And New York illustrates this idea of the drama being the representative art of to-day. The theatre there, including the opera, is a great established fact,—as important nearly as it was in the palmiest days of the Athenian republic, or on the road to be of as much consequence as it is in Paris, the representative city of the world. Fifty thousand people nightly crowd twenty different theatres in New York. From the splendid halls where Grisi and Gazzaniga and La Borde and La Grange have by turns translated into sound the ideas of Meyerbeer and Bellini and Donizetti and Mozart, to the little rooms where sixpenny tickets procure lager-beer as well as music for the purchaser, the drama is worshipped. And this not only by New-Yorkers: not only do those who lead the busy, excited life of the metropolis acquire a taste, as some might say, for a factitious excitement, but all strangers hasten to the theatres. The sober farmer, the citizens from plodding interior towns, the gay Southerners, accustomed almost exclusively to social amusements, the denizens of rival Bostons and Philadelphias all frequent the operas and playhouses of New York. When the richer portion of its inhabitants have left the hot and sultry town, or, in mid-winter, are immersed in the more exclusive pleasures of fashionable life, even then the theatres are thronged; and in September and October you shall find all parts of the country represented in their boxes and parquets,—proving that this is not an exclusively metropolitan taste, that it is shared by the whole nation, that in this also New York is truly representative.

Boston typifies a peculiar phase of American life; it is the illustration, the exponent, of the cultivated side of our nationality; its thought, its action, its character are taken abroad as symbols of the national thought and action and character, in whatever relates to literature or art. The Professor said truly, Boston does really in some sort stand for the brain of America. Well the brain of America appreciates the stage. It is but a few months since the culture and distinction of Boston nightly crowded a small and inferior theatre, to witness the personations of the young genius who is destined at no distant day to rival the proudest names of the drama. The most brilliant successes Edwin Booth has yet achieved have been achieved in Boston; scholars and wits and poets and professors crowd the boxes when he plays; women of talent write poems in his praise and publish them in the "Atlantic Monthly"; professors of Harvard College send him congratulatory letters; artists paint and carve his intellectual beauty; and fashion follows in the wake of intellect, alike acknowledging his merits. Boston recognized those merits, too, when they were first presented to its appreciation; and now that they verge nearer upon maturity, her appreciation is quickened and her applause redoubled. It cannot be said that the taste or culture of the nation is indifferent to histrionic excellence, when absolute excellence is found.

No other art is yet on such a footing among us. Neither is this because of our partially developed civilization. It is equally so abroad; where the nations are oldest and best established in culture, there, too, a similar state of things exists. No school in painting, no style of sculpture, no kind of architecture has made such an impression on the age as its music, as its dramatic music, its opera. This speaks to all nations, in all languages. No writer, though he write like Tennyson, or Longfellow, or Lamartine, or Dudevant, can hope for such an audience as Verdi or Meyerbeer. No orator speaks to such crowds as Rossini; no Everett or Kossuth, or Gavazzi or Spurgeon, has so many listeners as Donizetti. For the stage is the art of to-day,—perhaps more especially, but still not, exclusively, the operatic stage; the theatre in its various forms represents the feeling of the time so as Grecian and Gothic architecture and Italian painting have in their time done for their time,—so as no pictures, no architecture, no statuary can now do. Painting and statuary, when they do anything towards representing this age, incarnate the dramatic spirit; the literature that has most influence today is journalism,—the effective, present, actual, short-lived, dramatic newspaper, where all the actors speak for themselves: other literature has its listeners, but it lags behind; other art has its appreciators, but it cannot keep pace with the march of armies, with the rush to California, with the swarm to Australia; there is no art on these outskirts but the dramatic. That travels with the advancing mass in every exodus; that went with Dr. Kane to the North Pole (he had private theatricals aboard the Resolute); that alone gave utterance immediately to the latest cry of humanity in the Italian War.

