The Continental Monthly, Vol. 1, No. 4, April, 1862

No element more fatal to our growth or freedom could Lyon conceive than this slave autocracy. It sapped the very foundations of republicanism, and, stealthily advancing to the extreme limits of the law, enjoyed the confidence of the people, while it plotted their subjugation. All the varied machinery of the new social system, falsely styled government, had for its object the extinction of individual rights and the deification of capital. Church and state united in the unholy effort to Crush the masses, and intriguing politicians, by dint of dazzling rhetoric and plausible promises, lured the people on to secure their own downfall at the polls. The only remedy for this Lyon saw in the elevation of the masses. 'It is the greatest political revolution yet to be effected,' he says, 'to bring the laboring man to know that honest industry is the highest of merits, and should be awarded the highest honor; and, properly pursued, contributes to his intelligence and morality, and to the virtues needed for official station.' 'The calamity,' says an eminent writer from his far Platonean heights, 'is the masses;' but liberty is a new religion that is to sweep over the world and regenerate them. And to this end Lyon boldly advocated emancipation for the sake of the white man. If to-day, when patriotism is at a premium, men tremble before the acknowledged necessity of this measure, and are either too cowardly or too indolent to meet the demands of the times, it required no little boldness in 1860 to advance a theory so decided, even in a Kansas newspaper. But Lyon knew the inefficiency of half-way measures, and the moral degradation they inevitably entail upon the community so weak or so deluded as to adopt them. The hue and cry of abolitionism did not disturb him; he was not afraid of names. Conservatism that sat in state at Washington, and pulled the wires all over the country,—a tremendous power, none the less fearful in that it was only a galvanized one,—was a dead letter to him, its dignity departed with the age that had demanded it. Conservatism would have resented no impositions, established no new landmarks, asserted no independence; would carry its mails on horseback, creep over the ocean in schooners, fight by sea in piked brigantines, and by land with spear and battle-axe; it would have emancipated no slaves in Great Britain and France, and no serfs in Russia. But if freedom means anything, it means Progress,—liberty to advance, never to retrograde. 'Nothing in the world will ever go backward,' said the old lizard to Heine. All the authority of a new Areopagus could never sanction that; and yet this liberty the South claims, nay, has already acted upon, so that the world may see the result of the experiment, and against its continuance Lyon protests. In the long silent years of preparation for the fray he has nursed strange thoughts on the ultimate destiny of man. He has seen in dreams, prophetic of a mighty accomplishment, his country growing great, and vigorous, and powerful, extending to struggling humanity everywhere the protection of her friendship, building up noble institutions, encouraging science and the useful arts, and leading the van in the world's great millennial march; and this not through any miraculous interposition of Providence, but by means of an exalted intelligence and the power of thought stimulating to action, and that of the noblest kind.

