranda. You are reminded that upon Thursday last you purchased butter flavous, or chops rosy; but where is hint, sign, direction, or instruction touching the purchase of either upon Thursday next? How much would it have helped poor Belisarius, in his sore estate, if he had kept a record of his household expenses, as my friend Minimus does? By the same token, he sometimes makes odd misentries, pious figurative fictions, in order to save the feelings of Mrs. Minimus, who is auditor-general and comptroller of the household. And speaking of Belisarius, just fancy the hard fate of that gallant and decayed soldier! Figure him left naked by the master whom he had served so well, crying out for a beggarly _obolus_! Now this, you must know, was one of the least respectable coins of ancient times, being of about the value of one farthing sterling. If the poor man had got his battered old helmet full of them, the ponderous alms would not have driven the wolf gaunt and grinning many paces from his squalid home,--always admitting that he had any home, however squalid, to crawl into at sunset. And how often he crouched and whined, white-headed and bare-headed all day, and did not get a _lepton_ (which was, in value, thirty-one three hundred thirty-sixths of an English farthing) for his pains! 'Tis such a pitiful story, that I am truly glad that the eminent German scholar, Nicotinus of Heidelberg, in his work upon the Greek Particle, has pretty clearly shown (Vol. xxviii. pp. 2850 to 5945) that the story may be regarded as a myth, illustrating the great, eternal, and universal danger of ultimate seediness, in which the most prosperous creatures live. And just think of Napoleon squabbling about wine with Sir Hudson Lowe,--the hero of Areola, without courage enough to hang himself. Now you will notice, my dear friend, that he did not lose his dignity, until, with true British instinct, they took away his cash, and even opened his letters to confiscate his remittances. He should have hidden the imperial spoons in a secret pocket. He should, at least, have saved a sixpence wherewithal to buy Mr. Alison.

You may think, dear Don, that my views are exceedingly sordid. I readily admit that all the philosophy and poetry, and I suppose I must add the morality, of the world are against me. I know that it is prettier to turn up one's nose at ready cash. I have not found, indeed, that for the poetical pauper, in his proper person, the world, whether sentimental or stolid, has any deep reverence. Will old Jacob Plum, who lives on an unapproachably high avenue,--his house front and his heart of the same material,--and who made two mints of money in the patent _poudrette_, come to my shabby little attic in Nassau Street, and ask me to dinner simply because "The Samos (Ill.) Aristarchean" has spoken with condescending blandness of my poems? I know that Miss Plum dotes upon my productions. I know that she pictures me to herself as a Corydon in sky-blue smalls and broad-brimmed straw hat, playing elegies in five flats, or driving the silly sheep home through the evening shades. Now, whatever else I may be, I am not that. I keep my refinement for gala-days; I do not shave, because I would save sixpences; I do not wear purple and fine linen. I should be a woful disappointment to Mistress Plum: for I like beer with my beef, and a heart-easing tug at my pipe afterwards; and as for the album, we should never get along at all, for I have too much respect for poetry to write it for nothing. But if I have not wholly escaped the shiftlessness and improvidence of my vocation,--if I have never rightly comprehended the noble maxim, "A penny saved is a penny gained," (which cannot in rigid mathesis be true, because by saving the penny you miss the enjoyment: that is, half-and-half, chops, or cheese, which the penny aforesaid would purchase; so that the penny saved is no better than pebbles which you may gather by the bushel upon any shore,)--if I like to haunt Old Tom's, and talk of politics and poetry with the dear shabby set who nightly gather there, and are so fraternally blind to the holes in each other's coats,--why it is all a matter between myself and Mrs. Potter, and perhaps the clock. We have a good, stout, manly supper,--no Apician kickshaws, the triumphs of palate-science,--no nightingales' tongues, no peacocks' brains, no French follies,--but just a rasher or so, in its naked and elegant simplicity. Montaigne's cook, who treated of his art with a settled countenance and magisterial gravity, would have turned his nose skyward at our humble repast; and he would have cast like scorn upon that to which Milton with such charming grace invited his friend, in one of those matchless sonnets which make us weep to think that the author did not write a hundred of them. But Montaigne's cook may follow his first master, the late Cardinal Caraffa, to that place where there will always be fire for his saucepans! The epicures of Old Tom's would deal very crisply with that spit-bearing Italian, or his shade, should it appear to them. We are not very polished, but most of us could give hints to men richer than we can hope to be of a wiser use of money than the world is in any danger of witnessing. There is Old Sanders, the proof-reader,--"Illegitimate S." we call him,--who knows where there is an exquisite black-letter Chaucer which he pants to possess, and which he would possess, were it not for a fear of Mrs. Sanders and a tender love of the little Sanderses. There is young Smooch,--he who smashed the Fly-Gallery in "The Mahlstick" newspaper, and was not for a moment taken in by the new Titian. There is Crosshatch, who has the marvellous etching by Rembrandt, of which there are only three copies in the world, and which he will not sell,--no, Sir,--not to the British Museum. There is Mr. Brevier Lead, who has in my time successively and successfully smitten and smashed all the potentates, big and little, of Europe, and who has in his museum a wooden model of the Alsop bomb. Give them money, and Sanders will rebuild and refurnish the Alexandrian Library,--Smooch will bid every young painter in America reset his palette and try again,--and Brevier Lead will be fool enough to start a newspaper upon his own account, and, while his purse holds out to bleed, will make it a good one. But until all these high and mighty things happen,--until we come into our property,--we must make the best of matters. I know a clever Broadway publisher, who, if I were able to meet the expenses, would bring out my minor poems in all the pomp of cream-laid paper, and with all the circumstance of velvet binding, with illustrations by Darley, and with favorable notices in all the newspapers. I should cut a fine figure, metaphorically, if not arithmetically speaking; whereas my farthing rush-light is now sputtering, clinkering, and guttering to waste, and all because I have not a pair of silver snuffers. If you wish me to move the world, produce your lever! Your wealthy bard has at least audience; and if he cannot sing, he may thank his own hoarse throat, and not the Destinies.