Neither can it be said that the theatre has no more consequence now than it has always enjoyed. At the time when Gothic architects and Italian painters expressed the meaning of their own ages, there was nothing like a real drama in existence, and the Roman theatre was never comparable with ours. The Greeks, indeed, had a stage which was an important element of their civilization, and which took the character of their time, giving and receiving influence; but their stage was essentially different from that of the moderns. Its success did not depend upon the individual performer; its pageantry was perhaps as splendid as what we now see; but the play of the countenance, that great intellectual opportunity offered an actor by our drama, was not known. In this see also a characteristic of the present age. Individuality is a distinctive peculiarity of the nineteenth century; it has been for centuries gradually becoming more possible; but every man now works his own way, acts himself, more completely than ever before. Therefore appropriate is it that the drama should give importance to the individual, and allow a great actor to incarnate and illustrate in his own form and face feelings and passions that formerly were only hinted at; for remember that the Greek players usually wore masks, while their amphitheatres were so large that in any event the expression of the features was lost.

With this individuality, this opportunity for each to develop his own identity and intensity, the nineteenth century strangely combines another peculiarity, that of association. All these units, these atoms, so marvellously distinct, are incorporated into one grand whole; though each be more, by and of himself, than ever before, yet the great power, the great motor, is the mass. The mass is made powerful by the added importance given to each individual. And you may trace without conceit a state of things behind the scenes very similar to this in front of the footlights. In the theatre, also, the many workers contribute to a grand result. The manager would be as powerless in his little empire, without important assistants, as a monarch without ministers and people. What makes the French army and the American so irresistible is the thought that each private is more than a machine, is an intellectual being, understands what his general wants, fights with his bayonet at Solferino or his musket at Monterey on his own account, yet subject to the supreme control. And the theatre, with all its actors and scene-painters and costumers and carpenters and musicians, is only an army on a different scale. The forces of the stage answer to the generals and colonels, the marshals and privates, all marching and working and fighting for the same end. Those splendid dramatic triumphs of Charles Kean were only illustrations of the principle of association,—only illustrations of the readiness of the stage to adapt itself to the times, to seize hold of whatever is suggested by the outside world, to appropriate the discoveries of Layard and the revelations of Science to its own uses,—illustrations, too, of the importance of the individual Kean, as well as of the crowd of clever subordinates.

That the theatre feels this reflex influence, that it appreciates all that is going on around it, that it is not asleep, that it is penetrated with the spirit of the century, whether that spirit be good or evil, the selection of plays now popular is another proof. In France, where the success of the histrionic art now culminates, a contemporaneous drama is flourishing, the absolute society of the day is represented. That society has faults, and the stage mirrors them. "La Dame aux Camlias," "Les Filles de Marbre," "Le Demi-Monde" reflect exactly the peculiarities of the life they aim to imitate. And these very plays, whose influence is so often condemned, would never have had the popularity they have attained in nearly every city of the civilized world, had there not been Marguerite Gautiers and Traviatas outside of Paris as well as in it. Another attempt, perhaps not an entirely successful one, but still a significant attempt, has been made in this country to produce a contemporaneous drama. "Jessie Brown" and "The Poor of New York," and other plays directly daguerreotyping ordinary incidents, at any rate show that the drama is an art that responds instantly to the pulses of the time.

But it ia not necessary for the stage to daguerreotype; it mirrors more truly when it embodies the spirit. And never before was there an age whose spirit was more theatrical, in the best sense of the term; full of outside expression, but also full of inside feeling; working, accomplishing, putting into actual form its ideas; incarnating its passions; intellectual, yet passionate; lofty in imagination, yet practical in exemplification; showy, but significantly showy,—theatrical. An art, then, that is all this, surely expresses as no other art does or can the character of the nineteenth century,—surely is the representative art.

* * * * *



ROBA DI ROMA.

THE EVIL EYE AND OTHER SUPERSTITIONS.

I have already, in a former article, spoken of some of the superstitions belonging to the Church which are prevalent in Italy; but there are other, and, so to speak, lay superstitions, which also claim a place,—and to them this chapter shall be dedicated.

