Lost Leaders

Thaums, again, are wonders, and there is no very obvious reason why they should not be called wonders. But to return to levitation. Most of us have heard how Mr. Home and other gifted people possess the faculty of being raised from the ground, and of floating about the room, or even out of the window. There are clouds of witnesses who have observed these phenomena, which generally occur in the dark. In fact, they are part of that vague subject called spiritualism, about which opinion is so much divided, and views are so vague. It has been said that the human race, in regard to this high argument, is divided into five classes. There are people who believe; people who investigate; people who think the matter really ought to be looked into; people who dislike the topic, but who would believe in the phenomena if they were proved; and people of common sense, who would not believe in them if they were proved. Now, the article in the Journal of Science only deals with one of the phenomena we hear so much of – that of the sudden suspension of the laws of gravitation, in the case of individual men. The author has collected a vast variety of traditions bearing on this subject, and his conclusion apparently is, that events of this kind, though rather rare, are natural, are peculiar to people of certain temperament and organization, and, above all, bring no proof as to the truth of the doctrines asserted by the persons who exhibit the phenomena. Now, men of science, as a rule, and the world at large, look on stories of this sort as myths, romances, false interpretations of subjective feelings, pious frauds, and absurd nonsense. Before expressing an opinion, it may be well to look over the facts, as they are called, which are brought under our notice.

What accounts, then, are there of levitation among the civilized people of the Old World? First, there is Abaris, the Scythian, “in the time of Pythagoras,” says our author. Well, as a matter of evidence, Abaris may have been levitated in the eighth century before Christ, or it may have been two hundred and fifty years later. Perhaps he was a Druid of the Hebrides. Toland thought so, and Toland had as good a chance of knowing as any one else. Our earliest authority, Herodotus, says he took no earthly food, and “went with his arrow all round the world without once eating.” It seems that he rode on this arrow, which, Mr. Rawlinson thinks, may possibly have been an early tradition of the magnet. All our detailed information about him is of later date than the Christian era. The fact remains that tradition says he was able to fly in the air. Pythagoras is said to have had the same power, or rather the same faculty came upon him. He was lifted up, with no will or conscious exertion of his own. Now, our evidence as to the power of Pythagoras to be “like a bird, in two places at once,” is exactly as valuable as that about Abaris. It rests on the tradition repeated by superstitious philosophers who lived eight hundred years after his death. “To Pythagoras, therefore,” as Herodotus has it, “we now say farewell,” with no further knowledge than that vague tradition says he was “levitated.” The writer now leaves classical antiquity behind him – he does not repeat a saying of Plotinus, the mystic of Alexandria, who lived in the third century of our era. The best known anecdote of him is that his disciples asked him if he were not sometimes levitated, and he laughed, and said, “No; but he was no fool who persuaded you of this.” Instead of Plotinus, we are referred to a mass of Jewish and anti-Christian apocryphal traditions, which have the same common point – the assertion of the existence of the phenomenon of levitation. Apollonius of Tyana is also said to have been a highly accomplished medium. We are next presented with a list of forty “levitated” persons, canonized or beatified by the Church of Rome. Their dates range from the ninth to the seventeenth century, and their histories go to prove that levitation runs in families. Perhaps the best known of the collection is St. Theresa (1515-1582), and it is only fair to say that the stories about St. Theresa are very like those repeated about our lady mediums. One of these, Mrs. Guppy, as every one knows, can scatter flowers all over a room, “flowers of Paradise,” unknown to botanists. Fauna, rather than flora, was St. Theresa’s province, and she kept a charming pet, a little white animal of no recognized species. Still, about her, and about her friend St John of the Cross, the legend runs that they used to be raised off the ground, chairs and all, and float about in the most soothing way. Poor Peter of Alcantara was levitated in a less pleasant manner; “he uttered a frightful cry, and shot through the air as if he had been fired from a gun.” Peter had a new form of epilepsy – the rising, not the falling, sickness. Joseph Copertino, again, floated about to such good effect, that in 1650 Prince John of Brunswick foreswore the Protestant faith. The logical process which converted this prince is not a very obvious one.

