The Atlantic Monthly, Volume 01, No. 06, April, 1858

"I won't believe it!" says he. "Every word you speak is an abominable insult to me and to my wife."

"Are you man enough, Sir," says I, taking him up short, in order to save time and words, "to get that receipted bill you spoke of just now, off the file, and to come with me at once to the milliner's shop where Mrs. Yatman deals?"

He turned red in the face at that, got the bill directly, and put on his hat. I took out of my pocket-book the list containing the numbers of the lost notes, and we left the house together immediately.

Arrived at the milliner's, (one of the expensive West-End houses, as I expected,) I asked for a private interview, on important business, with the mistress of the concern. It was not the first time that she and I had met over the same delicate investigation. The moment she set eyes on me, she sent for her husband. I mentioned who Mr. Yatman was, and what we wanted.

"This is strictly private?" says the husband. I nodded my head.

"And confidential?" says the wife. I nodded again.

"Do you see any objection, dear, to obliging the Sergeant with a sight of the books?" says the husband.

"None in the world, love, if you approve of it," says the wife.

All this while poor Mr. Yatman sat looking the picture of astonishment and distress, quite out of place at our polite conference. The books were brought,—and one minute's look at the pages in which Mrs. Yatman's name figured was enough, and more than enough, to prove the truth of every word that I had spoken.

There, in one book, was the husband's account, which Mr. Yatman had settled. And there, in the other, was the private account, crossed off also; the date of settlement being the very day after the loss of the cash-box. This said private account amounted to the sum of a hundred and seventy-five pounds, odd shillings; and it extended over a period of three years. Not a single instalment had been paid on it. Under the last line was an entry to this effect: "Written to for the third time, June 23d." I pointed to it, and asked the milliner if that meant "last June." Yes, it did mean last June; and she now deeply regretted to say that it had been accompanied by a threat of legal proceedings.

"I thought you gave good customers more than three years' credit?" says I.

The milliner looks at Mr. Yatman, and whispers to me,—"Not when a lady's husband gets into difficulties."

She pointed to the account as she spoke. The entries after the time when Mr. Yatman's circumstances became involved were just as extravagant, for a person in his wife's situation, as the entries for the year before that period. If the lady had economized in other things, she had certainly not economized in the matter of dress.

There was nothing left now but to examine the cash-book, for form's sake. The money had been paid in notes, the amounts and numbers of which exactly tallied with the figures set down in my list.

After that, I thought it best to get Mr. Yatman out of the house immediately. He was in such a pitiable condition, that I called a cab and accompanied him home in it. At first, he cried and raved like a child; but I soon quieted him,—and I must add, to his credit, that he made me a most handsome apology for his language, as the cab drew up at his house-door. In return, I tried to give him some advice about how to set matters right, for the future, with his wife. He paid very little attention to me, and went up stairs muttering to himself about a separation. Whether Mrs. Yatman will come cleverly out of the scrape or not seems doubtful. I should say, myself, that she will go into screeching hysterics, and so frighten the poor man into forgiving her. But this is no business of ours. So far as we are concerned, the case is now at an end; and the present report may come to a conclusion along with it.

I remain, accordingly, yours to command,Thomas Bulmer.

P.S.—I have to add, that, on leaving Rutherford Street, I met Mr.

Matthew Sharpin coming back to pack up his things.

"Only think!" says he, rubbing his hands in great spirits, "I've been to the genteel villa-residence; and the moment I mentioned my business, they kicked me out directly. There were two witnesses of the assault; and it's worth a hundred pounds to me, if it's worth a farthing."

"I wish you joy of your luck," says I.

"Thank you," says he. "When may I pay you the same compliment on finding the thief?"

"Whenever you like," says I, "for the thief is found."

"Just what I expected," says he. "I've done all the work; and now you cut in, and claim all the credit.—Mr. Jay, of course?"

"No," says I.

"Who is it, then?" says he.

"Ask Mrs. Yatman," says I. "She'll tell you."

"All right! I'd much rather hear it from her than from you," says he,—and goes into the house in a mighty hurry.

What do you think of that, Inspector Theakstone? Would you like to stand in Mr. Sharpin's shoes? I shouldn't, I can promise you!

FROM CHIEF INSPECTOR THEAKSTONE TO MR. MATTHEW SHARPIN

July 12th.