It is dangerous ground, a twilight marsh, where the will-o'-wisps light us, over which I propose to lead you; and had I not armed myself with all sorts of amulets, I should shrink from the enterprise. But the famous weapon with which Luther drove away the Evil One is at my side, potent as evil, I hope, so long as a pen can be put into it,—and Saint Dunstan's friend is in the corner, ready, at a pinch, for service; and having shut out all those spirits which so sorely tempted Saint Anthony, and locked my door to dark eyes and blue eyes and dark hair and blonde hair, I may hope to get through my dangerous chapter, and—

Strange fatality!—one of Saint Anthony's spirits tempts me from the other room, even at the moment I boast; but I resist,—manfully dipping my pen into Luther's stronghold,—and it vanishes, and leaves me face to face with—the Evil Eye. Yes! it is the Evil Eye, the Jettatura of Italy, that we are boldly to face for an hour.

This is one of the oldest and most interesting superstitions that have come down to us from the past; and as it still lives and flourishes in Italy with a singular vitality and freshness, it may be worth while to trace it back to some of its early sources. Its birth-place was the East, where it existed in dillomnt forms amongst almost every people. Thence it was imported into Greece, where it was called Baskania, and was adopted by the Romans under the name of Fascinum. Solomon himself alludes to it in the Book of Wisdom. Isigonus relates that among the Triballi and Illyrii there were men who by a glance fascinated and killed those whom they looked upon with angry eyes; and Nymphodorus asserts that there were fascinators whose voices had the power to destroy flocks, to blast trees, and to kill infants. In Scythia, also, according to Apollonides, there were women of this class, "quoe vocantur Bithyoe"; and Phylarchus says that in Pontus there was a tribe, called the Thibii, and many others, of the same nature and having the same powers. The testimony of Algazeli is to the same effect; and he adds, that these fascinators have a peculiar power over women. We have also the testimony of Aristotle, Pliny, and Plutarch, who all speak as believers, while Solinus enumerates certain families of fascinators who exerted their influence voce et lingu, and Philostratus makes special mention of Apolloius Thyaneus as having been possessed of these wonderful powers. Indeed, nearly all the old writers agree in recognizing the existence of the faculty of fascination; and among the Romans it was so universally admitted, that in the "Decemvirales Tabulae" there was a law prohibiting the exercise of it under a capital penalty:—"Ne pelliciunto alienas segeles, excantando, ne incantando; ne agrum defraudanto." Some jurisconsults skilled in the ancient law say that boys are sometimes fascinated by the burning eyes of these infected men so as to lose all their health and strength. Pliny relates that one Caius Furius Cresinus, a freedman, having been very successful in cultivating his farms, became an object of envy, and was publicly accused of poisoning by arts of fascination his neighbors' fruits; whereupon he brought into the Forum his daughter, ploughs, tools, and oxen, and, pointing to them, said,—"These which I have brought, and my labor, sweat, watching, and care, (which I cannot bring,) are all my arts." Let those who consider the moving of tables as wonderful listen to the surprising statement of Pliny as to an occurrence in his own time, when a whole olive-orchard belonging to a certain Vectius Marcellus, a Roman knight, crossed over the public way, and took its place, ground and all, on the other side. [Footnote: Plinii Nat. Hist. Lib. xvii. cap. 38.] This same fact is also alluded to by Virgil in his Eighth Eclogue, on Pharmaceutria (all of which, by the way, he stole from Theocritus):—

"Atque satas ali vidi traducere messes."

"Now," says the worthy Vairus, who has written an elaborate treatise on this subject in Latin, well worthy to be examined, "let no man laugh at these stories as old wives' tales, (aniles nugas,) nor, because the reason passes our knowledge, let us turn them into ridicule, for infinite are the things which we cannot understand, (infinita enim prope sunt quorum rationem adipisci nequimus); but rather than turn all miracles out of Nature because we cannot understand them, let us make that fact the beginning and reason of investigation. For does not Solomon in his Book of Wisdom say, 'Fascinatio malignitatis obscurat bona'? and does not Dominus Paulus cry out to the Galatians, 'O insensati Galatoe, quis vos fascinavit'? which the best interpreters admit to refer to those whose burning eyes (oculos urentes) with a single look blast all persons, and especially boys."

