The Continental Monthly, Vol. 6, No 3, September 1864

Comparative quiet ensued till 1830, when the French revolution, followed by the insurrection of the Austrian Netherlands against Holland, and of Poland against Russia, again stirred the public mind. But, although the Polish revolution, on account of its local proximity and ancient political relations, threatened to involve Prussia in war, she yet escaped the danger, and passed through the excitement with little internal commotion. But the existence of disaffection was made manifest by sundry disturbances in the chief cities, which, however, were easily quelled. Suffering under no palpable oppression, accustomed once more to peace, seeing no prospect of gaining any radical change in the form of government except through violent and bloody measures, which, as experience had proved, would, after all, be likely to be unsuccessful, the masses of the people had little heart for a constant agitation in behalf of an indefinite and uncertain good. Those who did continue the agitation exhibited less of zeal for German unity and more for that sort of liberalism which had been current in France, than had marked the efforts of the Burschenschaft. Many of the leaders were obliged to escape the country, in order to avoid arrest.

In 1840, Frederick William IV. ascended the throne. According to the old custom, he summoned to Koenigsberg the estates of the provinces of Prussia and Posen to attend the coronation and take their oaths of fealty. On this occasion he inquired of this body whether they would elect twelve members of the East Prussian knighthood, to represent the old order of lords, and what privileges they wished to have secured. They replied that they saw no need of reviving that order; and as to privileges, instead of mentioning any in particular which they desired to see protected, they wished them all protected and confirmed. They then reminded the king of the promise of his father to give the nation a constitution and a diet. The king replied that their reasons for declining the first proposal were satisfactory, but the establishment of a general representation of the people he must decline to grant, 'on account of the true interests of the people intrusted to his care.' The dissatisfaction produced by this reply was somewhat tempered by the splendor of the coronation ceremonies, and by the hitherto unknown condescension of the king in addressing the assembled throng as he took upon him the vow to be a just judge, a faithful, provident, merciful prince, a Christian king, as his ever-memorable father had been. Personally he was a man of more than ordinary talents and of estimable character. High expectations could be, and were, entertained of the success of his reign. One of his first acts was to release from prison those who were there languishing for having been connected with the Burschenschaft. He manifested in his general policy a mildness and benevolence which, had he lived when nothing had ever been heard of a constitution, would have doubtless secured for him the uninterrupted lore and devotion of his subjects. As it was, it is probable that his reign would have been disturbed by no serious outbreak, had the occasion for disturbance not come from without.

ASLEEP

What, darling, asleep in this sylvan retreat!Thy loose tresses sprinkled with rose petals sweet;Blown in from the sunlight, some float to thy breast;Less fragrant are they than their beautiful nest.There flutt'ring a moment they rise and they sink,As quivers a humbird his honey to drink,Or fond doves a-wooing that shiver their wings,Or throat of a song bird that throbs while he sings.These petals at last swoon far down in thy snow,Whose warm drifts of wonder they only can know;And hidden they lie there all rocked by thy breath,And pressed in soft odors to ravishing death.Thine eyes their dear curtains now shut from the light,Sweet veined and blue tinted they round to my sight,Fair shells of deep oceans! And sometimes a shell,When close to your ear, its home secrets will tell:But in music so mystic, you cannot guessThe strange tales of Ocean it tries to confess.So lady, thine eyelids, as skies shut the sea,Or shells try to whisper, are whisp'ring to me.As glad streams of day 'neath the dawn's glowing tide,So white keys of laughter thy curving lips hide,Warm gates of the morning, when morning is new,And red for the sunshine of smiles to break through!Thy round arms rest o'er thee so fair and so lone,Like that white path of stars across the night's zone:That pathway, when twilight late vanishing dies,Embraces the earth, though it quits not the skies.Thus stars kiss the hills, and the trees, and the plain,Yet never can they kiss the stars back again;Though yearning they thirst for those arms of the sky,They never will taste the white home where they lie.So rivers and oceans with influence sweet,Their mighty hearts swelling loved Luna to greet,Strain sobbing their bosoms to hold her dear face,And thrilled to their depths with her luminous grace,In tossing waves rapturous rise to her smile.In vain! Their coy queen half receding the while,In slow fainting cadence they sink to the shore,And hoarse tones of love-hunger moan evermore.Ah, lady, bright sleeper, my soul, like the sea,Illumed with thy beauty, is trembling to thee:I kneel in the silence, and drink in the airThat, fragrant and holy, has toyed with thy hair;And hushed in thy presence with worshipping fear—The breeze even stills when it reaches thine ear—My lips dare not whisper in softest refrainThe trance of my heart in its passionate pain.Oh, open thine eyes! let their smile make me brave—The Queen e'en of Ocean will look at her slave!—Let me drown in their light—deliciously drown,And lay thy white hand on my head for a crown,And chrism. And thus regally shrived, might I dareExhale the warm infinite incense of prayerFrom my deep soul to thine. Nor then couldst thou knowThe wealth of the censer. Thou wak'st!—must I go?

