And now returns naturally to my mind one of the most interesting things I have seen here or elsewhere,—the school for poor Italian boys, sustained and taught by a few of their exiled compatriots, and especially by the mind and efforts of Mazzini. The name of Joseph Mazzini is well known to those among us who take an interest in the cause of human freedom, who, not content with the peace and ease bought for themselves by the devotion and sacrifices of their fathers, look with anxious interest on the suffering nations who are preparing for a similar struggle. Those who are not, like the brutes that perish, content with the enjoyment of mere national advantages, indifferent to the idea they represent, cannot forget that the human family is one,
"And beats with one great heart."
They know that there can be no genuine happiness, no salvation for any, unless the same can be secured for all.
To this universal interest in all nations and places where man, understanding his inheritance, strives to throw off an arbitrary rule and establish a state of things where he shall be governed as becomes a man, by his own conscience and intelligence,—where he may speak the truth as it rises in his mind, and indulge his natural emotions in purity,—is added an especial interest in Italy, the mother of our language and our laws, our greatest benefactress in the gifts of genius, the garden of the world, in which our best thoughts have delighted to expatiate, but over whose bowers now hangs a perpetual veil of sadness, and whose noblest plants are doomed to removal,—for, if they cannot bear their ripe and perfect fruit in another climate, they are not permitted to lift their heads to heaven in their own.
Some of these generous refugees our country has received kindly, if not with a fervent kindness; and the word Correggio is still in my ears as I heard it spoken in New York by one whose heart long oppression could not paralyze. Speranza some of the Italian youth now inscribe on their banners, encouraged by some traits of apparent promise in the new Pope. However, their only true hope is in themselves, in their own courage, and in that wisdom winch may only be learned through many disappointments as to how to employ it so that it may destroy tyranny, not themselves.
Mazzini, one of these noble refugees, is not only one of the heroic, the courageous, and the faithful,—Italy boasts many such,—but he is also one of the wise;—one of those who, disappointed in the outward results of their undertakings, can yet "bate no jot of heart and hope," but must "steer right onward "; for it was no superficial enthusiasm, no impatient energies, that impelled him, but an understanding of what must be the designs of Heaven with regard to man, since God is Love, is Justice. He is one who can live fervently, but steadily, gently, every day, every hour, as well as on great, occasions, cheered by the light of hope; for, with Schiller, he is sure that "those who live for their faith shall behold it living." He is one of those same beings who, measuring all things by the ideal standard, have yet no time to mourn over failure or imperfection; there is too much to be done to obviate it.
Thus Mazzini, excluded from publication in his native language, has acquired the mastery both of French and English, and through his expressions in either shine the thoughts which animated his earlier effort with mild and steady radiance. The misfortunes of his country have only widened the sphere of his instructions, and made him an exponent of the better era to Europe at large. Those who wish to form an idea of his mind could not do better than to read his sketches of the Italian Martyrs in the "People's Journal." They will find there, on one of the most difficult occasions, an ardent friend speaking of his martyred friends with, the purity of impulse, warmth of sympathy, largeness and steadiness of view, and fineness of discrimination which must belong to a legislator for a CHRISTIAN commonwealth.
But though I have read these expressions with great delight, this school was one to me still more forcible of the same ideas. Here these poor boys, picked up from the streets, are redeemed from bondage and gross ignorance by the most patient and constant devotion of time and effort. What love and sincerity this demands from minds capable of great thoughts, large plans, and rapid progress, only their peers can comprehend, yet exceeding great shall he the reward; and as among the fishermen, and poor people of Judæa were picked up those who have become to modern Europe a leaven that leavens the whole mass, so may these poor Italian boys yet become more efficacious as missionaries to their people than would an Orphic poet at this period. These youths have very commonly good faces, and eyes from which that Italian fire that has done so much to warm the world glows out. We saw the distribution of prizes to the school, heard addresses from Mazzini, Pistracci, Mariotti (once a resident in our country), and an English gentleman who takes a great interest in the work, and then adjourned to an adjacent room, where a supper was provided for the boys and other guests, among whom we saw some of the exiled Poles. The whole evening gave a true and deep pleasure, though tinged with sadness. We saw a planting of the kingdom of Heaven, though now no larger than a grain of mustard-seed, and though perhaps none of those who watch the spot may live to see the birds singing in its branches.
I have not yet spoken of one of our benefactors, Mr. Carlyle, whom I saw several times. I approached him with more reverence after a little experience of England and Scotland had taught me to appreciate the strength and height of that wall of shams and conventions which he more than any man, or thousand men,—indeed, he almost alone,—has begun to throw down. Wherever there was fresh thought, generous hope, the thought of Carlyle has begun the work. He has torn off the veils from hideous facts; he has burnt away foolish illusions; he has awakened thousands to know what it is to be a man,—that we must live, and not merely pretend to others that we live. He has touched the rocks and they have given forth musical answer; little more was wanting to begin to construct the city.