It seems to have been a peculiarity in the superstitions as to the fascinum, that boys and women were specially susceptible to its influence; and in this respect, as well as in some of the symptoms of fascination, it bears a curious resemblance to the effects of modern witchcraft as practised in New England. Dionysius Carthusianus, speaking of the nomad tribes of the Biarmii and Amaxobii, who, according to him, were most skilful fascinators, says that they so affected persons with their curse that they lost their freedom of will and became insane and idiotic, and often wasted away in extreme leanness and corruption, and so perished: "ut liberi non sint nec mentis compotes, soepe ad extremam maciem deveniant, et tabescendo dispereant." Olaus Magnus agrees with him in these symptoms; and Hieronymus says, that, when infants suddenly grow lean, waste away, twist about as if in pain, and sometimes scream out and cry in a wonderful way, you may be certain that they have been fascinated. This, to be sure, looks mightily like a diagnosis for worms; but we would not measure our wits with the grave Hieronymus. Still, as an amulet against such fascination, "Jaynes's Vermifuge" might be suggested as efficient, or at least a grain or two of Santonina.

In Abyssinia, it is supposed that men who work in iron or pottery are peculiarly endowed with this fatal power of fascination, and in consequence of this prejudice they are expelled from society and even from the privilege of partaking of the holy sacrament. They are known by the name of Buda, and, though excluded from the more sacred rites of the Church, profess great respect for religion, and are surpassed by none in the strictness of their fasts. All convulsions and hysterical disorders are attributed to these unfortunate artificers; and they are also supposed to have the power of changing themselves into hyenas and other ravenous beasts. Nathaniel Pearce, the African traveller, relates that the Abyssinians are so fully convinced that these unhappy men are in the habit of rifling graves in their character of hyenas, that no one will venture to eat quareter or dried meat in their houses, nor any flesh, unless it be raw, or unless they have seen it killed. These Budas usually wear earrings of a peculiar shape, and Pearce states that he has frequently seen them in the ears of hyenas that have been caught or trapped, and confesses, that, although he had taken considerable pains to investigate the subject, he had never been able to discover how these ornaments came there; and Mr. Coffin, his friend, relates a story of one of these transformations which took place under his own eyes. [Footnote: Herodotus makes the same statement as to the Buda. "They are said to be evil-minded and enchanters," he says, "that for a day every year change themselves into wolves. This the Scythians and Greeks who dwell there affirm with great oaths. But they do not persuade me of it."—Herod. Lib. iii. cap. 7.

See on this subject Life and Adventures of Nathaniel Pearce, and Nubia and Abyssinia, by Rev. Michael Russell. Petronius's story of a Versipelles is well known.]

This is the old superstition of the were-wolf, which existed also among the Greeks and Romans. Those endowed with this power of transforming themselves into beasts were called Versipelles. Pliny makes mention of them, and cites from a Greek author the case of a man "who lived nine years in the shape of a wolf"; but, credulous as he is, he says that the superstition "is a fabulous opinion, not worthy of credit." For myself, I can say that I have known many men who were wolves; and we all remember what Queen Labe used to do with her lovers.

Fascination was of two kinds, moral and natural. Those in whom the power was moral could exert it only by the exercise of their will; but those in whom it was natural could but keep exercising it unconsciously. And these latter were the most terrible. It is generally explained by ancient writers as being a power of the spirit or imagination, (as they termed it.) exhibited in persons of a peculiar organization, and diffusing radios salutares vel perniciosos. Though the terms employed by them, as well as their notions of its origin, are very unphilosophical and vague, it is plain that they considered it as a species of mesmeric or biologic power, operating by nervous impression. The fascinator generally endeavored to provoke in his victims an excited and pleased attention, for in this condition they were peculiarly predisposed to his influence. And inasmuch as persons are thrown off their guard of reserve and attracted by praise, those who flattered excessively were looked upon with suspicion; and it was a universally recognized rule of good manners and morals, that every one in praising another should be careful not to do so immoderately, lest he should fascinate even against his will. Hieronymus Fracastorius, in his treatise "On Sympathy and Antipathy," thus states the fact and the philosophy,—and who shall dare gainsay the conclusions of one so learned in science, medicine, and astrology as this distinguished man?—"We read," he says, "that there were certain families in Crete who fascinated by praising, and this is doubtless quite possible. For as there exists in the nature of some persons a poison which is ejaculated through their eyes by evil spirits, there is no reason why infants and even grown persons should not be peculiarly injured by this fascination of praise. For praise creates a peculiar pleasure, and pleasure in turn, as we have already said, first dilates and opens the heart and then the spirit, and then the whole face and especially the eyes,—so that all these doors are opened to receive the poison which is ejaculated by the fascinator. Wherefore it is most proper, whenever we intend to praise a person, that we should warn him, and use some form to avert the ill effects of our words, as by saying, 'May it be of no injury to you!' There are, indeed, some, who, when they are praised, avert their faces, not to indicate that praise in itself is unpleasant, but to avoid fascination; it being thought that fascination is often effected by means of praise";[1] or in other words, the poison being given in the honey of flattery. Now in order to close up this dilatationem or opening of the system, a corona baccaris was worn, which, by its odoriferous and constipating qualities, produced this effect, as Dioscorides assures us.[2] Virgil, in his Seventh Eclogue, alludes to the same, antidote:—