Sir,

Sergeant Bulmer has already told you to consider yourself suspended until further notice. I have now authority to add, that your services as a member of the Detective Police are positively declined. You will please to take this letter as notifying officially your dismissal from the force.

I may inform you, privately, that your rejection is not intended to cast any reflections on your character. It merely implies that you are not quite sharp enough for our purpose. If we are to have a new recruit among us, we should infinitely prefer Mrs. Yatman.

Your obedient servant,Francis Theakstone.* * * * *

Note on the preceding correspondence—The editor is, unfortunately, not in a position to add any explanations of importance to the last of the published letters of Chief Inspector Theakstone. It has been discovered that Mr. Matthew Sharpin left the house in Rutherford Street a quarter of an hour after his interview outside of it with Sergeant Bulmer,—his manner expressing the liveliest emotions of terror and astonishment, and his left cheek displaying a bright patch of red, which looked as if it might have been the result of what is popularly termed a smart box on the ear. He was also heard, by the shopman at Rutherford Street, to use a very shocking expression in reference to Mrs. Yatman; and was seen to clinch his fist vindictively, as he ran round the corner of the street. Nothing more has been heard of him; and it is conjectured that he has left London with the intention of offering his valuable services to the provincial police.

On the interesting domestic subject of Mr. and Mrs. Yatman still less is known. It has, however, been positively ascertained that the medical attendant of the family was sent for in a great hurry on the day when Mr. Yatman returned from the milliner's shop. The neighboring chemist received, soon afterwards, a prescription of a soothing nature to make up for Mrs. Yatman. The day after, Mr. Yatman purchased some smelling-salts at the shop, and afterwards appeared at the circulating library to ask for a novel that would amuse an invalid lady. It has been inferred from these circumstances that he has not thought it desirable to carry out his threat of separating himself from his wife,—at least in the present (presumed) condition of that lady's sensitive nervous system.

* * * * *

TELLING THE BEES.19

  Here is the place; right over the hill    Runs the path I took;  You can see the gap in the old wall still,    And the stepping-stones in the shallow brook.  There is the house, with the gate red-barred,    And the poplars tall;  And the barn's brown length, and the cattle-yard,    And the white horns tossing above the wall.  There are the bee-hives ranged in the sun;    And down by the brink  Of the brook are her poor flowers, weed-o'errun,    Pansy and daffodil, rose and pink.  A year has gone, as the tortoise goes,    Heavy and slow;  And the same rose blows, and the same sun glows,    And the same brook sings of a year ago.  There's the same sweet clover-smell in the breeze;    And the June sun warm  Tangles his wings of fire in the trees,    Setting, as then, over Fernside farm.  I mind me how with a lover's care    From my Sunday coat  I brushed off the burrs, and smoothed my hair,    And cooled at the brook-side my brow and throat.  Since we parted, a month had passed,—    To love, a year;  Down through the beeches, I looked at last    On the little red gate and the well-sweep near.  I can see it all now,—the slantwise rain    Of light through the leaves,  The sundown's blaze on her window-pane,    The bloom of her roses under the eaves.  Just the same as a month before,—    The house and the trees,  The barn's brown gable, the vine by the door,—    Nothing changed but the hives of bees.  Before them, under the garden wall,    Forward and back,  Went, drearily singing, the chore-girl small,    Draping each hive with a shred of black.  Trembling, I listened: the summer sun    Had the chill of snow;  For I knew she was telling the bees of one    Gone on the journey we all must go!  Then I said to myself, "My Mary weeps    For the dead to-day:  Haply her blind old grandsire sleeps    The fret and the pain of his age away."  But her dog whined low; on the doorway sill,    With his cane to his chin,  The old man sat; and the chore-girl still    Sung to the bees stealing out and in.  And the song she was singing ever since    In my ear sounds on:—  "Stay at home, pretty bees, fly not hence!    Mistress Mary is dead and gone!"