But that little was wanting, and the work of construction is left to those that come after him: nay, all attempts of the kind he is the readiest to deride, fearing new shams worse than the old, unable to trust the general action of a thought, and finding no heroic man, no natural king, to represent it and challenge his confidence.
Accustomed to the infinite wit and exuberant richness of his writings, his talk is still an amazement and a splendor scarcely to be faced with steady eyes. He does not converse,—only harangues. It is the usual misfortune of such marked men (happily not one invariable or inevitable) that they cannot allow other minds room to breathe and show themselves in their atmosphere, and thus miss the refreshment and instruction, which the greatest never cease to need from the experience of the humblest. Carlyle allows no one a chance, but bears down all opposition, not only by his wit and onset of words, resistless in their sharpness as so many bayonets, but by actual physical superiority, raising his voice and rushing on his opponent with a torrent of sound. This is not the least from unwillingness to allow freedom to others; on the contrary, no man would more enjoy a manly resistance to his thought; but it is the impulse of a mind accustomed to follow out its own impulse as the hawk its prey, and which knows not how to stop in the chase. Carlyle, indeed, is arrogant and overbearing, but in his arrogance there is no littleness or self-love: it is the heroic arrogance of some old Scandinavian conqueror,—it is his nature and the untamable impulse that has given him power to crush the dragons. You do not love him, perhaps, nor revere, and perhaps, also, he would only laugh at you if you did; but you like him heartily, and like to see him the powerful smith, the Siegfried, melting all the old iron in his furnace till it glows to a sunset red, and burns you if you senselessly go too near. He seemed to me quite isolated, lonely as the desert; yet never was man more fitted to prize a man, could he find one to match his mood. He finds such, but only in the past. He sings rather than talks. He pours upon you a kind of satirical, heroical, critical poem, with regular cadences, and generally catching up near the beginning some singular epithet, which, serves as a refrain when his song is full, or with which as with a knitting-needle he catches up the stitches if he has chanced now and then to let fall a row. For the higher kinds of poetry he has no sense, and his talk on that subject is delightfully and gorgeously absurd; he sometimes stops a minute to laugh at it himself, then begins anew with fresh vigor; for all the spirits he is driving before him seem to him as Fata Morganas, ugly masks, in fact, if he can but make them turn about, but he laughs that they seem to others such dainty Ariels. He puts out his chin sometimes till it looks like the beak of a bird, and his eyes flash bright instinctive meanings like Jove's bird; yet he is not calm and grand enough for the eagle: he is more like the falcon, and yet not of gentle blood enough for that either. He is not exactly like anything but himself, and therefore you cannot see him without the most hearty refreshment and good-will, for he is original, rich, and strong enough to afford a thousand, faults; one expects some wild land in a rich kingdom. His talk, like his books, is full of pictures, his critical strokes masterly; allow for his point of view, and his survey is admirable. He is a large subject; I cannot speak more or wiselier of him now, nor needs it; his works are true, to blame and praise him, the Siegfried of England, great and powerful, if not quite invulnerable, and of a might rather to destroy evil than legislate for good. At all events, he seems to be what Destiny intended, and represents fully a certain side; so we make no remonstrance as to his being and proceeding for himself, though we sometimes must for us.
I had meant some remarks on some fine pictures, and the little I saw of the theatre in England; but these topics must wait till my next, where they may connect themselves naturally enough with what I have to say of Paris.
LETTER X.
More of London.—The Model Prison at Pentonville.—Bathing Establishment for the Poor.—Also one for washing Clothes.—The Crèches of Paris, for Poor People's Children.—Old Drury in London.—Sadler's Wells.—English and French Acting compared.—Mademoiselle Rachel.—French Tragedy.—Rose Cheny.—Dumas.—Guizot.—The Presentation at Court of the young Duchess.—Ball at the Tuileries.—American and French Women.—Leverrier.—The Sorbonne.—Arago.—Discussions on Suicide and the Crusades.—Rémusat.—The Academy.—La Mennais.—Béranger.—Reflections.
When I wrote last I could not finish with London, and there remain yet two or three things I wish to speak of before passing to my impressions of this wonder-full Paris.
I visited the model prison at Pentonville; but though in some respects an improvement upon others I have seen,—though there was the appearance of great neatness and order in the arrangements of life, kindness and good judgment in the discipline of the prisoners,—yet there was also an air of bleak forlornness about the place, and it fell far short of what my mind demands of such abodes considered as redemption schools. But as the subject of prisons is now engaging the attention of many of the wisest and best, and the tendency is in what seems to me the true direction, I need not trouble myself to make prude and hasty suggestions; it is a subject to which persons who would be of use should give the earnest devotion of calm and leisurely thought.