Why do we quote all these old monkish and neoplatonic legends? For some the evidence is obviously nil; to other anecdotes many witnesses bear testimony; but then, we know that an infectious schwärmerei can persuade people that the lion now removed from Northumberland House wagged his tail. The fact is that there is really matter for science in all these anecdotes, and the question to be asked is this – How does it happen that in ages and societies so distant and so various identical stories are current? What is the pressure that makes neoplatonic gossips of the fourth century circulate the same marvels as spiritualist gossips of the nineteenth? How does it happen that the mediæval saint, the Indian medicine-man, the Siberian shaman (a suggestive term), have nearly identical wonders attributed to them? If people wanted merely to tell “a good square lie,” as the American slang has it, invention does not seem to have such pitifully narrow boundaries. It appears to follow that there are contagious nervous illusions, about which science has not said the last word. We believe that the life of children, with its innocent mixture of dreams and waking, facts and fancies, could supply odd parallels to the stories we have been treated to. And as we are on the subject, we should like, as the late President Lincoln said, to tell a little story. It occurred to a learned divine to meet a pupil, who ought by rights to have been in the University of Oxford, walking in Regent Street. The youth glided past like a ghost, and was lost in the crowd; next day his puzzled preceptor received a note, dated on the previous day from Oxford, telling how the pupil had met the teacher by the Isis, and on inquiry had heard he was in London. Here is a case of levitation – of double levitation, and we leave it to be explained by the followers of Abaris and of Mr. Home.

A CHINAMAN’S MARRIAGE

The Court of Assizes at Paris has lately been occupied with the case of a Chinese gentleman, whose personal charms and literary powers make him worthy to be the compatriot of Ah-Sin, that astute Celestial. Tin-tun-ling is the name – we wish we could say, with Thackeray’s F. B., “the highly respectable name” – of the Chinese who has just been acquitted on a charge of bigamy. In China, it is said that the more distinguished a man is the shorter is his title, and the name of a very victorious general is a mere click or gasp. On this principle, the trisyllabic Tin-tun-ling must have been without much honour in his own country. In Paris, however, he has learned Parisian aplomb, and when confronted with his judges and his accusers, his air, we learn, “was very calm.” “His smile it was pensive and bland,” like the Heathen Chinee’s, and his calm confidence was justified by events. It remains to tell the short, though not very simple, tale of Tin-tun-ling. Mr. Ling was born in 1831, in the province of Chan-li. At the interesting age of eighteen, an age at which the intellect awakens and old prejudices lose their grasp, he ceased to burn gilt paper on the tombs of his ancestors; he ceased to revere their august spirits; he gave up the use of the planchette, rejected the teachings of Confucius, and, in short, became a convert to Christianity. This might be considered either as a gratifying testimony to the persuasive powers of Catholic missionaries, or as an example of the wiles of Jesuitism, if we did not know the inner history of Mr. Ling’s soul, the abysmal depths of his personality. He has not, like many other modern converts, written a little book, such as “How I ceased to chinchin Joss; or, from Confucius to Christianity,” but he has told Madame Judith Mendès all about it. Madame Mendès has made a name in literature, and English readers may have wondered how the daughter of the poet Théophile Gautier came to acquire the knowledge of Chinese which she has shown in her translations from that language. It now appears that she was the pupil of Tin-tun-ling, who, in a moment of expansion, confided to her that he adopted the Catholic faith that he might eat a morsel of bread. He was starving, it seems; he had eaten nothing for eight days, when he threw himself on the charity of the missionaries, and received baptism. Since Winckelmann turned renegade, and became a Roman Catholic merely that the expenses of his tour to Rome and his maintenance there might be paid, there have surely been few more mercenary converts. Tin-tun-ling was not satisfied with being christened into the Church, he was also married in Catholic rites, and here his misfortunes fairly began, and he entered on the path which has led him into difficulty and discredit.