"Aut si ultra placitum laudant, baccare frontem Cingite, ne vati noceat mala lingua futuro."

[Footnote 1: Hier. Fracastorius, De Sympathi et Antipathi, Lib. i. cap. 23. See also Vincentius Alsarius, De Invid. et Fasc. Vet., in Graevius, Thes. Rom. Antiq. Vol. xii. p. 890.]

[Footnote 2: Lib. iii. cap. 46, confirmed also by Athenaeus, Deipnos. Lib. iii.]

Tertullian, in his work "De Virginibus Velandis," states the same fact as Fracastorius, and says that among the heathens there are persons who are possessed of a terrible somewhat which they call Fascinum, effected by excessive praise: "Nam est aliquod etiam apud Ethnicos metuendum, quod Fascinum vocant, infeliciorem laudis et gloriae enormioris eventum."

To avert this evil influence, every well-mannered person among the ancients said, "Proefiscine," before wishing well to another,—as clearly appears from the following passage cited by Charisius [Footnote: Inst. Gram. Lib. iv.] from Titinius in "Setina." One person exclaims, "Paula mea, amabo——" Whereupon a friend who stands by says, "He was going to praise Paula!" "Ecce qui loquitur, Paulam puellam laudare parabat!" And another friend present cries out, "By Pollux! you should better say, 'Proefiscini,' or you may fascinate her": "Pol! tu in laudem addito Proefiscini, ne puella fascinaretur." [Footnote: See also Turnebi Comm. in Orat. Sec. contra P.S. Rullum de Leg. Agrar. M.T. Ciceronis.] This same custom exists at the present day among the Turks, who always accompany a compliment to you or to anything belonging to you with the phrase, "Mashallah!" (God be praised!)—thus referring the good gifts you possess to the Higher Spirit. To omit this is a breach of courtesy, and in such case the other person instantly adds it in order to avert fascination; for the superstition is, that, if this phrase be omitted, we may seem to refer all good gifts to our own merit instead of God's grace, and so provoke the divine wrath. The same custom also exists in Italy; and the common reply to any salutation in which your looks or health may be complimented is, "Grazia a Dio!" In some parts of Italy, if you praise a pretty child in the street, or even if you look earnestly at it, the nurse will be sure to say, "Dio la benedica!" so as to cut off all ill-luck; and if you happen to be walking with a child and catch any person watching it, such person will invariably employ some such phrase to show you that he does not mean to do it injury, or to cast a spell of jettatura upon it. The modern Greeks are even more jealous of praise, and if you compliment a child of theirs, you are expected to spit three times at him and say, [Greek: Na maen baskanthaes], ("May no evil come to you!") or mutter [Greek: Skordo], ("Garlic,") which has a special power as a counter-charm. So, too, in Corsica, the peasants are strict believers in the jettatura of praise, which they call l'annocchiatura,—supposing, that, if any evil influence attend you, your good wishes will turn into curses. They are therefore very careful in praising, and sometimes express themselves in language the very reverse of what they intend,—as, "'Va, coquine!' says Bandalaccio, in M. Merime's pleasant story of "Colomba," 'sois excommunie, sois maudite, friponne!' Car Bandalaccio, superstitieux comme tous les bandits, craignait de fasciner les enfans en les addressant les bndictions et les loges. On sait que les puissances mystrieuses qui prsident l'annocchiatura ont la mauvaise habitude d'excuter le contraire de nos souhaits." Perhaps our familiar habit of calling our children "scamp" and "rascal," when we are caressing them, may be founded on a worn-out superstition of the same kind.