PERSIAN POETRY

To Baron von Hammer Purgstall, who died in Vienna during the last year, we owe our best knowledge of the Persians. He has translated into German, besides the "Divan" of Hafiz, specimens of two hundred poets, who wrote during a period of five and a half centuries, from A.D. 1000 to 1550. The seven masters of the Persian Parnassus, Firdousi, Enweri, Nisami, Dschelaleddin, Saadi, Hafiz, and Dschami, have ceased to be empty names; and others, like Ferideddin Attar, and Omar Chiam, promise to rise in Western estimation. That for which mainly books exist is communicated in these rich extracts. Many qualities go to make a good telescope,—as the largeness of the field, facility of sweeping the meridian, achromatic purity of lenses, and so forth,—but the one eminent value is the space-penetrating power; and there are many virtues in books, but the essential value is the adding of knowledge to our stock, by the record of new facts, and, better, by the record of intuitions, which distribute facts, and are the formulas which supersede all histories.

Oriental life and society, especially in the Southern nations, stand in violent contrast with the multitudinous detail, the secular stability, and the vast average of comfort of the Western nations. Life in the East is fierce, short, hazardous, and in extremes. Its elements are few and simple, not exhibiting the long range and undulation of European existence, but rapidly reaching the best and the worst. The rich feed on fruits and game,—the poor, on a watermelon's peel. All or nothing is the genius of Oriental life. Favor of the Sultan, or his displeasure, is a question of Fate. A war is undertaken for an epigram or a distich, as in Europe for a duchy. The prolific sun, and the sudden and rank plenty which his heat engenders, make subsistence easy. On the other side, the desert, the simoom, the mirage, the lion, and the plague endanger it, and life hangs on the contingency of a skin of water more or less. The very geography of old Persia showed these contrasts. "My father's empire," said Cyrus to Xenophon, "is so large, that people perish with cold, at one extremity, whilst they are suffocated with heat, at the other." The temperament of the people agrees with this life in extremes. Religion and poetry are all their civilization. The religion teaches an inexorable Destiny. It distinguishes only two days in each man's history: his birthday, called the Day of the Lot, and the Day of Judgment. Courage and absolute submission to what is appointed him are his virtues.

The favor of the climate, making subsistence easy, and encouraging an outdoor life, allows to the Eastern nations a highly intellectual organization,—leaving out of view, at present, the genius of the Hindoos, (more Oriental in every sense,) whom no people have surpassed in the grandeur of their ethical statement. The Persians and the Arabs, with great leisure and few books, are exquisitely sensible to the pleasures of poetry. Layard has given some details of the effect which the improvvisatori produced on the children of the desert. "When the bard improvised an amatory ditty, the young chief's excitement was almost beyond control. The other Bedouins were scarcely less moved by these rude measures, which have the same kind of effect on the wild tribes of the Persian mountains. Such verses, chanted by their self-taught poets, or by the girls of their encampment, will drive warriors to the combat, fearless of death, or prove an ample reward, on their return from the dangers of the ghazon, or the fight. The excitement they produce exceeds that of the grape. He who would understand the influence of the Homeric ballads in the heroic ages should witness the effect which similar compositions have upon the wild nomads of the East." Elsewhere he adds, "Poetry and flowers are the wine and spirits of the Arab; a couplet is equal to a bottle, and a rose to a dram, without the evil effect of either."

The Persian poetry rests on a mythology whose few legends are connected with the Jewish history, and the anterior traditions of the Pentateuch. The principal figure in the allusions of Eastern poetry is Solomon. Solomon had three talismans: first, the signet ring, by which he commanded the spirits, on the stone of which was engraven the name of God; second, the glass, in which he saw the secrets of his enemies, and the causes of all things, figured; the third, the east wind, which was his horse. His counsellor was Simorg, king of birds, the all-wise fowl, who had lived ever since the beginning of the world, and now lives alone on the highest summit of Mount Kaf. No fowler has taken him, and none now living has seen him. By him Solomon was taught the language of birds, so that he heard secrets whenever he went into his gardens. When Solomon travelled, his throne was placed on a carpet of green silk, of a length and breadth sufficient for all his army to stand upon,—men placing themselves on his right hand, and the spirits on his left. When all were in order, the east wind, at his command, took up the carpet, and transported it, with all that were upon it, whither he pleased,—the army of birds at the same time flying overhead, and forming a canopy to shade them from the sun. It is related, that, when the Queen of Sheba came to visit Solomon, he had built, against her arrival, a palace, of which the floor or pavement was of glass, laid over running water, in which fish were swimming. The Queen of Sheba was deceived thereby, and raised her robes, thinking she was to pass through the water. On the occasion of Solomon's marriage, all the beasts, laden with presents, appeared before his throne. Behind them all came the ant with a blade of grass: Solomon did not despise the gift of the ant. Asaph, the vizier, at a certain time, lost the seal of Solomon, which one of the Dews, or evil spirits, found, and, governing in the name of Solomon, deceived the people.