The French, as a nation, are not remarkable for their accuracy in the use of foreign proper names, and we have a difficulty in believing that the name of Mr. Ling’s first wife was really Quzia-Tom-Alacer. There is a touch of M. Hugo’s famous Tom Jim Jack, the British tar, about this designation. Nevertheless, the facts are that Tin-tun-ling was wedded to Quzia, and had four children by her. After years of domestic life, on which he is said to look back but rarely and with reluctance, he got a position as secretary and shoeblack and tutor in Chinese to a M. Callery, and left the province of Chin-li for Paris. For three months this devoted man sent Quzia-Tom-Alacer small sums of money, and after that his kindness became, as Douglas Jerrold said, unremitting. Quzia heard of her lord no more till she learned that he had forgotten his marriage vow, and was, in fact, Another’s. As to how Tin-tun-ling contracted a matrimonial alliance in France, the evidence is a little confusing. It seems certain that after the death of his first employer, Callery, he was in destitution; that M. Théophile Gautier, with his well-known kindness and love of curiosities, took him up, and got him lessons in Chinese, and it seems equally certain that in February, 1872, he married a certain Caroline Julie Liégeois. In the act of marriage, Tin-tun-ling described himself as a baron, which we know that he was not, for in his country he did not rejoice in buttons and other insignia of Chinese nobility. As Caroline Julie Ling (née Liégeois) denounced her lord for bigamy in 1873, and succeeded, as has been seen, in proving that he was husband of Quzia-Tom-Alacer, it may seem likely that she found out the spurious honours of the pretended title. But whatever may be thought of the deceitful conduct of Ling, there is little doubt apparently that Caroline is really his. He stated in court that by Chinese law a husband who has not heard of his wife for three years may consider that his marriage has legally ceased to be binding. Madame Mendès proved from the volume Ta-Tsilg-Leu-Lee, the penal code of China, that Ling’s law was correct. It also came out in court that Quzia-Tom-Alacer had large feet. The jury, on hearing this evidence, very naturally acquitted Tin-tun-ling, whom Madame Mendès embraced, it is said, with the natural fervour of a preserver of innocence. Whether Tin-tun-ling is now a bachelor, or whether he is irrevocably bound to Caroline Julie, is a question that seems to have occurred to no one.

The most mysterious point in this dark business is the question, How did Tin-tun-ling, who always spoke of his first marriage with terror, happen to involve himself in the difficulties of a second? Something more than the common weakness of human nature must have been at work here. Madame Mendès says, like a traitor to her sex, that Tin espoused Caroline Julie from feelings of compassion. He yielded, according to Madame Mendès, “to the entreaties of this woman.” The story of M. Gustave Lafargue confirms this ungallant tale. According to M. Lafargue, Tin’s bride was a governess, and an English governess, or at least one who taught English. She proposed to marry Tin, who first resisted, and then hesitated. In a matter of this kind, the man who hesitates is lost. The English governess flattered Tin’s literary as well as his personal vanity. She proposed to translate the novels which Tin composes in his native tongue, and which he might expect to prove as popular in France as some other fictions of his fatherland have done in times past. So they were married. Tim, though on pleasure bent, had a frugal mind, and after a wedding-breakfast, which lasted all day, he went to a theatre to ask for two free passes. When he came back his bride was gone. He sought her with all the ardour of the bridegroom in the ballad of “The Mistletoe Bough,” and with more success. Madame Ling was reading a novel at home. Mr. Carlyle has quoted Tobias Smollett as to the undesirability of giving the historical muse that latitude which is not uncommon in France, and we prefer to leave the tale of Ling’s where Mr. Carlyle left that of Brynhild’s wedding. 5