But it is not only praise administered by others which may inflict evil upon us,—we must also be specially careful not to have too "gude a conceit of ourselves," lest we thereby draw down upon us the fate of a certain Eutelidas, who, having regarded his image in the water with peculiar self-satisfaction and laudation, immediately lost his health, and from that time forward was afflicted with sore diseases. During a supper at the house of Metrius Florus, where, among others, Plutarch, Soclarus, and Caius, the son-in-law of Florus, were guests, a curious and interesting conversation took place on the subject of the Fascinum, which is reported by Plutarch in one of his Symposia. The existence of the power of fascination was admitted by all, and a philosophical explanation of its phenomena was attempted. In reply to some suggestions of Plutarch, Soclarus says there is no doubt that their ancestors fully believed in this power, and then cites the case of Eutelidas as being well known to his auditors, and celebrated by some poet in these lines:—

"Eutelidas was once a beauteous youth, But, luckless, in the wave his face beholding, Himself he fascinates, and pines away." [1]

[Footnote 1: Plutarchi Symp. V. Prob. VII.]

Fascination was excited by touch, voice, and look. The fascination by touch was simply mesmerism, or rather the biology of the present day, in an undeveloped stage. There were said to be four qualities of touch,—calidus, humidus, frigidus, et siccus, or hot, cold, moist, and dry,—according to which persons were active or passive in the exercise of the fascinum. Its function was double, by raising or by lowering the arm,—"modo per arteri elevationem, modo per ejusdem submissionem" says the worthy Vairits; "for," he continues, "when the artery is thrown out and is open, the spirits are emitted with wonderful celerity, and in some imperceptible manner are carried to the thing to fascinate it. And because the artery has its origin in the heart, the spirits issuing thence retain its infected and vitiated nature, and according to its depravity fascinate and destroy."

This power of touch is recognized in all history and in all climes. All who saw Christ desired to touch his garment, and so receive some healing virtue; and his miracles of cure he almost always performed by his hand. When the woman who had the issue of blood came behind him and touched him, Jesus asked who touched him, and said,—"Somebody hath touched me; for I perceive that virtue is gone out of me." It has always been a popular superstition that the scrofula could be cured by the touch of a king or of the seventh son of a seventh son. The old belief that the body of a murdered man would distill blood, if his murderer's hand were placed on him, is also of the same class.

Descending to the sphere of animals, we find some curious facts having relation to this power. The electrical eel, for instance, has the faculty of overcoming and numbing his prey by this means. And among the Arabs, according to Gerard, the French lion-killer, whoever inhales the breath of the lion goes mad.

Dr. Livingstone, in his interesting travels in South Africa, makes a curious statement bearing upon this subject. He was out shooting lions one day, when, "after having shot once, just," he says, "as I was in the act of ramming down the bullets, I heard a shout. Starting and looking half round, I saw the lion just in the act of springing upon me. I was upon a little height; he caught my shoulder as he sprang, and we both came to the ground below together. Growling horribly close to my ear, he shook me as a terrier-dog does a rat. The shock produced a stupor similar to that which seems to be felt by a mouse after the first shake of the cat. It caused a sort of dreaminess, in which there was no sense of pain nor feeling of terror, though quite conscious of all that was happening. It was like what patients partially under the influence of chloroform describe, who see all the operation, but feel not the knife. This singular condition was not the result of any mental process. The shake annihilated fear, and allowed no sense of horror in looking round at the beast. This peculiar state is probably produced in all animals killed by the carnivora, and, if so, is a merciful provision by our benevolent Creator for lessening the pain of death."

