Doctor Claudius, A True Story

"The next day I called on my beauty, and throwing myself at her feet, I declared myself vanquished. The result was just as I expected. She burst into tears and put her arms round my neck, and said it was she who lost, for she really loved me though she had been too proud to acknowledge it. Then I calmly rose and laughed. 'I do not care for you in the least,' I said; 'I only said so to make you speak. I have won the gloves.' She broke down completely, and went abroad a few days afterwards. And so I avenged my friend."

There was a pause when Barker had finished his tale. He sipped his tea, and Margaret rose slowly and went to the window.

"Don't you think that is a very good story, Countess?" he asked. "Don't you think I was quite right?" Still no answer. Margaret rang the bell, and old Vladimir appeared.

"Mr. Barker's carriage," said she; then, recollecting herself, she repeated the order in Russian, and swept out of the room without deigning to look at the astonished young man, standing on the hearthrug with his tea-cup in his hand. How it is that Vladimir succeeds in interpreting his mistress's orders to the domestics of the various countries in which she travels is a mystery not fathomed, for in her presence he understands only the Slav tongue. But however that may be, a minute had not elapsed before Mr. Barker was informed by another servant that his carriage was at the door. He turned pale as he descended the steps.

You have carried it too far, Mr. Barker. That is not the kind of story that a lady of Countess Margaret's temper will listen to; for when you did the thing you have told her—if indeed you ever did it, which is doubtful—you did a very base and unmanly thing. It may not be very nice to act as that young lady did to your friend; but then, just think how very much worse it would have been if she had married him from a sense of duty, and made him feel it afterwards. Worse? Ay, worse than a hundred deaths. You are an ass, Barker, with your complicated calculations, as the Duke has often told you; and now it is a thousand to one that you have ruined yourself with the Countess. She will never take your view that it was a justifiable piece of revenge; she will only see in it a cruel and dastardly deception, practised on a woman whose only fault was that, not loving, she discovered her mistake in time. A man should rejoice when a woman draws back from an engagement, reflecting what his life might have been had she not done so.

But Barker's face was sickly with disappointment as he drove away, and he could hardly collect himself enough to determine what was best to be done. However, after a time he came to the conclusion that a letter must be written of humble apology, accompanied by a few very expensive flowers, and followed after a week's interval by a visit. She could not mean to break off all acquaintance with him for so slight a cause. She would relent and see him again, and then he would put over on the other tack. He had made a mistake—very naturally, too—because she was always so reluctant to give her own individual views about anything. A mistake could be repaired, he thought, without any serious difficulty.

And so the next morning Margaret received some flowers and a note, a very gentlemanly note, expressive of profound regret that anything he could have said, and so forth, and so forth. And Margaret, whose strong temper sometimes made her act hastily, even when acting rightly, said to herself that she had maltreated the poor little beast, and would see him if he called again. That was how she expressed it, showing that to some extent Barker had succeeded in producing a feeling of pity in her mind—though it was a very different sort of pity from what he would have wished. Meanwhile Margaret returned to New York, where she saw her brother-in-law occasionally, and comforted him with the assurance that when his hundred napoleons were at an end, she would take care of him. And Nicholas, who was a gentleman, like his dead brother, proud and fierce, lived economically in a small hotel, and wrote magazine articles describing the state of his unhappy country.

Then Barker called and was admitted, Miss Skeat being present, and his face expressed a whole volume of apology, while he talked briskly of current topics; and so he gradually regained the footing he had lost. At all events he thought so, not knowing that though Margaret might forgive she could never forget; and that she was now forewarned and forearmed in perpetuity against any advance Barker might ever make.

One day the mail brought a large envelope with an English postage stamp, addressed in a strong, masculine hand, even and regular, and utterly without adornment, but yet of a strikingly peculiar expression, if a handwriting may be said to have an expression.

This letter was not signed, for what signature could it possibly need? Margaret read it, and read it again, wondering—for she had never had such a letter in her life. The men who had made love to her had never been privileged to speak plainly, for she would have none of them, and so they had been obliged to confine themselves to such cunning use of permissible words and phrases as they could command, together with copious quotations from more or less erotic poets. Moreover, Claudius had never been in a position to speak his heart's fill to her until that last day, when words had played so small a part.