The same day I went to see an establishment which gave me unmixed pleasure; it is a bathing establishment put at a very low rate to enable the poor to avoid one of thee worst miseries of their lot, and which yet promises to pay. Joined with this is an establishment for washing clothes, where the poor can go and hire, for almost nothing, good tubs, water ready heated, the use of an apparatus for rinsing, drying, and ironing, all so admirably arranged that a poor woman can in three hours get through an amount of washing and ironing that would, under ordinary circumstances, occupy three or four days. Especially the drying closets I contemplated with great satisfaction, and hope to see in our own country the same arrangements throughout the cities, and even in the towns and villages. Hanging out the clothes is a great exposure for women, even when they have a good place for it; but when, as is so common in cities, they must dry them in the house, how much they suffer! In New York, I know, those poor women who take in washing endure a great deal of trouble and toil from this cause; I have suffered myself from being obliged to send back what had cost them so much toil, because it had been, perhaps inevitably, soiled in the drying or ironing, or filled with the smell of their miscellaneous cooking. In London it is much worse. An eminent physician told me he knew of two children whom he considered to have died because their mother, having but one room to live in, was obliged to wash and dry clothes close to their bed when they were ill. The poor people in London naturally do without washing all they can, and beneath that perpetual fall of soot the result may be guessed. All but the very poor in England put out their washing, and this custom ought to be universal in civilized countries, as it can be done much better and quicker by a few regular laundresses than by many families, and "the washing day" is so malignant a foe to the peace and joy of households that it ought to be effaced from the calendar. But as long as we are so miserable as to have any very poor people in this world, they cannot put out their washing, because they cannot earn enough money to pay for it, and, preliminary to something better, washing establishments like this of London are desirable.
One arrangement that they have here in Paris will be a good one, even when we cease to have any very poor people, and, please Heaven, also to have any very rich. These are the Crèches,—houses where poor women leave their children to be nursed during the day while they are at work.
I must mention that the superintendent of the washing establishment observed, with a legitimate triumph, that it had been built without giving a single dinner or printing a single puff,—an extraordinary thing, indeed, for England!
To turn to something a little gayer,—the embroidery on this tattered coat of civilized life,—I went into only two theatres; one the Old Drury, once the scene of great glories, now of execrable music and more execrable acting. If anything can be invented more excruciating than an English opera, such as was the fashion at the time I was in London, I am sure no sin of mine deserves the punishment of bearing it.
At the Sadler's Wells theatre I saw a play which I had much admired in reading it, but found still better in actual representation; indeed, it seems to me there can be no better acting play: this is "The Patrician's Daughter," by J.W. Marston. The movement is rapid, yet clear and free; the dialogue natural, dignified, and flowing; the characters marked with few, but distinct strokes. "Where the tone of discourse rises with manly sentiment or passion, the audience applauded with bursts of generous feeling that gave me great pleasure, for this play is one that, in its scope and meaning, marks the new era in England; it is full of an experience which is inevitable to a man of talent there, and is harbinger of the day when the noblest commoner shall be the only noble possible in England.
But how different all this acting to what I find in France! Here the theatre is living; you see something really good, and good throughout. Not one touch of that stage strut and vulgar bombast of tone, which the English actor fancies indispensable to scenic illusion, is tolerated here. For the first time in my life I saw something represented in a style uniformly good, and should have found sufficient proof, if I had needed any, that all men will prefer what is good to what is bad, if only a fair opportunity for choice be allowed. When I came here, my first thought was to go and see Mademoiselle Rachel. I was sure that in her I should find a true genius, absolutely the diamond, and so it proved. I went to see her seven or eight times, always in parts that required great force of soul and purity of taste even to conceive them, and only once had reason to find fault with her. On one single occasion I saw her violate the harmony of the character to produce effect at a particular moment; but almost invariably I found her a true artist, worthy Greece, and worthy at many moments to have her conceptions immortalized in marble.
Her range even in high tragedy is limited. She can only express the darker passions, and grief in its most desolate aspects. Nature has not gifted her with those softer and more flowery attributes that lend to pathos its utmost tenderness. She does not melt to tears, or calm or elevate the heart by the presence of that tragic beauty that needs all the assaults of Fate to make it show its immortal sweetness. Her noblest aspect is when sometimes she expresses truth in some severe shape, and rises, simple and austere, above the mixed elements around her. On the dark side, she is very great in hatred and revenge. I admired her more in Phedre than in any other part in which I saw her. The guilty love inspired by the hatred of a goddess was expressed in all its symptoms with a force and terrible naturalness that almost suffocated the beholder. After she had taken the poison, the exhaustion and paralysis of the system, the sad, cold, calm submission to Fate, were still more grand.