The next method of fascination was by the Voice. Aristotle speaks of it as the cause of fascination, and says that the mere sound of the fascinator's voice has this wondrous power, independently of his good or ill will, as well as of the words he uses. And Alexander Aphrodisiensis calls the fascinators poisoners, who poison their victim by intently looking at him carmine prolato, "with a measured song or cadence." The same peculiarity is observable in all experiments with the moving tables or rapping spirits, which are more successful when accompanied by constant music. Circe fascinated with incantation; and the Psalmist alludes to it as a means of charming. Serpents, as well as men, are thus charmed. Virgil says, that, if to this incantation by words certain herbs are joined, the fascination works with more terrible effect:—

"Pocula si quando svae infecre noverc, Miscueruntque herbas et non irmoxia verba, Auxilium venit, ac membris agit atra venena."

It is related of a certain magician, that, when he whispered in the ear of a bull, he could prostrate him to the earth as if he were dead; [Footnote: Vairus, De Fascino. p. 24.] and in our own time we have had an example of the same wonderful faculty in Sullivan, the famous horse-whisperer, whose secret died with him, or, at least, never was made public. Pliny also relates, that tigers are rendered so furious by the sound of the drum, that they often end by tearing themselves limb from limb in their rage; but I am afraid this is one of Pliny's stories. Plutarch, however, agrees with him in this belief.[Footnote: Plut. Prcepta Conjugialia.]

And next as to the Evil Eye ([Greek: ophthalmos baskanos]). From the earliest ages of the world, the potency of the eye in fascination has been recognized. "Nihil oculo nequius creatum" says the Preacher; and the philosopher calls it alter animus, "another spirit." "It sends forth its rays," says Vairus, "like spears and arrows, to charm the hearts of men": "veluti jacula et sagitt ad effascinandorum corda." And it carries disease and death, as well as love and delight, in its course: "Totumque corpus inficiunt, atque ita (null interposit mor) arbores, segetes, bruta animalia et homines pernicios qualitate inficiunt et ad interitum deducunt." Vairus relates that a friend of his saw a fascinator simply with a look break in two a precious gem while in the hands of the artist who was working upon it. Horace thua alludes to it:—

"Non isthic obliquo oculo mea commoda quisquam Limat; non odio obscuro morsuque venenat."

Among the diseases given by a glance are ophthalmia and jaundice, say the ancients; and in these cases, the fascinator loses the disease as his victim takes it A similar peculiarity is to be remarked in the superstition of the basilisk, who kills, if he sees first, but when he is seen first, dies. No animals, it is said, can bear the steady gaze of man, and there are some persons who by this means seem to exercise a wonderful power over them. Animals, however, have sometimes their revenge on man. It is an old superstition, that he whom the wolf sees first loses his voice. Among themselves, also, they use this power of charming,—as in the case of the serpent, who thus attracts the bird, and of the toad, the "jewels in whose head" have a like magical influence. Dr. Andrew Smith, in his excellent work on "Reptilia," gives the following interesting account of the power of the serpent, and of other animals, to fascinate their prey. Speaking of the Bucephalus Capetisis, he says,—

"It is generally found upon trees, to which it resorts for the purpose of catching birds, on which it delights to feed. The presence of a specimen in a tree is generally soon discovered by the birds of the neighborhood, who collect round it and fly to and fro, uttering the most piercing cries, until some one, more terror-struck than the rest, actually scans its lips, and, almost without resistance, becomes a meal for its enemy. During such a proceeding, the snake is generally observed with its head raised about ten or twelve inches above the branch round which its body and tail are entwined, with its mouth open and its neck inflated, as if anxiously endeavoring to increase the terror, which it would almost appear it was aware would sooner or later bring within its grasp some one of the feathered group.

"Whatever may be said in ridicule of fascination, it is nevertheless true that birds, and even quadrupeds, are, under certain circumstances, unable to retire from the presence of certain of their enemies, and, what is even more extraordinary, unable to resist the propensity to advance from a situation of actual safety into one of the most imminent danger. This I have often seen exemplified in the case of birds and snakes; and I have heard of instances equally curious, in which antelopes and other quadrupeds have been so bewildered by the sudden appearance of crocodiles, and by the grimaces and distortions they practised, as to be unable to fly or even move from the spot towards which they were approaching to seize them."