But you argue the unfitness of the masses for this destiny. Lyon answers,—not in any musically-rounded sentences, in phrases nicely balanced; the man is plain and outspoken,—'This is a truth of philosophy and political economy, that man rises to a condition corresponding to the rights, duties and responsibilities devolved upon him; and therefore the only true way to make a man is to invest him with the rights, duties and responsibilities of a man, and he generally rises in intellectual and moral greatness to a position corresponding to these circumstances.' It is a mistake to suppose the great body of the people ignorant of their position, or unconscious of their growing importance and dignity as representatives of a mighty empire. Vice and poverty have indeed well-nigh quenched humanity in thousands in our great cities, but these are but a drop in the ocean. Behind lies our vast West, with its teeming population, sturdy, active and energetic. All our mountain districts are alive with men who, thanks to the press, are beginning to feel their power. Every advantage of physical development their hardy life gives them, and the growing consciousness and comprehension of freedom, blooming under a munificent free-school dispensation, will do the rest. Our internal manufacturing and agricultural elements at the North, already powerful and irrepressible, will soon exercise a tremendous influence in our government. Shall it be the influence of ignorance played upon by the sophistry of demagogues and helping to rebuild the vicious doctrines that have stood firmly for so many years, or the healthful influence of intelligent industry tending to our greatness and prosperity? This our war is to decide. No peaceful solution of the great question could be made. This Lyon foresaw in the truckling of politicians North to win the unit of Southern political sympathy: the main end and aim of the South being the appointment of Southern men to the Presidency, 'as security on the one hand against unfavorable executive action toward slavery, and on the other against executive patronage adverse to its interests, the democratic party North succeeded, by trimming party sails and decking party leaders, in suiting their fastidious Southern leaders.' The question once at issue, even a peaceful separation was impossible, though an amendment of the Constitution should sanction it. War was inevitable. The great bugbear of slavery would still exist; fugitive slave laws be forever upon the political carpet; formidable jealousies spring up between two nations founded upon such diverse principles, yet united by very natural circumstance of language and climate; internal wrangling would destroy all unity, conspiracies give the death-blow to all prosperity and all hope of advancement. All this if there were no great party at the North to rise upon the vast ground of humanity, claiming for its millions the privilege of an unfettered life, for its children a fair start in the future. Only one remedy Lyon knew, and he stood there, the early apostle of Emancipation, and preached it. His doctrine was not accepted then, it is not accepted now; but the time must come, when millions shall have been expended, and blood shall have flowed like water only to delay it, when we will fly to it for salvation. Let those who still cry 'Peace, peace,' when there is no peace, learn what is to be its price—Emancipation. It will be a bitter draught; well, so was the independence of her colonies to England. And every day makes it more bitter; the gall in the cup rises to the brim; a few more months and it will overflow; the people will take the matter into their own hands and legislate slavery into the swamps of Florida.

It is a lame and blind philanthropy that cries for a respite. 'A little more sleep, a little more slumber. After us the deluge.' And meanwhile the damnable lies gain ground, and a new generation is lost to its due development. Have we yet to learn that we are no longer individuals, but parts of a mighty nation, and responsible in some sort, every one, women and men, for its destiny? Poland has learned this lesson. Her eyes are upon us now. Shall she, still struggling, find that blood and treasure, and all the thousand dear blessings of peace, have been sacrificed in vain? If you cry 'War is an evil!' we grant it; but is it reserved for the nineteenth century to discover a creed for which there shall be no martyrs? What great gift has the world ever won that was not bought with blood? When has independence of action or thought been purchased otherwise than at the cost of persecution,—more revolution? Then let us not slander revolutions. They are the throes of nature undergoing her purification; if it is as by fire, oh! let us have courage and stand beside her in her hour of trial. St. George will not fight forever; the dragon of oppression is dying.

'Yes, although so slowly, he is dying;Many thousand years have fled in darkness,Since the sword first cut his scaly armor,And the red wound roused him into madness;But the good knight is of race immortal,Ever young, and passionate and fearless;And the strength which oozes from the dragon,Blooms reviving in the glorious warrior.'

And, after all, the demon of war is not so black as we have painted him. We do not shudder to-day as we read of the siege of Troy or the downfall of Carthage, or the Romance of the Cid. The song of Deborah, 'of the avenging of Israel when the people willingly offered themselves,' is one glorious burst of praise to God and gratitude to the martyrs. There was war in heaven when ambition was cast out:—what quiet pastoral appeals to our noblest impulses as Paradise Lost does? Wisely and well speaks the English clergyman when he says:—

'But the truth is that here, as elsewhere, poetry has reached the truth, while science and common sense have missed it. It has distinguished—as, in spite of all mercenary and feeble sophistry, men ever will distinguish—war from mere bloodshed. It has discerned the higher feelings which lie beneath its revolting features. Carnage is terrible. The conversion of producers into destroyers is a calamity. Death, and insults to women worse than death—and human features obliterated beneath the hoof of the war-horse—and reeking hospitals, and ruined commerce, and violated homes, and broken hearts—they are all awful. But there is something worse than death: cowardice is worse. And the decay of enthusiasm and manliness is worse. And it is worse than death, aye, worse than one hundred thousand deaths, when a people has gravitated down into the creed, that the "wealth of nations" consists, not in generous hearts, "fire in each breast, and freedom on each brow," in national virtues, and primitive simplicity, and heroic endurance, and preference of duty to life—not in men, but in silk and cotton, and something that they call "capital." Peace is blessed—peace arising out of charity. But peace springing out of the calculations of selfishness is not blessed. If the price to be paid for peace is this, that wealth accumulate and men decay, better far that every street, in every town of our once noble country, should run blood.'11