I had heard so much about the power of her eye in one fixed look, and the expression she could concentrate in a single word, that the utmost results could only satisfy my expectations. It is, indeed, something magnificent to see the dark cloud give out such sparks, each one fit to deal a separate death; but it was not that I admired most in her: it was the grandeur, truth, and depth of her conception of each part, and the sustained purity with which she represented it.
For the rest, I shall write somewhere a detailed critique upon the parts in which I saw her. It is she who has made me acquainted with the true way of viewing French tragedy. I had no idea of its powers and symmetry till now, and have received from the revelation high pleasure and a crowd of thoughts.
The French language from her lips is a divine dialect; it is stripped of its national and personal peculiarities, and becomes what any language must, moulded by such a genius, the pure music of the heart and soul. I never could remember her tone in speaking any word; it was too perfect; you had received the thought quite direct. Yet, had I never heard her speak a word, my mind would, be filled by her attitudes. Nothing more graceful can be conceived, nor could the genius of sculpture surpass her management of the antique drapery.
She has no beauty except in the intellectual severity of her outline, and bears marks of age which will grow stronger every year, and make her ugly before long. Still it will be a grandiose, gypsy, or rather Sibylline ugliness, well adapted to the expression of some tragic parts. Only it seems as if she could not live long; she expends force enough upon a part to furnish out a dozen common lives.
Though the French tragedy is well acted throughout, yet unhappily there is no male actor now with a spark of fire, and these men seem the meanest pigmies by the side of Rachel;—so on the scene, beside the tragedy intended by the author, you see also that common tragedy, a woman of genius who throws away her precious heart, lives and dies for one unworthy of her. In parts this effect is productive of too much pain. I saw Rachel one night with her brother and sister. The sister imitated her so closely that you could not help seeing she had a manner, and an imitable manner. Her brother was in the play her lover,—a wretched automaton, and presenting the most unhappy family likeness to herself. Since then I have hardly cared to go and see her. We could wish with geniuses, as with the Phoenix, to see only one of the family at a time.
In the pathetic or sentimental drama Paris boasts another young actress, nearly as distinguished in that walk as Rachel in hers. This is Rose Cheny, whom we saw in her ninety-eighth personation of Clarissa Harlowe, and afterward in Genevieve and the Protégé sans le Savoir,—a little piece written expressly for her by Scribe. The "Miss Clarisse" of the French drama is a feeble and partial reproduction of the heroine of Richardson; indeed, the original in all its force of intellect and character would have been too much for the charming Rose Cheny, but to the purity and lovely tenderness of Clarissa she does full justice. In the other characters she was the true French girl, full of grace and a mixture of naïveté and cunning, sentiment and frivolity, that is winning and piquant, if not satisfying. Only grief seems very strange to those bright eyes; we do not find that they can weep much and bear the light of day, and the inhaling of charcoal seems near at hand to their brightest pleasures.
At the other little theatres you see excellent acting, and a sparkle of wit unknown to the world out of France. The little pieces in which all the leading topics of the day are reviewed are full of drolleries that make you laugh at each instant. Poudre-Colon is the only one of these I have seen; in this, among other jokes, Dumas, in the character of Monte-Christo and in a costume half Oriental, half juggler, is made to pass the other theatres in review while seeking candidates for his new one.
Dumas appeared in court yesterday, and defended his own cause against the editors who sue him for evading some of his engagements. I was very desirous to hear him speak, and went there in what I was assured would be very good season; but a French audience, who knew the ground better, had slipped in before me, and I returned, as has been too often the case with me in Paris, having seen nothing but endless staircases, dreary vestibules, and gens d'armes. The hospitality of le grande nation to the stranger is, in many respects, admirable. Galleries, libraries, cabinets of coins, museums, are opened in the most liberal manner to the stranger, warmed, lighted, ay, and guarded, for him almost all days in the week; treasures of the past are at his service; but when anything is happening in the present, the French run quicker, glide in more adroitly, and get possession of the ground. I find it not the most easy matter to get to places even where there is nothing going on, there is so much tiresome fuss of getting billets from one and another to be gone through; but when something is happening it is still worse. I missed hearing M. Guizot in his speech on the Montpensier marriage, which would have given a very good idea of his manner, and which, like this defence of M. Dumas, was a skilful piece of work as regards evasion of the truth. The good feeling toward England which had been fostered with so much care and toil seems to have been entirely dissipated by the mutual recriminations about this marriage, and the old dislike flames up more fiercely for having been hid awhile beneath the ashes. I saw the little Duchess, the innocent or ignorant cause of all this disturbance, when presented at court. She went round the circle on the arm of the Queen. Though only fourteen, she looks twenty, but has something fresh, engaging, and girlish about her. I fancy it will soon be rubbed out under the drill of the royal household.