For myself, dear Don Bob, having come into my inheritance of oblivion while living,--having in vain called upon Fame to sound the trumpet, which I am sure is so obstinately plugged that it will never syllable my name,--having resolutely determined to be nobody,--I do not waste my sympathy upon myself, but generously bestow it upon a mob of fine fellows in all ages, who deserved, but did not grasp, a better fortune. All that live in human recollection are but a handful to the tribes that have been forgotten. You will be kind enough, my sardonic friend, to repress your sneers. I tell you that a great many worthy gentlemen and ladies have been shouldered out of the Pantheon who deserved at least a corner, and who would not while living have given sixpence to insure immortality, so certain were they of monuments harder than brass. The murrain among the poets is the severest. For, in the first place, a fine butterfly may have a pin stuck through his stomach even while living. There are Bavius and Maevius, who have been laughed at since Virgil wrote his Third Eclogue. Now why does the world laugh? What does the world know of either? They were stupid and malevolent, were they? Pray, how do you know that they were? You have Virgil's word for it. But how do you know that Virgil was just? It might have been the east wind; it might have been an indigestion; it might have been Virgil's vanity; it might have been all a mistake. When a man has once been thoroughly laughed down, people take his stupidity for granted; and although he may grow as wise as Solomon, living he is considered a fool, dying he is regarded as a fool, and dead he is remembered as a fool. Do you not suppose that very responsible folk were pilloried in the "Dunciad"? My own opinion is, that a person must have had some merit, or he would not have been put there at all. How many of those who laugh at Dennis and Shadwell know anything of either? And let me ask you if the Pope set had such a superabundance of heart, that you would have been willing, with childlike confidence, to submit your own verses to their criticism? For myself, I am free to say that I have no patience with satirists. I never knew a just one. I never heard of a fair one. They are a mean, malicious, murdering tribe,--they are a supercilious, dogmatical, envious, suspicious company,--knocking down their fellow-creatures in the name of Virtue for their own gratification,--mere Mohawks, kept by family influence out of the lock-up.

But of all Mohawks, Time is the fiercest. If I were upon the high road to fame, if I had honestly determined to win immortality or perish in the attempt, I should look upon the gentleman with no clothing except a scanty forelock, and with no personal property save his scythe and hour-glass, as my greatest enemy,--and I should behold the perpetual efforts made to kill him with perfect complacency. This, I know, is not regarded as a strictly moral act; for this murderer of murderers is very much caressed by those who, in the name of Moses, would send a poor devil to his hempen destiny for striking an unlucky blow. How continually is it beaten upon the juvenile tympanum,--"Be careful of Time,"--"Time is money,"--"Make much of Time"! Certainly, I do not know what he has done to merit consideration so tender. The best that can be said of old Edax Rerum is that he has an unfailing appetite, and is not very fastidious about his provender,--and that, if he does take heavy toll of the wheat, he also rids the world of no small amount of chaff. But 'tis such a prodigious maw!