It was a love-letter, at least in part, such as a man might have written a hundred years ago—not such as men write nowadays, thought Margaret; certainly not such as Mr. Barker would write—or could. But she was glad he had written; and written so, for it was like him, who was utterly unlike any one else. The letter had come in the morning while Clémentine was dressing her, and she laid it on her writing-desk. But when the maid was gone, she read it once again, sitting by her window, and when she had done she unconsciously held it in her hand and rested her cheek against it. A man kisses a letter received from the woman he loves, but a woman rarely does. She thinks when he is away that she would hardly kiss him, were he present, much less will she so honour his handwriting. But when he himself comes the colour of things is changed. Nevertheless, Margaret put the folded letter in her bosom and wore it there unseen all through that day; and when Mr. Barker came to offer to take her to drive she said she would not go, making some libellous remark about the weather, which was exceeding glad and sunshiny in spite of her refusal to face it. And Mr. Barker, seeing that he was less welcome than usual, went away, for he was mortally afraid of annoying her.

Margaret was debating within herself whether she should answer, and if so, what she should say. In truth, it was not easy. She felt herself unable to write in the way he did, had she wished to. Besides, there was that feminine feeling still lurking in her heart, which said, "Do not trust him till he comes back." It seemed to her it must be so easy to write like that—and yet, she had not thought so at the first reading. But she loved him, not yet as she would some day, but still she loved, and it was her first love, as it was his.

She had settled herself in the hotel for the present, and to make it more like home—like her pretty home at Baden—she had ordered a few plants and growing flowers, very simple and inexpensive, for she felt herself terribly pinched, although she had not yet begun actually to feel the restrictions laid on her by her financial troubles. When Barker was gone, she amused herself with picking off the dried leaves and brushing away the little cobwebs and spiders that always accumulate about growing things. In the midst of this occupation she made up her mind, and rang the bell.

"Vladimir, I am not at home," she said solemnly, and the gray-haired, gray-whiskered functionary bowed in acknowledgment of the fact, which was far from evident. When he was gone she sat down to her desk and wrote to Dr. Claudius. She wrote rapidly in her large hand, and before long she had covered four pages of notepaper. Then she read it over, and tore it up. The word "dear" occurred once too often for her taste. Again the white fingers flew rapidly along the page, but soon she stopped.

"That is too utterly frigid," she said half aloud, with a smile. Then she tried again.

There was an indistinctness about the last word; it might have been "your," or "yours." The "tearing haste" resolved itself into ringing the bell to know what time it was, for Margaret had banished the hideous hotel clock from the room. On finding it was yet early, she sat down in a deep chair, and warmed her toes at the small wood fire, which was just enough to be enjoyable and not enough to be hot. It was now the beginning of October, for Claudius's letter, begun on the 15th of September, had not been posted until the 21st, and had been a long time on the way. She wondered when he would get the letter she had just written. It was not much of a letter, but she remembered the last paragraph, and thought it was quite affectionate enough. As for Claudius, when he received it he was as much delighted as though it had been six times as long and a hundred times more expansive. "Thanks, dear, for your loving letter,"—that phrase alone acknowledged everything, accepted everything, and sanctioned everything.

In the evening, as she had said in writing to the Doctor, she went with Miss Skeat and sat in the front box of the theatre, which the great actor had placed at her disposal. The play was Othello. Mr. Barker had ascertained that she was going, and had accordingly procured himself a seat in the front of the orchestra. He endeavoured to catch a look from Margaret all through the first part of the performance, but she was too entirely absorbed in the tragedy to notice him. At length, in the interval before the last act, Mr. Barker took courage, and, leaving his chair, threaded his way out of the lines of seats to the entrance. Then he presented himself at the door of the Countess's box.

"May I come in for a little while?" he inquired with an affectation of doubt and delicacy that was unnatural to him.

"Certainly," said Margaret indifferently, but smiling a little withal.

"I have ventured to bring you some marrons glacés," said Barker, when he was seated, producing at the same time a neat bonbonnière in the shape of a turban. "I thought they would remind you of Baden. You used to be very fond of them."

"Thanks," said she, "I am still." And she took one. The curtain rose, and Barker was obliged to be silent, much against his will. Margaret immediately became absorbed in the doings on the stage. She had witnessed that terrible last act twenty times before, but she never wearied of it. Neither would she have consented to see it acted by any other than the great Italian. Whatever be the merits of the play, there can be no question as to its supremacy of horror in the hands of Salvini. To us of the latter half of this century it appears to stand alone; it seems as if there could never have been such a scene or such an actor in the history of the drama. Horrible—yes! beyond all description, but, being horrible, of a depth of horror unrealised before. Perhaps no one who has not lived in the East can understand that such a character as Salvini's Othello is a possible, living reality. It is certain that American audiences, even while giving their admiration, withhold their belief. They go to see Othello, that they may shudder luxuriously at the sight of so much suffering; for it is the moral suffering of the Moor that most impresses an intelligent beholder, but it is doubtful whether Americans or English, who have not lived in Southern or Eastern lands, are capable of appreciating that the character is drawn from the life.