I attended not only at the presentation, but at the ball given at the Tuileries directly after. These are fine shows, as the suite of apartments is very handsome, brilliantly lighted, and the French ladies surpass all others in the art of dress; indeed, it gave me much, pleasure to see them. Certainly there are many ugly ones, but they are so well dressed, and have such an air of graceful vivacity, that the general effect was that of a flower-garden. As often happens, several American women were among the most distinguished for positive beauty; one from Philadelphia, who is by many persons considered the prettiest ornament of the dress circle at the Italian Opera, was especially marked by the attention of the king. However, these ladies, even if here a long time, do not attain the air and manner of French women; the magnetic atmosphere that envelops them is less brilliant and exhilarating in its attractions.
It was pleasant to my eye, which has always been so wearied in our country by the sombre masses of men that overcloud our public assemblies, to see them now in so great variety of costume, color, and decoration.
Among the crowd wandered Leverrier, in the costume of Academician, looking as if he had lost, not found, his planet. French savants are more generally men of the world, and even men of fashion, than those of other climates; but, in his case, he seemed not to find it easy to exchange the music of the spheres for the music of fiddles.
Speaking of Leverrier leads to another of my disappointments. I went to the Sorbonne to hear him lecture, nothing dreaming that the old pedantic and theological character of those halls was strictly kept up in these days of light. An old guardian of the inner temple, seeing me approach, had his speech all ready, and, manning the entrance, said with a disdainful air, before we had time to utter a word, "Monsieur may enter if he pleases, but Madame must remain here" (i.e. in the court-yard). After some exclamations of surprise, I found an alternative in the Hotel de Clugny, where I passed an hour very delightfully while waiting for my companion. The rich remains of other centuries are there so arranged that they can be seen to the best advantage; many of the works in ivory, china, and carved wood are truly splendid or exquisite. I saw a dagger with jewelled hilt which talked whole poems to my mind. In the various "Adorations of the Magi," I found constantly one of the wise men black, and with the marked African lineaments. Before I had half finished, my companion came and wished me at least to visit the lecture-rooms of the Sorbonne, now that the talk, too good for female ears, was over. But the guardian again interfered to deny me entrance. "You can go, Madame," said he, "to the College of France; you can go to this and t'other place, but you cannot enter here." "What, sir," said I, "is it your institution alone that remains in a state of barbarism?" "Que voulez vous, Madame?" he replied, and, as he spoke, his little dog began to bark at me,—"Que voulez vous, Madame? c'est la regle,"—"What would you have, Madam? IT IS THE RULE,"—a reply which makes me laugh even now, as I think how the satirical wits of former days might have used it against the bulwarks of learned dulness.
I was more fortunate in hearing Arago, and he justified all my expectations. Clear, rapid, full and equal, his discourse is worthy its celebrity, and I felt repaid for the four hours one is obliged to spend in going, in waiting, and in hearing; for the lecture begins at half past one, and you must be there before twelve to get a seat, so constant and animated is his popularity.
I have attended, with some interest, two discussions at the Athenée,—one on Suicide, the other on the Crusades. They are amateur affairs, where, as always at such times, one hears much, nonsense and vanity, much making of phrases and sentimental grimace; but there was one excellent speaker, adroit and rapid as only a Frenchman could be. With admirable readiness, skill, and rhetorical polish, he examined the arguments of all the others, and built upon their failures a triumph for himself. His management of the language, too, was masterly, and French is the best of languages for such a purpose,—clear, flexible, full of sparkling points and quick, picturesque turns, with a subtile blandness that makes the dart tickle while it wounds. Truly he pleased the fancy, filled the ear, and carried us pleasantly along over the smooth, swift waters; but then came from the crowd a gentleman, not one of the appointed orators of the evening, but who had really something in his heart to say,—a grave, dark man, with Spanish eyes, and the simple dignity of honor and earnestness in all his gesture and manner. He said in few and unadorned words his say, and the sense of a real presence filled the room, and those charms of rhetoric faded, as vanish the beauties of soap-bubbles from the eyes of astonished childhood.
I was present on one good occasion at the Academy the day that M. Rémusat was received there in the place of Royer-Collard. I looked down from one of the tribunes upon the flower of the celebrities of France, that is to say, of the celebrities which are authentic, comme il faut. Among them were many marked faces, many fine heads; but in reading the works of poets we always fancy them about the age of Apollo himself, and I found with pain some of my favorites quite old, and very unlike the company on Parnassus as represented by Raphael. Some, however, were venerable, even noble, to behold. Indeed, the literary dynasty of France is growing old, and here, as in England and Germany, there seems likely to occur a serious gap before the inauguration of another, if indeed another is coming.
However, it was an imposing sight; there are men of real distinction now in the Academy, and Molière would have a fair chance if he were proposed to-day. Among the audience I saw many ladies of fine expression and manner, as well as one or two precieuses ridicules, a race which is never quite extinct.
