INTERCHAPTER VIII.

A LEAF OUT OF THE NEW ALMANACK. THE AUTHOR THINKS CONSIDERATELY OF HIS COMMENTATORS; RUMINATES; RELATES AN ANECDOTE OF SIR THOMAS LAWRENCE; QUOTES SOME PYRAMIDAL STANZAS, WHICH ARE NOT THE WORSE FOR THEIR ARCHITECTURE, AND DELIVERS AN OPINION CONCERNING BURNS.

To smell a turf of fresh earth is wholesome for the body; no less are thoughts of mortality cordial to the Soul. “Earth thou art, to earth thou shalt return.”

FULLER.             

The Commentators in the next millennium, and even in the next century, will I foresee, have no little difficulty, in settling the chronology of this opus. I do not mean the time of its conception, the very day and hour of that happy event having been recorded in the seventh chapter, A. I.: nor the time of its birth, that, as has been registered in the weekly Literary Journals, having been in the second week of January, 1834. But at what intervening times certain of its Chapters and Inter Chapters were composed.

A similar difficulty has been found with the Psalms, the Odes of Horace, Shakespeare's Plays, and other writings sacred or profane, of such celebrity as to make the critical enquiry an object of reasonable curiosity, or of real moment.

They however who peruse the present volume while it is yet a new book, will at once have perceived that between the composition of the preceding Chapter and their perusal thereof, an interval as long as one of Nourjahad's judicial visitations of sleep must have elapsed. For many of the great performers who figured upon the theatre of public life when the anticipations in that Chapter were expressed, have made their exits; and others who are not there mentioned, have since that time made their entrances.

The children of that day have reached their stage of adolescence; the youth are now in mid life; the middle-aged have grown old, and the old have passed away. I say nothing of the political changes that have intervened. Who can bestow a thought upon the pantomime of politics, when his mind is fixed upon the tragedy of human life?

Robert Landor, (a true poet like his great brother, if ever there was one) says finely in his Impious Banquet,

There is a pause near death when men grow bold
Toward all things else:

Before that awful pause, whenever the thought is brought home to us, we feel ourselves near enough to grow indifferent to them, and to perceive the vanity of all earthly pursuits, those only excepted which have the good of our fellow creatures for their object, and tend to our own spiritual improvement.

But this is entering upon a strain too serious for this place; though any reflection upon the lapse of time and the changes that steal on us in its silent course leads naturally to such thoughts.

Omnia paulatim consumit longior ætas,
Vivendoque simul morimur, rapimurque manendo.
Ipse mihi collatus enim non ille videbor;
Frons alia est, moresque alii, nova mentis imago,
Voxque aliud mutata sonat. 1

1 PETRARCH.

Sir Thomas Lawrence was told one day that he had made a portrait which he was then finishing, ten years too young, “Well,” he replied, “I have; and I see no reason why it should not be made so.” There was this reason: ten years if they bring with them only their ordinary portion of evil and of good, cannot pass over any one's head without leaving their moral as well as physical traces, especially if they have been years of active and intellectual life. The painter therefore who dips his brush in Medea's kettle, neither represents the countenance as it is, nor as it has been.

“And what does that signify?” Sir Thomas might ask in rejoinder.—What indeed! Little to any one at present, and nothing when the very few who are concerned in it shall have passed away,—except to the artist. The merits of his picture as a work of art are all that will then be considered; its fidelity as a likeness will be taken for granted, or be thought of as little consequence as in reality it then is.

Yet if Titian or Vandyke had painted upon such a principle, their portraits would not have been esteemed as they now are. We should not have felt the certainty which we now feel, that in looking at the pictures of the Emperor Charles V. and of Cortes; of King Charles the Martyr, and of Strafford, we see the veritable likeness and true character of those ever-memorable personages.

Think of the changes that any ten years in the course of human life produce in body and in mind, and in the face, which is in a certain degree the index of both. From thirty to forty is the decade during which the least outward and visible alteration takes place; and yet how perceptible is it even during that stage in every countenance that is composed of good flesh and blood! For I do not speak of those which look as if they had been hewn out of granite, cut out of a block, cast in bronze, or moulded either in wax, tallow, or paste.

Ten years!

Quarles in those Hieroglyphics of the Life of Man, which he presents to the Reader as an Egyptian dish drest in the English fashion; symbolizes it by the similitude of a taper divided into eight equal lengths, which are to burn for ten years each,—if the candle be not either wasted, or blown out by the wind, or snuffed out by an unskilful hand, or douted (to use a good old word) with an extinguisher, before it is burnt down to the socket. The poem which accompanies the first print of the series, begins thus, in pyramidal stanzas; such they were designed to be, but their form resembles that of an Aztecan or Mexican Cu, rather than of an Egyptian pyramid.

1.
Behold
How short a span
Was long enough of old
To measure out the life of man!
In those well-temper'd days, his time was then
Surveyed, cast up, and found but threescore years and ten.

2.
Alas
And what is that!
They come and slide and pass
Before my pen can tell thee what.
The posts of life are swift, which having run
Their seven short stages o'er, their short-liv'd task is done.

“I had an old grand-uncle,” says Burns, “with whom my mother lived awhile in her girlish years. The good man was long blind ere he died, during which time his highest enjoyment was to sit down and cry, while my mother would sing the simple old song of the Life and Age of Man.”

It is certain that this old song was in Burns's mind when he composed to the same cadence those well-known stanzas of which the burthen is that “man was made to mourn.” But the old blind man's tears were tears of piety, not of regret; it was his greatest enjoyment thus to listen and to weep; and his heart the while was not so much in the past, as his hopes were in the future. They were patient hopes; he knew in Whom he believed, and was awaiting his deliverance in God's good time. Sunt homines qui cum patientiâ moriuntur; sunt autem quidam perfecti qui cum patientiâ vivunt. 2 Burns may perhaps have been conscious in his better hours (and he had many such,) that he had inherited the feeling (if not the sober piety,) which is so touchingly exemplified in this family anecdote;—that it was the main ingredient in the athanasia of his own incomparable effusions; and that without it he never could have been the moral, and therefore never the truly great poet that he eminently is.

2 ST. AUGUSTIN.