You think, Don Bob, that you know the name of every man who has distinguished himself since the days of Deucalion and Pyrrha. Let us see how much you know. I believe that in your day you had something to do with the new edition of the Aldine Poets. I therefore ask you, in the name of an outraged gentleman, who is too dead to say much for himself, why you left out of the series my friend Mr. Robert Baston. You have used Baston very ill. Baston was an English poet. Baston lived in the fourteenth century, and wove verses in Nottingham. When proud Edward went to Scotland, he took Baston along with him to sing his victories. Unhappily, Bruce caged the bird, and compelled him to amend his finest poems by striking out "Edward," wherever the name of that revered monarch occurred, and inserting "Robert," which, as I have said, he was obliged to do,--and a very ridiculous mess the process must have made of Mr. Baston's productions. This is all I know of Baston; but is not this enough to melt the toughest heart? No wonder he prologued his piping after the following dismal fashion:--

"In dreary verse my rhymes I make,
Bewailing whilst such theme I take."

However, Baston was a monk of the Carmelite species, and I hope he bore his agonies with religious bravery.

And now let us make a skip down to Charles Aleyn, _temp._ Charles I. "of blessed memory." A Sidney collegian of Cambridge, he began life as an usher in the celebrated school of Thomas Farnably,--another great man of whom you never heard, O Don!--a famous school, in Goldsmith's Rents, near Red-Cross Street, in the Parish of St. Giles, Cripplegate. Those were stirring times; but Aleyn managed to write, before he died, in 1640, a rousing great poem, intituled, "The Battailes of Crescey and Poictiers, under the Fortunes and Valour of King Edward the Third of that Name, and his Sonne, Edward, Prince of Wales, surnamed The Black." 8vo. 1633. Let me give you a taste of his quality, in the following elaborate catalogue of the curiosities of a battle-field:--

"Here a hand severed, there an ear was cropped;
Here a chap fallen, and there an eye put out;
Here was an arm lopped off, there a nose dropped;
Here half a man, and there a less piece fought;
Like to dismembered statues they did stand,
Which had been mangled by Time's iron hand."

This is prosaic enough, and might have been written by a surgical student; but this is better:--

"The artificial wood of spears was wet
With yet warm blood; and trembling in the wind,
Did rattle like the thorns which Nature set
On the rough hide of an armed porcupine;
Or looked like the trees which dropped gore,
Plucked from the tomb of slaughtered Polydore."

So much for Mr. Charles Aleyn.

But it is at the theatre, as you may well believe, that poets live and die most like the blithesome grasshoppers. The poor players, marvellous compounds of tin, feathers, and tiffany, fret but a brief hour; but the playwright, less considered alive, is sooner defunct. I have not Dodsley's Plays by me, but, if my memory does not deceive me, not one of them keeps the stage; nor did dear Charles Lamb make many in love with that huge heap in the British Museum. Alas! all these good people, now grown so rusty, fusty, and forgotten, might have rolled under their tongues, as a sweet morsel, those lines which civil Abraham Cowley sent to Leviathan Hobbes:--

"To things immortal Time can do no wrong;
And that which never is to die forever must be young."

Alas! they had great first nights and glorious third nights,--lords and ladies smiled and the groundlings were affable,--they lived in a paradise of compliment and cash,--and then were no better off than the garreteer who took his damnation comfortably early upon the first night, and ran back to his den to whimper with mortification and to tremble with cold. There is worthy Mr. Shakspeare, of whom an amiable writer kindly said, in 1723,--"There is certainly a great deal of entertainment in his comical Humors, and a pleasing and well-distinguished variety in those characters which he thought fit to meddle with. His images are indeed everywhere so lively, that the thing he would represent stands full before you, and you possess every part of it. His sentiments are great and natural, and his expression just, and raised in proportion to the subject and occasion." You may laugh at this as much as you please, Don Bob; but I think it quite as sensible as many of the criticisms of Samuel Johnson, LL.D.,--as that one of his, for instance, upon "Measure for Measure," which I never read without a feeling of personal injury. I should like to know if it is writing criticism to write,--"Of this play, the light or comic part is very natural and pleasing; but the grave scenes, if a few passages be excepted, have more labor than elegance." Now, if old Boltcourt had written instead, as he might have done, if the fit had been on him,--"Of this play, the heavy or tragic part is very natural and pleasing; but the comic scenes, if a few passages be excepted, have more labor than elegance,"--his remark would have been quite as sonorous, and just a little nearer the truth. For my own part, I think there is nothing finer in all Shakspeare than the interview between Angelo and Isabella, in the Second Act, or that exquisite outburst of the latter, afterward, "Not with fond shekels of the tested gold," which is a line the sugar of which you can sensibly taste as you read it. Incledon used to wish that his old music-master could come down from heaven to Norwich, and could take the coach up to London to hear that d--d Jew sing,--referring thus civilly to the respectable John Braham. I have sometimes wished that Shakspeare could make a similar descent, and face his critics. Ah! how much he could tell us over a single bottle of _Rosa Solis_ at some new "Mermaid" extemporized for the occasion! What wild work would he make with the commentators long before we had exhausted the ordinate cups! and how, after we had come to the inordinate, would he be with difficulty prevented from marching at once to break the windows of his latest glossator! If anything could make one sick of "the next age," it would be the shabby treatment which the Avonian has received. I do not wonder that the illustrious authors of "Salmagundi" said,--"We bequeathe our first volume to future generations,--and much good may it do them! Heaven grant they may be able to read it!" Seeing that contemporary fame is the most profitable,--that you can eat it, and drink it, and wear it upon your back,--I own that it is the kind for which I have the most absolute partiality. It is surely better to be spoken well of by your neighbors, who do know you, than by those who do not know you, and who, if they commend, may do so by sheer accident.