M. Rémusat, as is the custom on these occasions, painted the portrait of his predecessor; the discourse was brilliant and discriminating in the details, but the orator seemed to me to neglect drawing some obvious inferences which would have given a better point of view for his subject.
A séance to me much more impressive find interesting was one which borrowed nothing from dress, decorations, or the presence of titled pomp. I went to call on La Mennais, to whom I had a letter, I found him in a little study; his secretary was writing in a larger room through which I passed. With him was a somewhat citizen-looking, but vivacious, elderly man, whom I was at first sorry to see, having wished for half an hour's undisturbed visit to the apostle of Democracy. But how quickly were those feelings displaced by joy when he named to me the great national lyrist of France, the unequalled Béranger. I had not expected to see him at all, for he is not one to be seen in any show place; he lives in the hearts of the people, and needs no homage from their eyes. I was very happy in that little study in presence of these two men, whose influence has been so great, so real. To me Béranger has been much; his wit, his pathos, his exquisite lyric grace, have made the most delicate strings vibrate, and I can feel, as well as see, what he is in his nation and his place. I have not personally received anything from La Mennais, as, born under other circumstances, mental facts which he, once the pupil of Rome, has learned by passing through severe ordeals, are at the basis of all my thoughts. But I see well what he has been and is to Europe, and of what great force of nature and spirit. He seems suffering and pale, but in his eyes is the light of the future.
These are men who need no flourish of trumpets to announce their coming,—no band of martial music upon their steps,—no obsequious nobles in their train. They are the true kings, the theocratic kings, the judges in Israel. The hearts of men make music at their approach; the mind of the age is the historian of their passage; and only men of destiny like themselves shall be permitted to write their eulogies, or fill their vacant seats.
Wherever there is a genius like his own, a germ of the finest fruit still hidden beneath the soil, the "Chante pauvre petit" of Béranger shall strike, like a sunbeam, and give it force to emerge, and wherever there is the true Crusade,—for the spirit, not the tomb of Christ,—shall be felt an echo of the "Que tes armes soient benis jeune soldat" of La Mennais.
LETTER XI.
France and her Artistic Excellence.—The Pictures of Horace Vernet.—De la Roche.—Leopold Robert.—Contrast between the French and English Schools of Art.—The general Appreciation of Turner's Pictures.—Botanical Models in Wax.—Music.—The Opera.—Duprez.—Lablache.—Ronconi.—Grisi.—Persiana.—"Semiramide" as performed by the New York and Paris Operas.—Mario.—Coletti.—Gardini.—"Don Giovanni."—The Writer's Trial of the "Letheon."—Its Effects.
It needs not to speak in this cursory manner of the treasures of Art, pictures, sculptures, engravings, and the other riches which France lays open so freely to the stranger in her Musées. Any examination worth writing of such objects, or account of the thoughts they inspire, demands a place by itself, and an ample field in which to expatiate. The American, first introduced to some good pictures by the truly great geniuses of the religious period in Art, must, if capable at all of mental approximation to the life therein embodied, be too deeply affected, too full of thoughts, to be in haste to say anything, and for me, I bide my time.
No such great crisis, however, is to be apprehended from acquaintance with the productions of the modern French school. They are, indeed, full of talent and of vigor, but also melodramatic and exaggerated to a degree that seems to give the nightmare passage through the fresh and cheerful day. They sound no depth of soul, and are marked with the signet of a degenerate age.
Thus speak I generally. To the pictures of Horace Vernet one cannot but turn a gracious eye, they are so faithful a transcript of the life which circulates around us in the present state of things, and we are willing to see his nobles and generals mounted on such excellent horses. De la Roche gives me pleasure; there is in his pictures a simple and natural poesy; he is a man who has in his own heart a well of good water, whence he draws for himself when the streams are mixed with strange soil and bear offensive marks of the bloody battles of life.
The pictures of Leopold Robert I find charming. They are full of vigor and nobleness; they express a nature where all is rich, young, and on a large scale. Those that I have seen are so happily expressive of the thoughts and perceptions of early manhood, I can hardly regret he did not live to enter on another stage of life, the impression now received is so single.
The effort of the French school in Art, as also its main tendency in literature, seems to be to turn the mind inside out, in the coarsest acceptation of such a phrase. Art can only be truly Art by presenting an adequate outward symbol of some fact in the interior life. But then it is a symbol that Art seeks to present, and not the fact itself. These French painters seem to have no idea of this; they have not studied the method of Nature. With the true artist, as with Nature herself, the more full the representation, the more profound and enchanting is the sense of mystery. We look and look, as on a flower of which we cannot scrutinize the secret life, yet b; looking seem constantly drawn nearer to the soul that causes and governs that life. But in the French pictures suffering is represented by streams of blood,—wickedness by the most ghastly contortions.