As we write, every telegram proves the vaunted unity of the South a sham, a visionary political bugbear, no longer strong or hideous enough to frighten the most inveterate conservative dough-face. But a few victories do not end the war; still earnestness and effort and sacrifice, for the sick man of America will fight even when his 'brains are out.' Not until we have proved to Breckenridge, the traitor, that we are not 'fighting for principles that three-fourths of us abhor,' and that the Union is not only 'a means of preserving the principles of political liberty,' but that in it is irrevocably bound up every living principle of all liberty, social, religious and individual; that in its shelter only we have security against wrong at home and insult from abroad; not until Emancipation has instituted a new order of things in society as well as in politics, will the death of the out-spoken patriot and brave man, Lyon, be avenged, and the Struggle be at an end. 'Genius is patient,' but patience has had her perfect work, and the days of Rebellion are numbered. On with the crusade!

Maccaroni And Canvas

II

The voice of Rome is baritone, always excepting that of the Roman locomotive,—the donkey,—which is deep bass, and comes tearing and braying along at times when it might well be spared. In the still night season, wandering among the moonlit ruins of the Coliseum, while you pause and gaze upon the rising tiers of crumbling stone above you, memory retraces all you have read of the old Roman days: the forms of the world-conquerors once more people the deserted ruin; the clash of ringing steel; hot, fiery sunlight; thin, trembling veil of dust pierced by the glaring eyes of dying gladiators; red-spouting blood; screams of the mangled martyrs torn by Numidian lions; moans of the dying; fierce shouts of exultation from the living; smiles from gold-banded girls in flowing robes, with floating hair, flower-crowned, and perfumed; the hum of thrice thirty thousand voices hushed to a whisper as the combat hangs on an uplifted sword; the—

Aw-waw-WAUN-ik! WAW-NIK! WAUN-KI-w-a-w-n! comes like blatant fish-horn over the silent air, and your dream of the Coliseum ends ignominiously with this nineteenth-century song of a jackass.

At night you will hear the shrill cry of the screech-owl sounding down the silent streets in the most thickly-populated parts of the city. Or you will perhaps be aroused from sleep, as Caper often was, by the long-drawn-out cadences of some countryman singing a rondinella as he staggers along the street, fresh from a wine-house. Nothing can be more melancholy than the concluding part of each verse in these rondinellas, the voice being allowed to drop from one note to another, as a man falling from the roof of a very high house may catch at some projection, hold on for a time, grow weak, loose his hold, fall, catch again, hold on for a minute, and at last fall flat on the pavement, used up, and down as low as he can reach.

But the street-cries of this city are countless; from the man who brings round the daily broccoli to the one who has a wild boar for sale, not one but is determined that you shall hear all about it. Far down a narrow street you listen to a long-drawn, melancholy howl—the voice as of one hired to cry in the most mournful tones for whole generations of old pagan Romans who died unconverted; poor devils who worshiped wine and women, and knew nothing better in this world. And who is their mourner? A great, brawny, tawny, steeple-crowned hat, blue-breeched, two-fisted fish-huckster; and he is trying to sell, by yelling as if his heart would break, a basket of fish not so long as your finger. If he cries so over anchovies, what would he do if he had a whale for sale?

Another primo basso profundo trolls off a wheelbarrow and a fearful cry at the same time; not in unison with his merchandise, for he has birds—quail, woodcock, and snipe—for sale, besides a string of dead nightingales, which he says he will 'sell cheap for a nice stew.' Think of stewed nightingales! One would as soon think of eating a boiled Cremona violin.

But out of the way! Here comes, blocking up the narrow street, a contadino, a countryman from the Campagna. His square wooden cart is drawn by a donkey about the size of, and resembling, save ears, a singed Newfoundland dog; his voice, strong for a vegetarian,—for he sells onions and broccoli, celery and tomatoes, finocchio and mushrooms,—is like tearing a firm rag: how long can it last, subjected to such use?