SIEUR DE MONTAIGNE

The French National Library has recently, as it is said, made an acquisition of great value and interest. The books, and better still the notes, of Montaigne, the essayist, have been bought up at the not very exorbitant price of thirty-six thousand francs. The volumes are the beautiful editions of the sixteenth century – the age of great scholars and of printers, like the Estiennes, who were at once men of learning and of taste. It is almost certain that they must be enriched with marginal notes of Montaigne’s, and the marginal notes of a great man add even more to the value of a book than the scribblings of circulating library readers detract from its beauty. There is always something characteristic in a man’s treatment of his books. Coleridge’s marginalia on borrowed works, according to Lamb, were an ornament of value to his friends, if they were lucky enough to get the books back again. Poe’s marginalia were of exquisite neatness, though in their printed form they were not very interesting. Thackeray’s seem mostly to have taken the shape of slight sketches in illustration of the matter. Scaliger’s notes converted a classic into a new and precious edition of one example. Casaubon’s, on the other hand, were mere scratches and mnemonic lines and blurs, with which he marked his passage through a book, as roughly as the American woodsman “blazes” his way through a forest. “None could read the comment save himself,” and the text was disfigured. We may be sure that Montaigne’s marginalia are of a very different value. As he walked up and down in his orchard, or in his library, beneath the rafters engraved with epicurean maxims, he jotted his thoughts hastily on the volume in his hand – on the Pliny, or Suetonius, or Livy. His library was probably not a large one, for he had but a few favourite authors, the Latin historians, moralists, and anecdotists, and for mere amusement Terence and Catullus, Boccaccio and Rabelais. His thoughts fell asleep, he says, if he was not walking about, and his utter want of memory made notes and note-books necessary to him. He who could not remember the names of the most ordinary tools used in agriculture, nor the difference between oats and barley, could never keep in his head his enormous stock of classical anecdotes and modern instances. His thoughts got innocently confused with his recollections, and his note-books will probably show whence he drew many of his stories, and the quotations that remain untraced. They will add also to our knowledge of the man and of his character, though it might seem difficult to give additional traits in the portrait of himself which he has painted with so many minute touches.

With the exception of Dr. Johnson, there is scarcely any great man of letters whom we are enabled to know so intimately as the Sieur de Montaigne. He has told us all about himself; all about his age, as far as it came under his eager and observant eyes; all about the whole world, as far as it made part of his experience. Rousseau is not more frank, and not half so worthy of credit, for Rousseau, like Topsy in the novel, had a taste for “’fessing” offences that he had never committed rather than not “’fess” at all. Montaigne strikes no such attitudes; he does not pose, he does not so much confess as blab. His life stands before the reader “as in a picture.” We learn that his childhood was a happier one than usually fell to the lot of children in that age when there was but little honey smeared on the cup of learning. We know that his father taught him Greek in a kind of sport or game, that the same parent’s relations with the fair sex were remarkable, and that he had extraordinary strength in his thumb. For his own part, Montaigne was so fresh and full of life that Simon Thomas, a great physician, said it would make a decrepit old man healthy again to live in his company. One thinks of him as a youth like the irrepressible Swiss who amused the ennui of Gray.

Even in his old age, Montaigne was a gay, cheerful, untiring traveller, always eager to be going on, delighted with every place he visited, and yet anxious for constant change of scene and for new experience. To be amusingly and simply selfish is ever part of the charm of Montaigne. He adds to his reader’s pleasure in life by the keenness with which he relished his own existence, and savoured every little incident as a man relishes the bouquet of wine. Without selfishness, how can this be managed? and without perfect simplicity and the good faith on which he prided himself, how could Montaigne, how could Pepys, have enriched the world as they have done? His essays are among the few works that really and literally make life more opulent with accumulated experience, criticism, reflection, humour. He gives of his rich nature, his lavish exuberance of character, out of that fresh and puissant century to this rather weary one, just as his society in youth might have been given to the sick old man.