You never heard of Mr. Horden, of Charles Knipe, of Thomas Lupon, of Edward Revet? Great men all, in their day! So there was Mr. John Smith,--_clarum et venerabile nomen_!--who in 1677 wrote a comedy called "Cytherea; or, the Enamoring Girdle." So there was Mr. Swinney, who wrote one play called "The Quacks." So there was Mr. John Tutchin, 1685, who wrote "The Unfortunate Shepherd." So there is Mr. William Smith, Mr. H. Smith, author of "The Princess of Parma," and Mr. Edmund Smith, 1710, author of "Phedra and Hippolytus," who is buried in Wiltshire, under a Latin inscription as long as my arm. There is Thomas Yalden, D.D., 1690, who helped Dryden and Congreve in the translation of Ovid, who wrote a Hymn to Morning, commencing vigorously thus:--

"Parent of Day! whose beauteous beams of light
Sprang from the darksome womb of night!"--

and who was a great friend of Addison, which is the best I know of him. He might have been, like Sir Philip Sidney, "scholar, soldier, lover, saint,"--for Doctors of Divinity have been all four,--but I declare that I have told you all I have learned about him.

It is grievous to me, dear Bobus, a man of notorious gallantry, to find that the ladies, after consenting to smirch their rosy fingers with Erebean ink, are among the first who are discarded. If you will go into the College Library, Mr. Sibley will show you a charming copy of the works of Mrs. Behn, with a roguish, rakish, tempting little portrait of the writer prefixed. Poor Mrs. Behn was a notability as well as a notoriety in her day; and when I have great leisure for the work, I mean to write her life and do her justice. The task would have been worthy of De Foe; but, with a little help from you, I hope to do it passably. Poor Aphra! poet, dramatist, intriguant strumpet! Worthy of no better fate, take my benison of light laughter and of tears! Then there is Mrs. Elizabeth Singer, who was living in 1723, who selected as the subject of her work nothing less than the Creation, and who was a woman of great religion. Her poem commences patronizingly thus:--

"Hail! mighty Maker of the Universe!
_My_ song shall still _thy_ glorious deeds rehearse.
_Thy_ praise, whatever subject others choose,
Shall be the lofty theme of _my_ aspiring Muse."

Elizabeth was a Somersetshire woman, a clothier's daughter; and if she had thrown away her lyre and gone back to the distaff, I do not think Parnassus would have broken its heart. Then there is our fair friend, Mrs. Molesworth. Her father was a Right Honorable Irish peer of the same name, who had some acquaintance, if not a friendlier connection, with John Locke. Her Muse was rather high-skirted, as you may believe, when you read this epitaph:--

"O'er this marble drop a tear!
Here lies fair Rosalinde;
All mankind was pleased with her,
And she with all mankind."

Let me introduce you to one more lady. This is Mrs. Wiseman, dear Don! She was of "poor, but honest" parentage; and if she did wash the dishes of Mr. Recorder Wright of Oxford, she did better than my Lady Hamilton or my Lady Blessington of later times. Mrs. Wiseman read novels and plays, and, of course, during the intervals of domestic drudgery, began to write a drama, which she finished after she went to London. It was of high-sounding title, for it was called, "Antiochus the Great; or, the Fatal Relapse." Who relapsed so fatally--whether Antiochus with his confidant, or his wife with her confidante, or Ptolemy Pater with his confidant, or Epiphanes with his confidant--is more than I can tell. Indeed, I am not sure that I know which Antiochus was honored by Mrs. Wiseman's Muse. Whether it was Antiochus Soter, or Antiochus Theos, or Antiochus the Great, or Antiochus the Epiphanous or Illustrious, or Antiochus Eupator, or Antiochus Eutheus, or Antiochus Sidetes, or Antiochus Grypus, or Antiochus Cyzenicus, or Antiochus Pius,--the greatest rogue of the whole dynasty,--or Antiochus Asiaticus, who "used up" the family entirely in Syria--is more than I can tell. Indeed, Antiochus was such a favorite name with kings, that, without seeing the play,--and I have not seen it,--I cannot inform you which Antiochus we are talking about. Possibly it was the Antiochus who went into a fever for the love of Stratonice; and if so, please to notice that this was the wicked Antiochus Soter, the son of Selencus, and the scapegrace who married his mother-in-law, by the advice of the family-doctor, while his fond father stood tearfully by and gave away the bride. After such a scandalous piece of business, I shall have nothing more to do with the family, but shall gladly return to our talented friend, Mrs. Wiseman. She brought out her work at the Theatre Royal in 1706, "with applause"; and the play, I am glad to inform you, brought in money, so that an enterprising young vintner, by the name of Holt, besought her hand, and won it. With the profits of "Antiochus" they established a tavern in Westminster, and the charming Wiseman with her own hand drew pots of half-and-half, or mixed punch for the company. I should very much like to see two-thirds of our many poet-_esses_ doing the same thing.