It is in the game and meat market, near the Pantheon, that you can more fully become acquainted with the street cries of Rome; but the Piazza Navona excels even this. Passing along there one morning, Caper heard such an extraordinary piece of vocalization, sounding like a Sioux war-whoop with its back broken, that he stopped to see what it was all about. There stood a butcher who had exposed for sale seven small stuck pigs, all one litter; and if they had been his own children, and died heretics, he could not have howled over them in a more heart-rending manner.

About sunrise, and even before it,—for the Romans are early risers,—you will hear in spring-time a sharp ringing voice under your window, 'Acqua chetosa! Acqua, chetosa!' an abridgment of acque accetosa, or water from the fountain of Accetosa, considered a good aperient, and which is drank before breakfast. Also a voice crying out, 'Acqua-vi-ta!' or spirits, drank by the workmen and others at an expense of a baioccho or two the table-spoonful, for that is all the small glasses hold. In the early morning, too, you hear the chattering jackdaws on the roofs; and then, more distinctly than later in the day, the clocks striking their odd way. The Roman clocks ring from one to six strokes four times during the twenty-four hours, and not from one to twelve strokes, as with us. Sunset is twenty-four o'clock, and is noted by six strokes; an hour after sunset is one o'clock, and is noted by one stroke; and so on until six hours after, when it begins striking one again. As the quarter hours are also rung by the clocks, if you happen to be near one you will have a fine chance to get in a muddle trying to separate quarters from hours, and Roman time from your own. Another noise comes from the game of morra. Caper was looking out of his window one morning, pipe in mouth, when he saw two men suddenly face each other, one of them bringing his arm down very quickly, when the other yelled as if kicked, 'Dué!' (two), and the first shouted at the top of his lungs, 'Tre!' (three). Then they both went at it, pumping their hands up and down and spreading their fingers with a quickness which was astonishing, while all the time they kept screaming, 'One!' 'Four!' 'Three!' 'Two!' 'Five!' etc., etc. 'Ha!' said Caper, 'this is something like; 'tis an arithmetical, mathematical, etcetrical school in the open air. The dirtiest one is very quick; he will learn to count five in no time. But I don't see the necessity of saying "three" when the other brings down four fingers, or saying "five" when he shows two. But I suppose it is all right; he hasn't learned to give the right names yet.' He learned later that they were gambling.

While these men were shouting, there came along an ugly old woman with a tambourine and a one-legged man with a guitar, and seeing prey in the shape of Caper at his window, they pounced on him, as it were, and poured forth the most ear-rending discord; the old lady singing, the old gentleman backing up against a wall and scratching at an accompaniment on a jangling old guitar. The old lady had a bandana handkerchief tied over her head, and whilst she watched Caper she cast glances up and down the street, to see if some rich stranger, or milordo, was not coming to throw her a piece of silver.

'What are you howling about?' shouted Caper down to her.

'A new Neapolitan canzonetta, signore; all about a young man who grieves for his sweetheart, because he thinks she is not true to him, and what he says to her in a serenade.' And here she screechingly sung,—

But do not rage, I beg, my dear;I want you for my wife,And morning, noon, and night likewise,I'll love you like my life.CHORUSI only want to get a word,My charming girl, from thee.You know, Ninella, I can't breathe,Unless your heart's for me!

'Well,' said Caper, 'if this is Italian music, I don't see it.'

The one-legged old gentleman clawed away at the strings of the guitar.

'I say,'llustrissimo,' shouted Caper down to him, 'what kind of strings are those on your instrument?'

'Excellenza, catgut,' he shouted, in answer.

'Benissimo! I prefer cats in the original packages. There's a paolo: travel!'

Caper had the misfortune to make the acquaintance of a professor of the mandolin, a wire-strung instrument, resembling a long-necked squash cut in two, to be played on with a quill, and which, with a guitar and violin, makes a concert that thrills you to the bones and cuts the nerves away.