Firdousi, the Persian Homer, has written in the Shah Nameh the annals of the fabulous and heroic kings of the country: of Karun, (the Persian Croesus.) the immeasurably rich gold-maker, who, with all his treasures, lies buried not far from the Pyramids, in the sea which bears his name; of Jamschid, the binder of demons, whose reign lasted seven hundred years; of Kai Kaus, whose palace was built by demons on Alberz, in which gold and silver and precious stones were used so lavishly, and such was the brilliancy produced by their combined effect, that night and day appeared the same; of Afrasiyab, strong as an elephant, whose shadow extended for miles, whose heart was bounteous as the ocean, and his hands like the clouds when rain falls to gladden the earth. The crocodile in the rolling stream had no safety from Afrasiyab. Yet when he came to fight against the generals of Kaus, he was but an insect in the grasp of Rustem, who seized him by the girdle, and dragged him from his horse. Rustem felt such anger at the arrogance of the King of Mazinderan, that every hair on his body started up like a spear. The gripe of his hand cracked the sinews of an enemy.

These legends,—with Chiser, the fountain of life, Tuba, the tree of life,—the romances of the loves of Leila and Medschun, of Chosru and Schirin, and those of the nightingale for the rose,—pearl-diving, and the virtues of gems,—the cohol, a cosmetic by which pearls and eyebrows are indelibly stained black,—the bladder in which musk is brought,—the down of the lip, the mole on the cheek, the eyelash,—lilies, roses, tulips, and jasmines,—make the staple imagery of Persian odes.

The Persians have epics and tales, but, for the most part, they affect short poems and epigrams. Gnomic verses, rules of life, conveyed in a lively image, especially in an image addressed to the eye, and contained in a single stanza, were always current in the East; and if the poem is long, it is only a string of unconnected verses. They use an inconsecutiveness quite alarming to Western logic, and the connection between the stanzas of their longer odes is much like that between the refrain of our old English ballads,

"The sun shines fair on Carlisle wall,"

or

"The rain it raineth every day,"

and the main story.

Take, as specimens of these gnomic verses, the following:—

  "The secret that should not be blown    Not one of thy nation must know;  You may padlock the gate of a town,    But never the mouth of a foe."

Or this of Omar Chiam:—

  "On earth's wide thoroughfares below  Two only men contented go:  Who knows what's right and what's forbid,  And he from whom is knowledge hid."

Or this of Enweri:—

  "On prince or bride no diamond stone  Half so gracious ever shone,  As the light of enterprise  Beaming from a young man's eyes."

Or this of Ibn Jemin:—

  "Two things thou shalt not long for, if thou    love a life serene:  A woman for thy wife, though she were a    crowned queen;  And, the second, borrowed money, though    the smiling lender say  That he will not demand the debt until the    Judgment Day."

Or this poem on Friendship:—

  "He who has a thousand friends has not a    friend to spare,  And he who has one enemy shall meet him    everywhere."

Here is a poem on a Melon, by Adsched of Meru:—

  "Color, taste, and smell, smaragdus, sugar,    and musk,—  Amber for the tongue, for the eye a picture    rare,—  If you cut the fruit in slices, every slice a    crescent fair,—  If you leave it whole, the full harvest-moon    is there."

Hafiz is the prince of Persian poets, and in his extraordinary gifts adds to some of the attributes of Pindar, Anacreon, Horace, and Burns the insight of a mystic, that sometimes affords a deeper glance at Nature than belongs to either of these bards. He accosts all topics with an easy audacity. "He only," he says, "is fit for company, who knows how to prize earthly happiness at the value of a night-cap. Our father Adam sold Paradise for two kernels of wheat; then blame me not, if I hold it dear at one grapestone." He says to the Shah, "Thou who rulest after words and thoughts which no ear has heard and no mind has thought, abide firm until thy young destiny tears off his blue coat from the old graybeard of the sky." He says,—

  "I batter the wheel of heaven    When it rolls not rightly by;  I am not one of the snivellers    Who fall thereon and die."