A CASTLE IN THE AIR

'I built my soul a lordly pleasure-house,Wherein at ease for aye to dwell;I said, 'O soul, make merry and carouse,Dear soul, for all is well.'Tennyson.

Times are changed. Most people (i.e., Bostonians) now build their castles on the 'new land.'4 But I belong to the old school, and I still build mine in the air.

The situation has its advantages. As Miss Gail Hamilton observed, when I had the pleasure of exhibiting it to her, it is airy. I need scarcely add that it is the favorite haunt of those kindred spirits Ari-osto and Ary Scheffer. It is too high ever to be reached by any unsavory odors from the Back Bay. Cool in summer it is also, notwithstanding, remarkably warm in winter. My castle is quite too retired for any critics to intrude upon it. They cannot get at the plan of it even, unless in the event of its being shown them by my friend, the editor of a popular magazine, which is a betrayal too improbable to enter into my calculations.

There is no stucco or sham about my castle. Like a fair and frank republican, I built it all of pure freestone, from the doorsteps up to the observatory. This observatory—I will speak of it while I think of it—holds a telescope exactly like the one at Cambridge, except that the tube has a blue-glass spectacle to screw on, through which it does not put out one's eye to look at the moon.

My workmen never make mistakes nor keep me waiting. The painters paint, the upholsterers upholster, and the carpenters carpent precisely when and as I wish. I do not have to heat myself by running over the town for straw matting, nor to catch cold in crypts full of carpets. Everything that I order comes to my door as soon as I order.

Every time that I go down Washington street, I choose something in the shop windows for my castle—an engraving at Williams & Everett's, a mosaic or classic onyx at Jordan's, or a camel's hair—for a dressing gown, of course at Hovey's. It really costs surprisingly little, and is an agreeable exercise of taste and judgment. It is likewise an exercise of benevolence. I select as many things for my guests as I do for myself. My castle is never too full. Little by little my tastes change; and little by little, I let most of my old treasures go to make room for new ones.

But certain principles always prevail in my selections. For instance, as my particular friend, the Reverend George Herbert, remarked, as he looked about him on one of his visits to my castle: 'Sober handsomeness doth bear the bell.' I cannot admit anything gaudy, needlessly exotic, or impertinently obtruding the idea of dollars. Now a travelled lady, who had heard of my castle, once offered me for it a buhl cabinet, of angry and alarming redness and a huge idol of a gilded trough, standing on bandy legs, and gorged with artificial flowers. And I thanked her for her kind intentions, ordered a handcart, sent the lumber to auction, and applied the proceeds to the benefit of the insane.

Tapestry, however, clever bronzes, sheathed daggers from Hassam's with beetles crawling on the hilts, and illuminated, brazen-clasped old tomes abound at my castle. They come to me one by one, each bringing with it its separate pleasure. I have no fancy for buying up, at one fell swoop, the whole establishment of some bankrupt banker or confiscated Russian nobleman. Instead of slipping at once, like a dishonest hermit-crab, into the whole investment of somebody else, I rather choose to come by my own, as I suppose other more happily constituted shell-fish do, by gradual and individual accretion or secretion.