But enough, probably too much, of this skimble-skamble! If you will look into a copy of Dr. Johnson's Dictionary, (Worcester's edition,) you will find the names of nearly a thousand English authors cited in alphabetical order as authorities. Of these it is safe to say that not more than one hundred are remembered by the general reader. Such is Fame! Such is the jade who leads us up hill and down, through jungles and morasses, into deep waters and into swamps, through thick weather and thin, under blue skies and brown ones, in heat and in cold, hungry and thirsty and ragged, and heart-sore and foot-sore, now hopeful and now hopeless, now striding and now stumbling, now exultant and now despairing, now singing, now sighing, and now swearing, up to her dilapidated old temple. And when we get there, we find Dr. Beattie, in a Scotch wig, washing the face of young Edwin! A man of your pounds would be a fool to undertake the journey; but if you will be such a fool, you must go without the company of

Your terrestrial friend,

PAUL POTTER.

* * * * *

"THE NEW LIFE" OF DANTE.

I.

"At that season," says Boccaccio, in his Life of Dante, "when the sweetness of heaven reclothes the earth with its adornments, and makes it all smiling with flowers among the green leaves, it was the custom in our city for the men and for the ladies to celebrate festivals in their own streets in separate companies. Wherefore it happened, that, among the rest, Folco Portinari, a man held in much honor in those times among the citizens, had collected his neighbors at a feast in his own house on the first of May. Among them was the before-named Alighieri,--and, as little boys are wont to follow their fathers, especially to festive places, Dante, whose ninth year was not yet finished, accompanied him. It happened, that here, with others of his age, of whom, both boys and girls, there were many at the house of the entertainer, he gave himself to merry-making, after a childish fashion. Among the crowd of children was a little daughter of Folco, whose name was Bice,--though this was derived from her original name, which was Beatrice. She was, perhaps, eight years old, a pretty little thing in a childish way, very gentle and pleasing in her actions, and much more sedate and modest in her manners and words than her youthful age required. Beside this, she had very delicate features, admirably proportioned, and full, in addition to their beauty, of such openness and charm, that she was looked upon by many as a little angel. She then, such as I depict her, or rather, far more beautiful, appeared at this feast before the eyes of our Dante, not, I believe, for the first time, but first with power to enamor him. And although still a child, he received her image into his heart with such affection, that, from that day forward, never, as long as he lived, did it leave him."[1]

It was partly from tradition, partly from the record which Dante himself had left of it, that Boccaccio drew his account of this scene. In the _Vita Nuova_, "The New Life," Dante has written the first part of the history of that love which began at this festival, and which, growing with his growth, became, not many years after, the controlling passion of his life. Nothing is better or more commonly known about Dante than his love for Beatrice; but the course of that love, its relation to his external and public life, its moulding effect upon his character, have not been clearly traced. The love which lasted from his boyhood to his death, keeping his heart fresh, spite of the scorchings of disappointment, with springs of perpetual solace,--the love which, purified and spiritualized by the bitterness of separation and trial, led him through the hard paths of Philosophy and up the steep ascents of Faith, bringing him out of Hell and through Purgatory to the glories of Paradise and the fulfilment of Hope,--such a love is not only a spiritual experience, but it is also a discipline of character whose results are exhibited in the continually renewed struggles of life.

The earthly story of this love, of its beginning, its irregular course, its hopes and doubts, its exaltations and despairs, its sudden interruption and transformation by death, is the story which the "Vita Nuova" tells. The narrative is quaint, embroidered with conceits, deficient in artistic completeness, but it has the _naiveté_ and simplicity of youth, the charm of sincerity, the freedom of personal confidence; and so long as there are lovers in the world, so long as lovers are poets, so long will this first and tenderest love-story of modern literature be read with appreciation and responsive sympathy.