The great criticism to which all modern tragedy, and a great deal of modern drama, are open is the undue and illegitimate use of horror. Horror is not terror. They are two entirely distinct affections. A man hurled from a desperate precipice, in the living act to fall, is properly an object of terror, sudden and quaking. But the same man, reduced to a mangled mass of lifeless humanity, broken to pieces, and ghastly with the gaping of dead wounds—the same man, when his last leap is over and hope is fled, is an object of horror, and as such would not in early times have been regarded as a legitimate subject for artistic representation, either on the stage or in the plastic or pictorial arts.

It may be that in earlier ages, when men were personally familiar with the horrors of a barbarous ethical system, while at the same time they had the culture and refinement belonging to a high development of æsthetic civilisation, the presentation of a great terror immediately suggested the concomitant horror; and suggested it so vividly that the visible definition of the result—the bloodshed, the agony, and the death-rattle—would have produced an impression too dreadful to be associated with any pleasure to the beholder. There was no curiosity to behold violent death among a people accustomed to see it often enough in the course of their lives, and not yet brutalised into a love of blood for its own sake. The Romans presented an example of the latter state; they loved horror so well that they demanded real horror and real victims. And that is the state of the populations of England and America at the present day. Were it not for the tremendous power of modern law, there is not the slightest doubt that the mass of Londoners or New Yorkers would flock to-day to see a gladiatorial show, or to watch a pack of lions tearing, limb from limb, a dozen unarmed convicts. Not the "cultured" classes—some of them would be ashamed, and some would really feel a moral incapacity for witnessing so much pain—but the masses would go, and would pay handsomely for the sport; and, moreover, if they once tasted blood they would be strong enough to legislate in favour of tasting more. It is not to the discredit of the Anglo-Saxon race that it loves savage sports. The blood is naturally fierce, and has not been cowed by the tyranny endured by European races. There have been more free men under England's worst tyrants than under France's most liberal kings.

But, failing gladiators and wild beasts, the people must have horrors on the stage, in literature, in art, and, above all, in the daily press. Shakspere knew that, and Michelangelo, who is the Shakspere of brush and chisel, knew it also, as those two unrivalled men seem to have known everything else. And so when Michelangelo painted the Last Judgment, and Shakspere wrote Othello (for instance), they both made use of horror in a way the Greeks would not have tolerated. Since we no longer see daily enacted before us scenes of murder, torture, and public execution, our curiosity makes us desire to see those scenes represented as accurately as possible. The Greeks, in their tragedies, did their slaughter behind the scenes, and occasionally the cries of the supposed victims were heard. But theatre-goers of to-day would feel cheated if the last act of Othello were left to their imagination. When Salvini thrusts the crooked knife into his throat, with that ghastly sound of death that one never forgets, the modern spectator would not understand what the death-rattle meant, did he not see the action that accompanies it.

"It is too realistic," said Mr. Barker in his high thin voice when it was over, and he was helping Margaret with her silken wrappings.

"It is not realistic," said she, "it is real. It may be an unhealthy excitement, but if we are to have it, it is the most perfect of its kind."

"It is very horrible," said Miss Skeat; and they drove away.

Margaret would not stay to see the great man after the curtain fell. The disillusion of such a meeting is too great to be pleasurable. Othello is dead, and the idea of meeting Othello in the flesh ten minutes later, smiling and triumphant, is a death-blow to that very reality which Margaret so much enjoyed. Besides, she wanted to be alone with her own thoughts, which were not entirely confined to the stage, that night. Writing to Claudius had brought him vividly into her life again, and she had caught herself more than once during the evening wondering how her fair Northern lover would have acted in Othello's place. Whether, when the furious general takes Iago by the throat in his wrath, the Swede's grip would have relaxed so easily on one who should dare to whisper a breath against the Countess Margaret. She so lived in the thought for a moment that her whole face glowed in the shade of the box, and her dark eyes shot out fire. Ah me! Margaret, will he come back to stand by your side and face the world for you? Who knows. Men are deceivers ever, says the old song.