My winter parlor looks down Beacon street. It is lofty, like all the rest of my apartments, but otherwise small and snug. The floor is of a dark wood, polished to the utmost. The great wood-fire loves to wink at its own glowing face mirrored in this floor; and, when alone, I often skate upon it. But as I do not wish to see my less sure-footed friends disposed about it in writhing attitudes expressive of agony and broken bones, I usually keep it covered, up to a yard's breadth from the dark-carved wainscot, with a velvety carpet, which was woven for me at Wilton, and represents the casting scene in the 'Song of the Bell.' The window curtains are of velvet, of just the shade of purple that nestles in the centre of the most splendid kind of fuchsia, and have an Etruscan border and heavy fringes of gold bullion. The walls are covered with a crimson velvet paper, of the hue of the outer petals of that same fuchsia, with little golden suns shining over it everywhere. One end of the room is further lighted up by a portrait of the terrestrial fury Etna, in a full suit of grape vines and an explosion of fiery wrath. Opposite is a spirited scene, by an artist who shall be nameless, suggested by a passage in an interesting sermon by Jonathan Edwards. The contemplation of the latter picture, especially, makes a chance sensation of chilliness a luxury rather than the contrary.

My tawny Scotch terrier, Wye-I, always takes up his position on the purple plush cushion at one side of the fireplace, and the Maltese cat, Cattiva, on the crimson one opposite, by instinct, because most becoming severally to their complexions. The cat never catches mice. There are no mice in my castle for her to catch. The dog is much attached to her. He is considered remarkably intelligent. In gratitude for my forbearing to cut off his tail, he uses it as a brush, watches the coals, and, when they snap out, sweeps them up with it. He sometimes, with a natural sensibility which does him no discredit, accompanies the performance with the appropriate music which has earned him his name.

My summer parlor is much larger. It is paved with little hexagonal tiles, green, purple, and white alternately, like a bed of cool violets, with a border of marine shells in mosaic. The walls are cloaked as greatly as the Cloaca Maxima, with verdant leaves, light and dark, through which, here and there, peeps a rock. There is no arsenic among them. The windows look seaward to see the ships come and go. Venetian blinds, of the kind that turn up and down, admit only green light at noon, softer or brighter according to my mood. Lace curtains sweep the floor with a slumberous sound when the sea breeze breathes in. Some of my visitors might say that this room was too empty. I should promptly disagree with them. To a person of correct taste, not to speak of a philanthropic bias, it must be painful to see, in warm weather, anything which calls up a vision of warm handmaidens, laborious with their brooms and dusters. Therefore I must persist in admitting here little furniture besides the oriental bamboo couches and porcelain barrels that flank the room, with little daisy-and-moss-like chenille rugs beside them. One Canton tepoy holds my aquarium, and another, beside the most frequented of the lounges, the last number of the most weighty of North American periodicals. If ever I take a nap, it is here.

In the centre of the room, a white-marble Egeria, carved by Thorwaldsen, throws up between her hands a shaft of cold crystal water, pure as truth, which spreads into a silvery veil all around her, and plashes down in a snowy basin: no place could be more inviting for a bath. But in the winter Egeria shows her power of adaptation by furnishing instead a Geyser of hot water. Then I turn my scientific friends in here, when they call upon me, to make them feel at home.

In the position of Jack Horner, sits Miss Hosmer's Puck. Opposite is a mate production, which she never put on exhibition. It is Ariel, perched hiding in a honeysuckle, and leaning slyly out to play on an Æolian harp in a cottage latticed window.

Over the somewhat frequented couch of which I have spoken, there is a picture by Paul Delaroche of

'Sabrina fairUnder the glassy, cool, translucent wave,In twisted braids of lilies knittingThe loose folds of her amber-dropping hair.'

On the other side hangs another painting which I prefer, partly perhaps because even in my castle I was for a time at a loss how to procure it. The subject was recommended to me by Hans Christian Andersen. It is the story of a beautiful princess. Are not Danish princesses always beautiful?

Her numerous brothers were so unfortunate as to be laid, by a witch, under a spell of a most inconvenient sort. Every morning they were turned into wild swans. Every day they were obliged to fly over many a league of gray ocean to the mainland and back to their home, an island in the midst of the sea. At every sunset they resumed their natural shape, and were princes all night. One day they met their sister on the shore. They undertook to carry her back with them. Her Weight made them slower than usual. A storm came up in the after noon. There was a sad probability of the swans being turned into princes again before they could possibly 'see her home.'

In my picture, half of the swans are a plumy raft for her, and row her through the air with their sweeping wings. Another relay, more tired, perhaps, make a canopy over her, and fan her as they fly. Their outstretched gaze sees only the island. But the princess, as she lies facing backward, sees the danger. In despairing, motionless silence, she looks at the sinking sun, with no color in her cheeks but that which he casts upon her. The red, warning sun looks awfully back, face to face with her, in the narrowing strip of blue sky between two horizontal bars of thundering clouds, which the lightning is beginning to chain together, that the night may come before its time, and the enchanted princes and their sister may drown in darkness.