But "The New Life" has an interest of another sort, and a claim, not yet sufficiently acknowledged, upon all who would read the "Divina Commedia" with fit appreciation, in that it contains the first hint of the great poem itself, and furnishes for it a special, interior, imaginative introduction, without the knowledge of which it is not thoroughly to be understood. The character of Beatrice, as she appears in the "Divina Commedia," the relation in which the poet stands to her, the motive of the dedication of the poem to her honor and memory, and many minor allusions, are all explained or illustrated by the aid of the "Vita Nuova." Dante's works and life are interwoven as are those of no other of the poets who have written for all time. No other has so written his autobiography. With Dante, external impressions and internal experiences--sights, actions, thoughts, emotions, sufferings--were all fused into poetry as they passed into his soul. Practical life and imaginative life were with him one and indissoluble. Not only was the life of imagination as real to him as the life of fact, but the life of fact was clothed upon by that of imagination; so that, on the one hand, daily events and common circumstances became a part of his spiritual experience in a far more intimate sense than is the case with other men, while, on the other, his fancies and his visions assumed the absoluteness and the literal existence of positive external facts. The remotest flights of his imagination never carry him where his sight becomes dim. His journey through the spiritual world was no less real to him than his journeys between Florence and Rome, or his wanderings between Verona and Ravenna. So absolute was his imagination, that it often so far controls his reader as to make it difficult not to believe that the poet beheld with his mortal eyes the invisible scenes which he describes. Boccaccio relates, that, after that part of the "Commedia" which treats of Hell had become famous it happened one day in Verona, that Dante "passed before a door where several women were sitting, and one of them, in a low voice, yet not so but that she was well heard by him and his companion, said to another woman: 'See that man who goes through Hell and comes back when he pleases, and brings news of those who are down there!' And then one of them replied simply: 'Indeed, what you say must be true; for do you not see how his beard is crisped and his face brown with the heat and smoke of it?'"[2]

From this close relation between his life and his works, the "Vita Nuova" has a peculiar interest, as the earliest of Dante's writings, and the most autobiographic of them in its form and intention. In it we are brought into intimate personal relations with the poet. He trusts himself to us with full and free confidence; but there is no derogation from becoming manliness in his confessions. He draws the picture of a portion of his youth, and lays bare its tenderest emotions; but he does so with no morbid self-consciousness, and no affectation. Part of this simplicity is due, undoubtedly, to the character of the times, part to his own youthfulness, part to downright faith in his own genius. It was the fashion for poets to tell of their loves; in following the fashion, he not only gave expression to real feeling, but claimed his rank among the poets, and set a new style, from which love-poetry was to take a fresh date.

This first essay of his poetic powers exhibits the foundation upon which his later life was built. The figure of Beatrice, which appears veiled under the allegory, and indistinct in the bright cloud of the mysticism of the "Divina Commedia," takes her place in life and on the earth through the "Vita Nuova," as definitely as Dante himself. She is no allegorized piece of humanity, no impersonation of attributes, but an actual woman,--beautiful, modest, gentle, with companions only less beautiful than herself,--the most delightful figure in the midst of the picturesque life of Florence. She is seen smiling and weeping, walking with stately maidenly decorum in the street, praying at the church, merry at festivals, mourning at funerals; and her smiles and tears, her gentleness, her reserve, all the sweet qualities of her life, and the peace of her death, are told of with such tenderness and refinement, such pathetic melancholy, such delicate purity, and such passionate vehemence, that she remains and will always remain the loveliest and most womanly woman of the Middle Ages,--at once absolutely real and truly ideal.

It was in the year 1292, about two years after the death of Beatrice, and when he himself was about twenty-seven years old, that Dante collected into this _libretto d' amore_ the poems that he had written during Beatrice's life, adding to them others relating to her written after her death, and accompanying all with a narrative and commentary in prose. The meaning of the name which he gave to the book, "La Vita Nuova," has been the cause of elaborate discussion among the Italian commentators. Literally "The New Life," it has been questioned whether this phrase meant simply early life, or life made new by the first experience and lasting influence of love. The latter interpretation seems the most appropriate to Dante's turn of mind and to his condition of feeling at the time when the little book appeared. To him it was the record of that life which the presence of Beatrice had made new.[3]