The rapidity of his turns is always surprising us:—

  "See how the roses burn!    Bring wine to quench the fire!  Alas! the flames come up with us,—    We perish with desire."

After the manner of his nation, he abounds in pregnant sentences which might be engraved on a sword-blade and almost on a ring.

"In honor dies he to whom the great seems ever wonderful.""Here is the sum, that, when one door opens, another shuts."

"On every side is an ambush laid by the robber-troops of circumstance; hence it is that the horseman of life urges on his courser at headlong speed."

"The earth is a host who murders his guests."

"Good is what goes on the road of Nature. On the straight way the traveller never misses."

  "Alas! till now I had not known  My guide and Fortune's guide are one."  "The understanding's copper coin  Counts not with the gold of love."  "'Tis writ on Paradise's gate,  'Wo to the dupe that yields to Fate!'"  "The world is a bride superbly dressed;—  Who weds her for dowry must pay his soul."  "Loose the knots of the heart; never think on         thy fate:  No Euclid has yet disentangled that snarl."  "There resides in the grieving    A poison to kill;  Beware to go near them    'Tis pestilent still."

Harems and wine-shops only give him a new ground of observation, whence to draw sometimes a deeper moral than regulated sober life affords,—and this is foreseen:—

  "I will be drunk and down with wine;  Treasures we find in a ruined house."

Riot, he thinks, can snatch from the deeply hidden lot the veil that covers it:—

  "To be wise the dull brain so earnestly throbs,  Bring bands of wine for the stupid head."    "The Builder of heaven      Hath sundered the earth,    So that no footway      Leads out of it forth.    "On turnpikes of wonder      Wine leads the mind forth,    Straight, sidewise, and upward,      West, southward, and north.    "Stands the vault adamantine      Until the Doomsday;    The wine-cup shall ferry      Thee o'er it away."

That hardihood and self-equality of every sound nature, which result from the feeling that the spirit in him is entire and as good as the world, which entitle the poet to speak with authority, and make him an object of interest, and his every phrase and syllable significant, are in Hafiz, and abundantly fortify and ennoble his tone.

His was the fluent mind in which every thought and feeling came readily to the lips. "Loose the knots of the heart," he says. We absorb elements enough, but have not leaves and lungs for healthy perspiration and growth. An air of sterility, of incompetence to their proper aims, belongs to many who have both experience and wisdom. But a large utterance, a river, that makes its own shores, quick perception and corresponding expression, a constitution to which every morrow is a new day, which is equal to the needs of life, at once tender and bold, with great arteries,—this generosity of ebb and flow satisfies, and we should be willing to die when our time comes, having had our swing and gratification. The difference is not so much in the quality of men's thoughts as in the power of uttering them. What is pent and smouldered in the dumb actor is not pent in the poet, but passes over into new form, at once relief and creation.

The other merit of Hafiz is his intellectual liberty, which is a certificate of profound thought. We accept the religions and politics into which we fall; and it is only a few delicate spirits who are sufficient to see that the whole web of convention is the imbecility of those whom it entangles,—that the mind suffers no religion and no empire but its own. It indicates this respect to absolute truth by the use it makes of the symbols that are most stable and reverend, and therefore is always provoking the accusation of irreligion.

Hypocrisy is the perpetual butt of his arrows.

"Let us draw the cowl through the brook of wine."

He tells his mistress, that not the dervis, or the monk, but the lover, has in his heart the spirit which makes the ascetic and the saint; and certainly not their cowls and mummeries, but her glances, can impart to him the fire and virtue needful for such self-denial. Wrong shall not be wrong to Hafiz, for the name's sake. A law or statute is to him what a fence is to a nimble schoolboy,—a temptation for a jump. "We would do nothing but good; else would shame come to us on the day when the soul must hie hence;—and should they then deny us Paradise, the Houris themselves would forsake that, and come out to us."

His complete intellectual emancipation he communicates to the reader. There is no example of such facility of allusion, such use of all materials. Nothing is too high, nothing too low, for his occasion. He fears nothing, he stops for nothing. Love is a leveller, and Allah becomes a groom, and heaven a closet, in his daring hymns to his mistress or to his cup-bearer. This boundless charter is the right of genius. "No evil fate," said Beethoven, "can befall my music, and he to whom it is become intelligible must become free from all the paltriness which the others drag about with them."