I saw a movement in the opposite direction in England; it was in Turner's pictures of the later period. It is well known that Turner, so long an idol of the English public, paints now in a manner which has caused the liveliest dissensions in the world of connoisseurs. There are two parties, one of which maintains, not only that the pictures of the late period are not good, but that they are not pictures at all,—that it is impossible to make out the design, or find what Turner is aiming at by those strange blotches of color. The other party declare that these pictures are not only good, but divine,—that whoever looks upon them in the true manner will not fail to find there somewhat ineffably and transcendently admirable,—the soul of Art. Books have been written to defend this side of the question.
I had become much interested about this matter, as the fervor of feeling on either side seemed to denote that there was something real and vital going on, and, while time would not permit my visiting other private collections in London and its neighborhood, I insisted on taking it for one of Turner's pictures. It was at the house of one of his devoutest disciples, who has arranged everything in the rooms to harmonize with them. There were a great many of the earlier period; these seemed to me charming, but superficial, views of Nature. They were of a character that he who runs may read,—obvious, simple, graceful. The later pictures were quite a different matter; mysterious-looking things,—hieroglyphics of picture, rather than picture itself. Sometimes you saw a range of red dots, which, after long looking, dawned on you as the roofs of houses,—shining streaks turned out to be most alluring rivulets, if traced with patience and a devout eye. Above all, they charmed the eye and the thought. Still, these pictures, it seems to me, cannot be considered fine works of Art, more than the mystical writing common to a certain class of minds in the United States can be called good writing. A great work of Art demands a great thought, or a thought of beauty adequately expressed. Neither in Art nor literature more than in life can an ordinary thought be made interesting because well dressed. But in a transition state, whether of Art or literature, deeper thoughts are imperfectly expressed, because they cannot yet be held and treated masterly. This seems to be the case with Turner. He has got beyond the English gentleman's conventional view of Nature, which implies a little sentiment and a very cultivated taste; he has become awake to what is elemental, normal, in Nature,—such, for instance, as one sees in the working of water on the sea-shore. He tries to represent these primitive forms. In the drawings of Piranesi, in the pictures of Rembrandt, one sees this grand language exhibited more truly. It is not picture, but certain primitive and leading effects of light and shadow, or lines and contours, that captivate the attention. I saw a picture of Rembrandt's at the Louvre, whose subject I do not know and have never cared to inquire. I cannot analyze the group, but I understand and feel the thought it embodies. At something similar Turner seems aiming; an aim so opposed to the practical and outward tendency of the English mind, that, as a matter of course, the majority find themselves mystified, and thereby angered, but for the same reason answering to so deep and seldom satisfied a want in the minds of the minority, as to secure the most ardent sympathy where any at all can be elicited.
Upon this topic of the primitive forms and operations of nature, I am reminded of something interesting I was looking at yesterday. These are botanical models in wax, with microscopic dissections, by an artist from Florence, a pupil of Calamajo, the Director of the Wax-Model Museum there. I saw collections of ten different genera, embracing from fifty to sixty species, of Fungi, Mosses, and Lichens, detected and displayed in all the beautiful secrets of their lives; many of them, as observed by Dr. Leveillé of Paris. The artist told me that a fisherman, introduced to such acquaintance with the marvels of love and beauty which we trample under foot or burn in the chimney each careless day, exclaimed, "'T is the good God who protects us on the sea that made all these"; and a similar recognition, a correspondent feeling, will not be easily evaded by the most callous observer. This artist has supplied many of these models to the magnificent collection of the Jardin des Plantes, to Edinburgh, and to Bologna, and would furnish them, to our museums at a much cheaper rate than they can elsewhere be obtained. I wish the Universities of Cambridge, New York, and other leading institutions of our country, might avail themselves of the opportunity.
In Paris I have not been very fortunate in hearing the best music. At the different Opera-Houses, the orchestra is always good, but the vocalization, though far superior to what I have heard at home, falls so far short of my ideas and hopes that—except to the Italian Opera—I have not been often. The Opera Comique I visited only once; it was tolerably well, and no more, and, for myself, I find the tolerable intolerable in music. At the Grand Opera I heard Robert le Diable and Guillaume Tell almost with ennui; the decorations and dresses are magnificent, the instrumental performance good, but not one fine singer to fill these fine parts. Duprez has had a great reputation, and probably has sung better In former days; still he has a vulgar mind, and can never have had any merit as an artist. At present I find him unbearable. He forces his voice, sings in the most coarse, showy style, and aims at producing effects without regard to the harmony of his part; fat and vulgar, he still takes the part of the lover and young chevalier; to my sorrow I saw him in Ravenswood, and he has well-nigh disenchanted for me the Bride of Lammermoor.