But the crowning glory of all that is ear-rending and peace-destroying, is carried around by the Pifferari about Christmas time. It is a hog-skin, filled with wind, having pipes at one end, and a jackass at the other, and is known in some lands as the bagpipe. The small shrines to the Virgin, particularly those in the streets where the wealthy English reside, are played upon assiduously by the pifferari, who are supposed by romantic travelers to come from the far-away Abbruzzi Mountains, and make a pilgrimage to the Eternal City to fulfil a vow to certain saints; whereas it is sundry cents they are really after. They are for the most part artists' models, who at this season of the year get themselves up à la pifferari, or piper, to prey on the romantic susceptibilities and pockets of the strangers in Rome, and, with a pair of long-haired goat-skin breeches, a sheepskin coat, brown rags, and sandals, or cioccie, with a shocking bad conical black or brown hat, in which are stuck peacock's or cock's feathers, they are ready equipped to attack the shrines and the strangers.

Unfortunately for Caper there was a shrine to the Virgin in the second-story front of the house next to where he lived; that is, unfortunately for his musical ear, for the lamp that burned in front of the shrine every dark night was a shining and pious light to guide him home, and thus, ordinarily, a very fortunate arrangement. In the third-story front room of the house of the shrine dwelt a Scotch artist named MacGuilp, who was a grand amateur of these pipes, and who declared that no sound in the world was so sweet to his ear as the bagpipes: they recalled the heather, haggis, and the Lothians, and the mountain dew, ye ken, and all those sorts of things.

One morning at breakfast in the Café Greco he discoursed at length about the pleasure the pifferari gave him; while Caper, taking an opposite view, said they had, during the last few days, driven him nearly crazy, and he wished the squealing hog-skins well out of town.

MacGuilp told him he had a poor ear for music: that there was a charm about the bagpipes unequalled even by the unique voices of the Sistine Chapel; and there was nothing he would like better than to have all the pipers of Rome under his windows.

Caper remembered this last rash speech of Master MacGuilp, and determined at an early hour to test its truth. It happened, the very next morning at breakfast, that MacGuilp, in a triumphant manner, told him that he had received a promise of a visit from the Duchess of –, with several other titled English; and said he had not a doubt of selling several paintings to them. MacGuilp's style was of the blood-and-thunder school: red dawns, murdered kings, blood-stained heather, and Scotch plaids, the very kind that should be shown to the sweet strainings of hog-skin bagpipes.

In conversation Caper found out the hour at which the duchess intended to make her visit. He made his preparations accordingly. Accompanied by Rocjean, he visited Gigi, who kept a costume and life school of models, found out where the pipers drank most wine, and going there and up the Via Fratina and down the Spanish Steps, managed to find them, and arranged it so that at the time the duchess was viewing MacGuilp's paintings, he should have the full benefit of a serenade from all the pifferari in Rome.

The next morning Caper, pipe in mouth, at his window, saw the carriage of the duchess drive up, and from it the noble English dismount and ascend to the artist's studio. The carriage had hardly driven away when up came two of the pipers, and happening to cast their eyes up they saw Caper, who hailed them and told them not to begin playing until the others arrived. In a few moments six of the hog-skin squeezers stood ready to begin their infernal squawking.

'Go ahead!' shouted Caper, throwing a handful of baiocchi among them; and as soon as these were gathered up, the pipers gave one awful, heart-chilling blast, and the concert was fairly commenced. Squealing, shrieking, grunting, yelling, and humming, the sounds rose higher and higher. Open flew the windows in every direction.

'C'est foudroyante!' said the pretty French modiste.

'What the devil's broke loose?' shouted an American.

'Mein Gott im himmel! was ist das?' roared the German baron.

'Casaccio! cosa faceste?' shrieked the lovely Countess Grimanny.

'In nomine Domine!' groaned a fat friar.

'Caramba! vayase al infierno!' screamed Don Santiago Gomez.

'Bassama teremtete!' swore the Hungarian gentleman.

Louder squealed the bagpipes, their buzz filled the air, their shrieks went ringing up to MacGuilp like the cries of Dante's condemned. The duchess found the sound barbarous. MacGuilp opened his window, upon which the pipers strained their lungs for the Signore Inglese, grand amateur of the bagpipes. He begged them to go away. 'No, no, signore; we know you love our music; we won't go away.'