But whatever be the true significance of the title, this "New Life" is full not only of the youthfulness of its author, but of the fresh and youthful spirit of the time. Italy, after going through a long period of childhood, was now becoming conscious of the powers of maturity. Society, (to borrow a fine figure from Lamennais,) like a river, which, long lost in marshes, had at length regained its channel, after stagnating for centuries, was now again rapidly advancing. Throughout Italy there was a morning freshness, and the thrill and exhilaration of conscious activity. Her imagination was roused by the revival of ancient and now new learning, by the stories of travellers, by the gains of commerce, by the excitements of religion and the alarms of superstition. She was boastful, jealous, quarrelsome, lavish, magnificent, full of fickleness,--exhibiting on all sides the exuberance, the magnanimity, the folly of youth. After the long winter of the Dark Ages, spring had come, and the earth was renewing its beauty. And above all other cities in these days Florence was full of the pride of life. Civil brawls had not yet reduced her to become an easy prey for foreign conquerors. She was famous for wealth, and her spirit had risen with prosperity. Many years before, one of the Provençal troubadours, writing to his friend in verse, had said,--"Friend Gaucelm, if you go to Tuscany, seek a shelter in the noble city of the Florentines, which is named Florence. There all true valor is found; there joy and song and love are perfect and adorned." And if this were true in the earlier years of the thirteenth century, it was still truer of its close; for much of early simplicity and purity of manners had disappeared before the increasing luxury (_le morbidezze d' Egitto_, as Boccaccio terms it) and the gathered wealth of the city,--so that gayety and song more than ever abounded. "It is to be noted," says Giovanni Villani, writing of this time, "it is to be noted that Florence and her citizens were never in a happier condition." The chroniclers tell of constant festivals and celebrations. "In the year 1283, in the month of June, at the feast of St. John, the city of Florence being in a happy and good state of repose,--a tranquil and peaceable state, excellent for merchants and artificers,--there was formed a company of a thousand men or more, all clothed in white dresses, with a leader called the Lord of Love, who devoted themselves to games and sports and dancing, going through the city with trumpets and other instruments of joy and gladness, and feasting often together. And this court lasted for two months, and was the most noble and famous that ever was in Florence or in all Tuscany, and many gentlemen came to it, and many rhymers,[4] and all were welcomed and honorably cared for." Every year, the summer was opened with May and June festivals. Florence was rejoicing in abundance and beauty.[5] Nor was it only in passing gayeties that the cheerful and liberal temper of the people was displayed.

The many great works of Art which were begun and carried on to completion at this time show with what large spirit the whole city was inspired, and under what strong influences of public feeling the early life of Dante was led. Civil liberty and strength were producing their legitimate results. Little republic as she was, Florence was great enough for great undertakings. Never was there such a noble activity within the narrow compass of her walls as from about 1265, when Dante was born, to the end of the century. In these thirty-five years, the stout walls and the tall tower of the Bargello were built, the grand foundations of the Palazzo Vecchio and of the unrivalled Duomo were laid, and both in one year; the Baptistery--_Il mio bel San Giovanni_--was adorned with a new covering of marble; the churches of Sta Maria Novella, of Or San Michele, (changed from its original object,) and Sta Croce,--the finest churches even now in Florence,--were all begun and carried far on to completion. Each new work was at once the fruit and the seed of glorious energy. The small city, of less than one hundred thousand inhabitants, the little republic, not so large as Rhode Island or Delaware, was setting an example which later and bigger and richer republics have not followed.[6] It might well, indeed, be called a "new life" for Florence, as well as for Dante. When it was determined to supply the place of the old church of Santa Reparata with a new cathedral, a decree was passed in words of memorable spirit: "Whereas it is the highest interest of a people of illustrious origin so to proceed in its affairs that men may perceive from its external works that its doings are at once wise and magnanimous, it is therefore ordered, that Arnolfo, architect of our commune, prepare the model or design for the rebuilding of Santa Reparata, with such supreme and lavish magnificence that neither the industry nor the capacity of man shall be able to devise anything more grand or more beautiful; inasmuch as the most judicious in this city have pronounced the opinion, in public and private conferences, that no work of the commune should be undertaken, unless the design be to make it correspondent with a heart which is of the greatest nature, because composed of the spirit of many citizens united together in one single will."[7] The records of few other cities contain a decree so magnificent as this.

It would be strange, indeed, if the youthful book of one so sensitive to external influences as Dante did not give evidence of sympathy with such pervading emotion. And so apparent is this,--that one may say that only at such a period, when strength of sentiment was finding vent in all manner of free expression, was such a book possible. Confidence, frankness, directness in the rendering of personal feeling are rare, except in conditions of society when the emotional spirit is stronger than the critical. The secret of the active power of the arts at this time was the conscious or unconscious resort of those who practised them to the springs of Nature, from which the streams of all true Art proceed. Dante was the first of the moderns to seek Poetry at the same fountain, and to free her from the chains of conventionality which had long bound her. In this he shows his close relation to his times. It is his fidelity to Nature which has made him a leader for all successive generations. The "Vita Nuova" was the beginning of a new school of poetry and of prose as completely as Giotto's O was the beginning of a new school of painting.