The Italian Opera is here as well sustained, I believe, as anywhere in the world at present; all about it is certainly quite good, but alas! nothing excellent, nothing admirable. Yet no! I must not say nothing: Lablache is excellent,—voice, intonation, manner of song, action. Ronconi I found good in the Doctor of "L'Elisire d'Amore". For the higher parts Grisi, though now much too large for some of her parts, and without a particle of poetic grace or dignity, has certainly beauty of feature, and from nature a fine voice. But I find her conception of her parts equally coarse and shallow. Her love is the love of a peasant; her anger, though having the Italian picturesque richness and vigor, is the anger of an Italian fishwife, entirely unlike anything in the same rank elsewhere; her despair is that of a person with the toothache, or who has drawn a blank in the lottery. The first time I saw her was in Norma; then the beauty of her outline, which becomes really enchanting as she recalls the first emotions of love, the force and gush of her song, filled my ear, and charmed the senses, so that I was pleased, and did not perceive her great defects; but with each time of seeing her I liked her less, and now I do not like her at all.
Persiani is more generally a favorite here; she is indeed skilful both as an actress and in the management of her voice, but I find her expression meretricious, her singing mechanical. Neither of these women is equal to Pico in natural force, if she had but the same advantages of culture and environment. In hearing Semiramide here, I first learned to appreciate the degree of talent with which it was cast in New York. Grisi indeed is a far better Semiramis than Borghese, but the best parts of the opera lost all their charm from the inferiority of Brambilla, who took Pico's place. Mario has a charming voice, grace and tenderness; he fills very well the part of the young, chivalric lover, but he has no range of power. Coletti is a very good singer; he has not from Nature a fine voice or personal beauty; but he has talent, good taste, and often surpasses the expectation he has inspired. Gardini, the new singer, I have only heard once, and that was in a lovesick-shepherd part; he showed delicacy, tenderness, and tact. In fine, among all these male singers there is much to please, but little to charm; and for the women, they never fail absolutely to fill their parts, but no ray of the Muse has fallen on them.
Don Giovanni conferred on me a benefit, of which certainly its great author never dreamed. I shall relate it,—first begging pardon of Mozart, and assuring him I had no thought of turning his music to the account of a "vulgar utility." It was quite by accident. After suffering several days very much with the toothache, I resolved to get rid of the cause of sorrow by the aid of ether; not sorry, either, to try its efficacy, after all the marvellous stories I had heard. The first time I inhaled it, I did not for several seconds feel the effect, and was just thinking, "Alas! this has not power to soothe nerves so irritable as mine," when suddenly I wandered off, I don't know where, but it was a sensation like wandering in long garden-walks, and through many alleys of trees,—many impressions, but all pleasant and serene. The moment the tube was removed, I started into consciousness, and put my hand to my cheek; but, sad! the throbbing tooth was still there. The dentist said I had not seemed to him insensible. He then gave me the ether in a stronger dose, and this time I quitted the body instantly, and cannot remember any detail of what I saw and did; but the impression was as in the Oriental tale, where the man has his head in the water an instant only, but in his vision a thousand years seem to have passed. I experienced that same sense of an immense length of time and succession of impressions; even, now, the moment my mind was in that state seems to me a far longer period in time than my life on earth does as I look back upon it. Suddenly I seemed to see the old dentist, as I had for the moment before I inhaled the gas, amid his plants, in his nightcap and dressing-gown; in the twilight the figure had somewhat of a Faust-like, magical air, and he seemed to say, "C'est inutile." Again I started up, fancying that once more he had not dared to extract the tooth, but it was gone. What is worth, noticing is the mental translation I made of his words, which, my ear must have caught, for my companion tells me he said, "C'est le moment," a phrase of just as many syllables, but conveying just the opposite sense.
Ah! I how I wished then, that you had settled, there in the United States, who really brought this means of evading a portion of the misery of life into use. But as it was, I remained at a loss whom to apostrophize with my benedictions, whether Dr. Jackson, Morton, or Wells, and somebody thus was robbed of his clue;—neither does Europe know to whom to address her medals.
However, there is no evading the heavier part of these miseries. You avoid the moment of suffering, and escape the effort of screwing up your courage for one of these moments, but not the jar to the whole system. I found the effect of having taken the ether bad for me. I seemed to taste it all the time, and neuralgic pain continued; this lasted three days. For the evening of the third, I had taken a ticket to Don Giovanni, and could not bear to give up this opera, which I had always been longing to hear; still I was in much suffering, and, as it was the sixth day I had been so, much weakened. However, I went, expecting to be obliged to come out; but the music soothed the nerves at once. I hardly suffered at all during the opera; however, I supposed the pain would return as soon as I came out; but no! it left me from that time. Ah! if physicians only understood the influence of the mind over the body, instead of treating, as they so often do, their patients like machines, and according to precedent! But I must pause here for to-day.