Church did the water very well, and Paul Weber the island. Rosa Bonheur was so kind as to paint the swans—I need not say how. But the rest of the picture was such a perplexity to me that I could think of nothing better than to send for Mr. Laroy Sunderland to call one day when I was out, and knock up Raphael to draw the princess, and Salvator Rosa, the clouds, and Titian to see to the sky and light. When I came in again, the completed whole met me as a pleasant surprise.

Not far off are Landseer's 'Challenge,' and a few other Arctic pieces of his, which I look at in July to keep myself cool. But the chief of my pictures are in the picture gallery, at the top of my castle, lighted from above. Connoisseurs assure me, with rare candor, that the 'Transfiguration,' 'Last Judgment,' 'Assumption of the Virgin,' and so forth, there, are duplicates rather than copies of the originals.

In my library there is scarcely a single picture to be found, nor a statue, nor a bust even, except of the duskiest, self-hiding bronze overhead—only some dim, dark engraving, or brown, antiquated autograph, fading in a little black frame, or a signet ring hanging against the book written by the crumbled hand that once wore it—only relics having the power to excite thought without distracting attention– unobtrusive memorials of the dead with whom I am soon to live. Rich, black, old bookcases, carved all over in high relief, hold their immortal works or the records of their undying deeds. Even the writings of the living are sparingly admitted here. I stand on my guard constantly, lest I be enslaved by their influence. It is less by obsequiousness to the Present than by listening to the admonitions of the Past, that we may hope to gain a hearing from the Future.

Saints and seraphs, such as they appeared to Fra Angelico, look in upon me through the stained-glass windows, that I may always read and study as if under their holy eyes. Ivy runs thickly over their deep arched recesses, and over the stags' heads which surmount them. In winter, little but painted beams and glow come through them. In summer, the oriel opens of an evening to show me the phantom ships that haunt the misty, dreamy harbor; and the lattices that look westerly over the lake-like mouth of the Charles, are seldom shut against the sun or moon.

The floor is smoothly paved with broad, square slabs of freestone, on which is here or there engraved one or another illustrious name, like a 'footprint on the sands of time,' with a date of birth and death. Tables that match the bookcases support portfolios containing allegorical designs by Relszch, Blake, and Albrecht Durer. On a writing desk, that was once Vittoria Colonna's, a little Parian angel holds my ink for me, kneeling as if to ask a blessing upon it, and to entreat me to blot no pages with it in the souls whereon I write,

Μηδἑ μουσἁ μοιΓἑνοιτ ανιδὁς ητις υμνἡσει κακἁ

Before the reading chairs, plenty of tiger and leopard skins lie in wait to cherish the cool feet of students, but there is nothing to trip up my own, along the long diameter of the long oval room, if sometimes the fancy seizes me to walk up and down there for hours alone, listening to the 'voices' that are not 'from without.'

At the end opposite to the oriel, I have just had placed an organ, the twin of the new one at the Music Hall, except that the faces on the pipes are beautiful, and do not look as if it hurt them to pipe. The world may be too small; but the organ cannot possibly be too large. Malibran, Jenny Lind, or Mrs. Mott usually sings to it of an evening, accompanied by Franz, Schubert, or Mendelssohn; or Beethoven drops in to play one of his symphonies. Sunday nights, Handel performs upon it regularly for a choir composed of Vaughan, Herbert, the minister who chants 'Calm on the listening ear of night,' Madame Guyon, and Sarah Adams. Between their hymns, Robertson preaches a sermon and reads from the liturgy of King's Chapel. This service is designed as a special easement to the consciences and stomachs alike of those oppressed Christians, whom modern customs and physical laws impel, of an afternoon, to be dining and digesting precisely at the hours during which their pastors are unaccountably and unjustifiably in the habit of preaching.

The books upon the shelves, last not least, are less numerous than choice. Among them still are to be found the most masterly writings of the most masterly minds in the three learned professions, and the noblest treatises on the nobler of the arts and sciences. There are many 'chronicles of eld,' which, if not true, as the Frenchman said, at any rate 'méritent bien de l'être.' There are such few fictions as bear the stamp of much individual thought, character, and observation. Especially there is a great deal of biography; for biography is the great, all-embracing epic of humanity.