The Italian poets, before Dante, may be broadly divided into two classes. The first was that of the troubadours, writing in the Provençal language, hardly to be distinguished from their contemporaries of the South of France, giving expression in their verses to the ideas of love, gallantry, and valor which formed the base of the complex and artificial system of chivalry, repeating constantly the same fancies and thoughts in similar formulas of words, without scope or truth of imagination, with rare exhibitions of individual feeling, with little regard for Nature. Ingenuity is more characteristic of their poetry than force, subtilty more obvious in it than beauty. The second and later class were poets who wrote in the Italian tongue, but still under the influence of the poetic code which had governed the compositions of their Provençal predecessors. Their poetry is, for the most part, a faded copy of an unsubstantial original,--an echo of sounds originally faint. Truth and poetry were effectually divided. In the latter half of the thirteenth century, however, a few poets appeared whose verses give evidence of some native life, and are enlivened by a freer play of fancy and a greater truthfulness of feeling. Guido Guinicelli, who died in 1276, when Dante was eleven years old, and, a little later, Guido Cavalcanti, and some few others, trusting more than had been done before to their own inspiration, show themselves as the forerunners of a better day.[8] But as, in painting, Margheritone and Cimabue, standing between the old and the new styles, exhibit rather a vague striving than a fulfilled attainment, so is it with these poets. There is little that is distinguishingly individual in them. Love is still treated mostly as an abstraction, and one poet might adopt the others' love-verses with few changes of words for any manifest difference in them of personal feeling.

Not so with Dante. The "Vita Nuova," although retaining many ideas, forms, and expressions derived from earlier poets, is his, and could be the work of no other. Nor was he unaware of this difference between himself and those that had gone before him, or ignorant of its nature. In describing himself to Buonagiunta da Lucca in Purgatory, he says, "I am one who, when Love breathes, mark, and according as he dictates within, I report"; to which the poet of Lucca replies, "O brother, now I see the knot which kept the Notary and Guittone and me back from that sweet new style which now I hear. I see well how your pens have followed close on the dictator, which truly was not the case with ours."[9] As Love was the common theme of the verses from which Buonagiunta drew his contrast, the difference between them lay plainly in sincerity of feeling and truth of expression. The following close upon the dictates of his heart was the distinguishing merit of Dante's love-poetry over all that had preceded it and most of what has followed it. There are, however, some among his earlier poems in which the "sweet new style" is scarcely heard,--and others, of a later period, in which the accustomed metaphysical and fanciful subtilties of the elder poets are drawn out to an unwonted fineness. These were concessions to a ruling mode,--concessions the more readily made, owing to their being in complete harmony with the strong subtilizing and allegorizing tendencies of Dante's own mind. Still, so far as he adopts the modes of his predecessors in this first book of his, Dante surpasses them all in their own way. He leaves them far behind him, and goes forward to open new paths which he is to tread alone.

But there is yet another tendency of the times, to which Dante, in his later works, has given the fullest and most characteristic expression, and which exhibits itself curiously in the "Vita Nuova." Corresponding with the new ardor for the arts, and in sympathy with it, was a newly awakened and generally diffused ardor for learning, especially for the various branches of philosophy. Science was leaving the cloister, in which she had sat in dumb solitude, and coming out into the world. But the limits and divisions of knowledge were not firmly marked. The relations of learning to life were not clearly understood. The science of mathematics was not yet so advanced as to bind philosophy to exactness. The intellects of men were quickened by a new sense of freedom, and stimulated by ardor of imagination. New worlds of undiscovered knowledge loomed vaguely along the horizon. Philosophy invaded the sphere of poetry, while, on the other hand, poetry gave its form to much of the prevailing philosophy. To be a proper poet was not only to be a writer of verses, but to be a master of learning. Boccaccio describes Guido Cavalcanti as "one of the best logicians in the world, and as a most excellent natural philosopher,"[10] but says nothing of his poetry. Dante, more than any other man of his time, resumed in himself the general zeal for knowledge. His genius had two distinct, and yet often intermingling parts,--the poetic and the scientific. No learning came amiss to him. He was born a scholar, as he was born a poet,--and had he written not a single poem, he would still be famous as the most profound student of his times. Far as he surpassed his contemporaries in poetry, he was no less their superior in the depth and the extent of his knowledge. And this double nature of his genius is plainly shown in many parts of "The New Life." A youthful incapacity to mark clearly the line between the work of the student and the work of the poet is manifest in it. The display of his acquisitions is curiously mingled with the narrative of his emotions. This is not to be charged against him as pedantry. His love of learning partook of the nature of passion; his judgment was not yet able, if indeed it ever became able, to establish the division between the abstractions of the intellect and the affections of the heart. And above all, his early claim of honor as a poet was to be justified by his possession of the fruits of study.