Besides what he has to give in this manner, Montaigne seems to express French character, to explain the French genius and the French way of looking at life, more clearly and completely than any other writer. He has at bottom the intense melancholy, the looking forward to the end of all, which is the ground-note of the poetry of Villon, and of Ronsard, as of the prose of Chateaubriand. The panelled library in Montaigne’s chateau was carven with mottoes, which were to be charms against too great fear of death. “For my part,” he says, “if a man could by any means avoid death, were it by hanging a calf-skin on his limbs, I am one that would not be ashamed of the shift.” Happy it is, he thinks, that we do not, as a rule, meet death on a sudden, any more than we encounter the death of youth in one day. But this is only the dark background of the enjoyment of life, to which Montaigne clings, as he says, “even too eagerly.” Merely to live, merely to muse over this spectacle of the world, simply to feel, even if the thing felt be agony, and to reflect on the pain, and on how it may best be borne – this is enough for Montaigne. This is his philosophy, reconciling in a way the maxims of the schools that divided the older worlds, the theories of the Stoic and wiser Epicurean. To make each moment yield all that it has of experience, and of reflection on that experience, is his system of existence. Acting on this idea, all contrasts of great and petty, mean and divine, in human nature do not sadden, but delight him. It was part of the play to see the division between the King of Navarre (Henri IV.) and the Duke of Guise. He told Thuanus that he knew the most secret thoughts of both these princes, and that he was persuaded that neither of them was of the religion he professed. This scandal gave him no concern, compared with his fear that his own castle would suffer in wars of the League. As to the Reformation, he held it for a hasty, conceited movement on the part of persons who did not know what they were meddling with, and, being a perfect sceptic, he was a perfectly good Churchman. Full of tolerance, good-humour, and content, cheerful in every circumstance, simple and charming, yet melancholy in his hour, Montaigne is a thorough representative of the French spirit in literature. His English translator in 1776 declares that “he meets with a much more favourable entertainment in England than in his native country, a servile nation that has lost all sense of liberty.” Like many other notions current in 1776, this theory of Montaigne’s popularity at home and abroad has lost its truth. Perhaps it would be more true to say that Montaigne is one of the last authors whom modern taste learns to appreciate. He is a man’s author, not a woman’s; a tired man’s, not a fresh man’s. We all come to him, late indeed, but at last, and rest in his panelled library.

THACKERAY’S DRAWINGS

The advertisements of publishers make a very pleasant sort of reading. They offer, as it were, a distant prospect of the great works of the future, looming in a golden haze of expectation. A gentleman or lady may acquire a reputation for wide research by merely making a careful study of the short paragraphs in the literary papers.

There are three classes of people who take an interest in letters. There are the persons who read books; the much larger class which reads reviews; and, again, they who merely skim over the advertisements of new works. The last set live in a constant enjoyment of the pleasure of expectation; they pretend to themselves that some day they will find time to peruse the volumes in the birth of which they are interested, but, in fact, they live in the future. They are a month ahead of their friends who read reviews, and six months of the students who actually devour books themselves. Not only these eager lovers of literary “shop,” but all friends of English humour, must be glad to see that a collection of Mr. Thackeray’s sketches and drawings has been prepared for publication.

When the news spread over England of Mr. Thackeray’s sudden death, it was felt that a personal loss had been sustained by every one who cared for books and for style. Other men might write themselves out, their invention might become weary; and, indeed, Mr. Thackeray himself felt this fatigue. He wished he could get some one to do “the business” of his stories he told the world in a “Roundabout Paper.” The love-making parts of “the business” annoyed him, and made him blush, in the privacy of his study, “as if he were going into an apoplexy.” Some signs of this distaste for the work of the novelist were obvious, perhaps, in “Philip,” though they did not mar the exquisite tenderness and charm of “Denis Duval.” However that might be, his inimitable style was as fresh as ever, with its passages of melancholy, its ease, its flexible strength, and unlooked-for cadences. It was the talk about life, and the tone of that talk, which fell silent when Thackeray died, that we all felt as an irremediable loss. There is an old story that Pindar had never in his lifetime written an ode in praise of Persephone, the goddess of death and the dead, and that after he had departed from among living men, his shade communicated to the priests a new hymn on the Queen of Hades. The works of great writers published after their decease have somewhat of the charm of this fabled hymn; they are voices, familiar and unlocked for, out of the silence. They are even stranger, when they have such a slight and homelike interest as the trifles that fell unheeded from the pen or pencil of one who has done great things in poetry or art. Mr. Thackeray’s sketches in the “Orphan of Pimlico” are of this quality – caricatures thrown off to amuse children who are now grown men and women. They have the mark of the old unmistakable style, humorous and sad, and, as last remains, they are to be welcomed and treasured.