Home through the long streets, lighted with the pale electric flame that gives so deathly a tinge to everything that comes within the circling of its discolour; home to her rooms with the pleasant little fire smouldering on the hearth, and flowers—Barker's flowers—scenting the room; home to the cares of Clémentine, to lean back with half-closed eyes, thinking, while the deft French fingers uncoil and smooth and coil again the jet-black tresses; home to the luxury of sleep unbroken by ill ease of body, though visited by the dreams of a far-away lover—dreams not always hopeful, but ever sweet; home to a hotel! Can a hostelry be dignified with that great name? Yes. Wherever we are at rest and at peace, wherever the thought of love or dream of lover visits us, wherever we look forward to meeting that lover again—that is home. For since the cold steel-tipped fingers of science have crushed space into a nut-shell, and since the deep-mouthed capacious present has swallowed time out of sight, there is no landmark left but love, no hour but the hour of loving, no home but where our lover is.

The little god who has survived ages of sword-play and centuries of peace-time, survives also science the leveller, and death the destroyer.

And in the night, when all are asleep, and the chimes are muffled with the thick darkness, and the wings of the dream-spirits caress the air, then the little Red Mouse comes out and meditates on all these things, and wonders how it is that men can think there is any originality in their lives or persons or doings. The body may have changed a little, men may have grown stronger and fairer, as some say, or weaker and more puny, as others would have it, but the soul of man is even as it was from the beginning.

CHAPTER XVIII.

"What a charming little room," said Margaret, sinking into the soft chair and glancing at the walls and ceiling, which were elaborately adorned in the Japanese fashion. The chairs also were framed of bamboo, and the table was of an unusual shape. It was the "Japanese parlour[3]," as Mrs. Van Sueindell would have called it. Every great house in New York has a Japanese or a Chinese room. The entire contents of the apartment having been brought direct from Yokohama, the effect was harmonious, and Margaret's artistic sense was pleased.

"Is it not?" said Barker, glad to have brought her to a place she liked. "I thought you would like it, and I hoped," lowering his voice, "that we should find it empty. Only people who come here a great deal know about it."

"Then you come here often?" asked Margaret, to say something. She was glad to be out of the din, for though she had anticipated some pleasure from the party, she discovered too late that she had made a mistake, and would rather be at home. She had so much to think of, since receiving that telegram; and so, forgetting Barker and everything else, she followed her own train of thought. Barker talked on, and Margaret seemed to be listening—but it was not the music, muffled through the heavy curtains, nor the small voice of Mr. Barker that she heard. It was the washing of the sea and the creaking of cordage that were in her ears—the rush of the ship that was to bring him back—that was perhaps bringing him back already. When would he come? How soon? If it could only be to-morrow, she would so like to—what in the world is Mr. Barker saying so earnestly? Really, she ought to listen. It was very rude. "Conscious of my many defects of character—" Oh yes, he was always talking about his defects; what next? "—conscious of my many defects of character," Mr. Barker was saying, in an even, determined voice, "and feeling deeply how far behind you I am in those cultivated pursuits you most enjoy, I would nevertheless scorn to enlarge upon my advantages, the more so as I believe you are acquainted with my circumstances."

Good gracious! thought Margaret, suddenly recovering the acutest use of her hearing, what is the man going to say? And she looked fixedly at him with an expression of some astonishment.

"Considering, as I was saying," he continued steadily, "those advantages upon which I will not enlarge, may I ask you to listen to what I am going to say?"

Margaret, having lost the first part of Barker's speech completely, in her fit of abstraction, had some vague idea that he was asking her advice about marrying some other woman.

"Certainly," she said indifferently; "pray go on." At the moment of attack, however, Barker's heart failed him for an instant. He thought he would make one more attempt to ascertain what position Claudius held towards Margaret.

"Of course," he said, smiling and looking down, "we all knew about Dr. Claudius on board the Streak."

"What did you know about him?" asked Margaret calmly, but her face flushed for an instant. That might have happened even if she had not cared for Claudius; she was so proud that the idea of being thought to care might well bring the colour to her cheek. Barker hardly noticed the blush, for he was getting into very deep water, and was on the point of losing his head.

"That he proposed to you, and you refused him," he said, still smiling.

"Take care, sir," she said quickly, "when Dr. Claudius comes back he—" Barker interrupted her with a laugh.

"Claudius coming back?" he answered, "ha! ha! good indeed!"