Two suits of armor stand on guard, one on each side, by each well-assorted bookcase. I always think it prudent to warn my incautious visitors that these are automata, wound up and set to deal a box with their gauntleted hands on each ear of each disorderly wight who puts a book where it does not belong.

Below my library, and beyond my courtyard, is a boat in which I row myself out in warm weather to visit my friends along the coast. When I ply the oar, the crab-fishery is unproductive, droughts prevail, and I am not often upset or drowned.

In my stable are sometimes to be found, eating unmingled oats, two tame ponies, Mattapony and Poniatowski. They take my invalid acquaintance out on airings in the daytime, and my lingering guests home at a reasonable hour in the evening. The coachman thinks it is good for the horses to be out in bad weather. He loves to wash the coach. For my own use, I keep a large dapple-gray, an ex-charger of the purest blood. He has the smoothest canter and the finest mouth that I ever felt; but, with decent regard to appearances, and my private preferences, expressed or understood, he never fails to prance in a manner to strike awe and terror into all beholders, for full five minutes every time I mount him.

In the common world, I myself am, I trust, often amiable—always in some respects exemplary. In my castle, I am always all that I ought to be—all that I wish to be. I am as stately as Juno, as beautiful as Adonis, as elegant as Chesterfield, as edifying as Mrs. Chapone, as eloquent as Burke, as noble as Miss Nightingale, as perennial as the Countess of Desmond, and as robust as Dr. Windship. I also understand everything but entomology and numismatology; and if I do not understand them, the only reason is that, as the dear little boys say, 'I doe want to.'

The blossom-end of the day I keep to myself in my castle. I spend all the mornings alone in the library writing—calamo currente, like one of the heroines of the author of 'Ohone'—the most admirable romances and poems of the age. People very seldom call to see me. When they do, they go away again directly on hearing that I am engaged, without as much as sending in a message. My porter has Fortunatus's purse, and is giving discreet largesses, in collusion with the agent of the Provident Association, to the less opulent of the beggars who apply for my pecuniary aid, while I am providing above for the wants of those who crave my higher wealth. So that really the only drawback to the pleasure enjoyed by me at such times, is the idea of the frightful quarrels which must arise, as soon as I put anything to the press, between the booksellers, who stand ready to contend with one another for the honor of publishing it. The very first novel I ever completed led to a duel between the Montague and Capulet of the trade, in which each party must have lost his life but for the strenuous interposition of Noah Worcester. The fear of a repetition of that scene is all which withholds me from more frequently answering the importunate calls of the public to appear before them. Matters were simultaneously almost as bad between Birket Foster and Darley. But I made a compromise there, by promising that, the next time I got out an edition, I would get out another, and that of the two each artist should illustrate one. Each eagerly agreed to this arrangement, naturally feeling sure that such a comparison would forever establish his own superiority.

Did I say there was but one drawback to my pleasure? There is one more. It is the idea of the monotonous uniformity with which the Reviews will eulogize me. They cannot say a word of commendation beyond what is strictly true, I am fully aware; and I am not obliged to read any more of it than I please. Still it may appear extravagant to the very few yet unacquainted with the merits of my works.

Of an evening I am usually at home to visitors; and three times every winter I give the young people a ball. It breaks up at twelve. I provide none but the lightest wines. Nor do I encourage the 'round dances.' I really cannot. Those who do not think it right to join in them would either do so against their consciences, or feel left out and forlorn; pretty girls would get overheated, tumbled, and torn, and carry about the marks of black arms on their delicate waists; and youths, unsurpassed in the natural nobleness of their port and presence, would make ridiculous faces in their well-founded anxiety lest they should lose the time or meet with collisions. But I give them, to make such amends as I can, plenty of room, pure air, neither hot nor cold, and flowers in abundance. Soyer furnishes their supper; Strauss and Labitzky play for them; and they are in a measure consoled for their privations by seeing and hearing how uncommonly handsome they look to the end of the evening. The only qualifications I require for admission to the entertainment are, that the candidates shall be generally acquainted with one another, respectable in character, tasteful in dress, happy and kind in their looks, and well-mannered enough to show that they have assembled to give and receive as much innocent pleasure as they can.