He looked at Margaret. She was very quiet, and she was naturally so dark that, in the shadow of the fan she held carelessly against the light, he could not see how pale she turned. She was intensely angry, and her anger took the form of a preternatural calm of manner, by no means indicative of indifferent reflection. She was simply unable to speak for the moment. Barker, however, whose reason was in abeyance for the moment, merely saw that she did not answer; and, taking her silence for consent to his slighting mention of Claudius, he at once proceeded with his main proposition. At this juncture the other couple slowly left the room, having arranged their own affairs to their satisfaction.

"That being the case," he said, "and now that I am assured that I have no rivals to dread, will you permit me to offer you my heart and my hand? Countess Margaret, will you marry me, and make me the happiest of men? Oh, do not be silent, do not look as if you did not hear! I have loved you since I first saw you—will you, will you marry me?" Here Mr. Barker, who was really as much in love as his nature allowed him to be, moved to the very edge of his chair and tried to take her hand.

"Margaret!" he said, as he touched her fingers.

At the touch she recovered her self-possession, too long lost for such a case. She had tried to control her anger, had tried to remember whether by any word she could have encouraged him to so much boldness. Now she rose to all her haughty height, and though she tried hard to control herself, there was scorn in her voice.

"Mr. Barker," she said, dropping her hands before her and standing straight as a statue, "you have made a mistake, and if through any carelessness I have led you into this error I am sorry for it. I cannot listen to you, I cannot marry you. As for Dr. Claudius, I will not permit you to use any slighting words about him. I hold in my possession documents that could prove his identity as well as any he can obtain in Germany. But I need not produce them, for I am sure it will be enough for you to know that I am engaged to be married to him—I am engaged to be married to Dr. Claudius," she repeated very distinctly in her deep musical tones; and before Barker could recover himself, she had passed from the room into the lights and the sound of music beyond.

What do you think, reader? Was it not a brave and noble action of hers to vindicate Claudius by taking upon herself the whole responsibility of his love rather than by going home and sending Mr. Barker documentary evidence of the Doctor's personality? Claudius had never asked her to marry him, the very word had never been mentioned. But he had told her he loved her and she had trusted him.

Start not at the infinity of social crime that such a doubt defines. It is there. It is one thing for a woman to love a man at arm's length conditionally; it is another for her to take him to her heart and trust him. Does every millionaire who makes love to a penniless widow mean to marry her? for Margaret was poor on that Tuesday in Newport. Or reverse the case; if Claudius were an adventurer, as Barker hinted, what were the consequences she assumed in declaring herself engaged to marry him?

In spite of her excitement, Margaret was far too much a woman of the world to create a sensation by walking through the rooms alone. In a moment or two she saw a man she knew, and calling him to her by a look, took his arm. She chatted pleasantly to this young fellow, as proud as need be of being selected to conduct the beauty whither she would, and after some searching she discovered Mr. Bellingham, still asleep behind the swinging door.

"Thanks," she said to her escort. "I have promised to take Mr. Bellingham home." And she dropped the young man's arm with a nod and a smile.

"But he is asleep," objected the gallant.

"I will wake him," she answered. And laying her hand on Mr. Bellingham's, she leaned down and spoke his name. Instantly he awoke, as fresh as from a night's rest, for he had the Napoleonic faculty for catching naps.

"Winter awaking to greet the spring," he said without the slightest hesitation, as though he had prepared the little speech in his sleep. "Forgive me," he said, "it is a habit of mine learned long ago." He presented his arm and asked her what was her pleasure.

"I am going home," she said, "and if you like I will drop you at your door."

Mr. Bellingham glanced at a great enamelled clock, half-hidden among flowers and fans, as they passed, and he noticed that they had not been in the house much more than three quarters of an hour. But he wisely said nothing, and waited patiently while Margaret was wrapped in her cloaks, and till the butler had told the footman, and the footman had told the other footman, and the other footman had told the page, and the page had told the policeman to call the Countess Margaret's carriage. After which the carriage appeared, and they drove away.

Uncle Horace chatted pleasantly about the party, admitting that he had dreamed more than he had seen of it. But Margaret said little, for the reaction was coming after the excitement she had passed through. Only when they reached Mr. Bellingham's rooms, and he was about to leave her, she held his hand a moment and looked earnestly in his face.

"Mr. Bellingham," she said suddenly, "I trust you will always be my friend—will you not?" The old gentleman paused in his descent from the carriage, and took the hand she offered.

"Indeed I will, my dear child," he said very seriously. Then he bent his knee to the sill of the door and kissed her fingers, and was gone. No one ever resented Mr. Bellingham's familiarity, for it was rare and honest of its kind. Besides, he was old enough to be her grandfather, in spite of his pretty speeches and his graceful actions.

Margaret passed a sleepless night. Her anger with Mr. Barker had not been so much the mere result of the words he had spoken, though she would have resented his sneer about Claudius sharply enough under any circumstances. It was rather that to her keen intelligence, rendered still more acute by her love for the Doctor, the whole scene constituted a revelation. By that wonderful instinct which guides women in the most critical moments of their lives, she saw at last the meaning of Barker's doings, of his silence concerning Claudius, and of his coolness with the latter before he had got rid of him. She saw Barker at the bottom of the plot to send Claudius to Europe; she saw him in all the efforts made by the Duke and Barker to keep Claudius and herself apart on board the yacht; she saw his hand in it all, and she understood for the first time that this man, whom she had of late permitted to be so much with her, was her worst enemy, while aspiring to be her lover. The whole extent of his faithlessness to Claudius came before her, as she remembered that it had doubtless been to serve the Doctor that Barker had obtained an introduction to her at Baden; that he had done everything to throw them together, devoting himself to Miss Skeat, in a manner that drove that ancient virgin to the pinnacle of bliss and despair, while leaving Claudius free field to make love to herself. And then he had suddenly turned and made up his mind that he should have her for his own wife. And her anger rose higher and hotter as she thought of it.

Then she went over the scene of the evening at Mrs. Van Sueindell's house—how she had not listened and not understood, until she was so suddenly roused to the consciousness of what he was saying—how she had faced him, and, in the inspiration of the moment, had boldly told him that she loved his rival. In that thought she found satisfaction, as well she might, for her love had been put to the test, and had not failed her.

"I am glad I said it," she murmured to herself, and fell asleep. Poor Claudius, far away over the sea, what a leap his heart would have given could he have known what she had done, and that she was glad of it.

And Mr. Barker? He felt a little crushed when she left him there alone in the Japanese boudoir, for he knew at once that he might as well throw up the game. There was not the least chance for him any longer. He might indeed suspect that the documents Margaret spoke of were a myth, and that her declaration of the engagement was in reality the only weapon she could use in Claudius's defence. But that did not change matters. No woman would "give herself away," as he expressed it, so recklessly, unless she were perfectly certain. Therefore Mr. Barker went into the supper-room, and took a little champagne to steady his nerves; after which he did his best to amuse himself, talking with unusual vivacity to any young lady of his acquaintance whom he could allure from her partner for a few minutes. For he had kept himself free of engagements that evening on Margaret's account, and now regretted it bitterly. But Mr. Barker was a great match, as has been said before, and he seldom had any difficulty in amusing himself when he felt so inclined. He had not witnessed Margaret's departure, for, not wishing to be seen coming out of the boudoir alone, a sure sign of defeat, and being perfectly familiar with the house, he had found his way by another door, and through circuitous passages to the pantry, and thence to the supper-room; so that by the time he had refreshed himself Margaret and Mr. Bellingham had gone.

Do people of Mr. Barker's stamp feel? Probably not. It requires a strong organisation, either animal or intellectual, to suffer much from any shock to the affections. Englishmen, on those occasions when their passion gets the better of their caution, somewhat a rare occurrence nowadays, are capable of loving very strongly, and of suffering severely if thwarted, for they are among the most powerful races in the animal kingdom. Their whole history shows this, moulded as it has generally been by exceptional men, for the most part Irish and Scotch, in whom the highest animal and intellectual characteristics were united. Germans, in whom the intellectual faculties, and especially the imagination, predominate, are for the most part very love-sick for at least half their lives. But Americans seem to be differently organised; meaning, of course, the small class, who would like to be designated as the "aristocracy" of the country. The faculties are all awake, acute, and ready for use; but there is a lack of depth, which will rouse the perpetual wonder of future generations. While the mass of the people exhibits the strong characteristics of the Saxon, the Celtic, and the South German races, physical endurance and occasionally intellectual pre-eminence,—for, saving some peculiarities of speech, made defects merely by comparison, there are no such natural orators and statesmen in the world as are to be found in Congress; at the same time, the would-be aristocracy of the country is remarkable for nothing so much as for the very unaristocratic faculty of getting money—rarely mingling in public questions, still more rarely producing anything of merit, literary or artistic. Therefore, being so constituted that the almighty dollar crowns the edifice of their ambitions as with a coronet of milled silver, they are singularly inapt to suffer from such ills as prick the soul, which taketh no thought for the morrow, what it shall eat or what it shall drink.

Truly, a happy people, these American aristocrats.

CHAPTER XIX.