The fascination which fire and flame exercise upon certain insects is well known, and the beautiful moths which so painfully insist on sacrificing themselves in our candle are the commonplaces of poets and lovers. They are generally supposed to be attracted by the light and ignorantly to rush to their destruction; but this simple explanation does not fully account for all the facts. Dr. Livingstone says, that "fire exercises a fascinating effect upon some kinds of toads. They may be seen rushing into it in the evenings, without even starting back on feeling pain. Contact with the hot embers rather increases the energy with which they strive to gain the hottest parts, and they never cease their struggles for the centre even when their juices are coagulating and their limbs stiffening in the roasting heat. Various insects also are thus fascinated; but the scorpions may be seen coming away from the fire in fierce disgust, and they are so irritated as to inflict at that time their most painful stings."

May it not be that flame exercises upon certain insects and animals an influence similar to that produced upon man by the moon, rendering them mad when subjected too long to its influence? Is not the moon the Evil Eye of the night?

A curious story, bearing upon this subject, is told in one of a series of interesting articles in "Household Words," called "Wanderings in India." The author is talking with an old soldier about a cobra-capello, which has been known to the latter for thirteen years.

"This cobra," says the soldier, "has never offered to do me any harm; and when I sing, as I sometimes do when I am alone here at work on some tomb or other, he will crawl up and listen for two or three hours together. One morning, while he was listening, he came in for a good meal, which lasted him some days."

"How was that?"

"I will tell you, Sir. A minar was chased by a small hawk, and, in despair, came and perched itself on the top of a most lofty tomb at which I was at work. The hawk, with his eyes fixed intently on his prey, did not, I fancy, see the snake lying motionless in the grass; or, if he did see him, he did not think he was a snake, but something else,—my crowbar, perhaps. After a little while, the hawk pounced down, and was just about to give the minar a blow and a grip, when the snake suddenly lifted his head, raised his hood, and hissed. The hawk gave a shriek, fluttered, flapped his wings with all his might, and tried very hard to fly away. But it would not do. Strong as the eye of the hawk was, the eye of the snake was stronger. The hawk, for a time, seemed suspended in the air; but at last he was obliged to come down and sit opposite the old gentleman, (the snake,) who commenced with his forked tongue, and keeping his eyes on him all the while, to slime his victim all over. This occupied him for at least forty minutes, and by the time the process was over the hawk was perfectly motionless. I don't think he was dead,—but he was very soon, however, for the old gentleman put him into a coil or two and crackled up every bone in the hawk's body. He then gave him another sliming, made a big mouth, distended his neck till it was as big round as the thickest part of my arm, and down went the hawk like a shin of beef into a beggar-man's bag." [Footnote: Household Words, Jan. 23, 1858, vol. xvii., P. 139.]

The same writer, in another paper, relates a case in which he was cured of a violent attack of tic-douloureux, from which he "suffered extreme agonies," by the steady gaze of a native doctor, who was called in for the purpose. He used no other method than a fixed, steady gaze, making no mesmeric passes; and in this way he cured his patients by "locking up their eyes," as he termed it. His power seemed to have been very great; and what is curious is, that, "with one exception, and that was in the case of a Keranu, a half-caste, no patient had ever fallen asleep or had become 'beehosh' (unconscious) under his gaze." He related several cases, one of which was of "a sahib who had gone mad," drink-delirious. "His wife would not suffer him to be strapped down, and he was so violent that it took four or five other sahibs to hold him. I was sent for, and at first had great difficulty with him, and much trembling. At last, however, I locked his eyes up as soon as I got him to look at me, and kept him, for several hours, as quiet as a mouse. I stayed with him two days, and whatever I told him to do he did immediately. When I got his eyes fixed on mine, he could not take them away,—could not move."

All these different kinds of fascination have now become united together and go under the general name of Jettatura, in Italy, though the eye is considered as the most potent and terrible charmer. The superstition is universal, and pervades all modes of thought among the ignorant classes, but its sanctuary is Naples. There it is as much a matter of faith as the Madonna and San Gennaro. Every coral-shop is filled with amulets, and everybody wears a counter-charm,—ladies on their arms, gentlemen on their watch-chains, lazzaroni on their necks. If you are going to Italy,—and as all the world now goes to Italy, you will join the endless caravan, of course,—it becomes a matter of no small importance for you to know the signs by which you may recognize the fascinator, and the means by which you may avert his evil influence; for, should you fall in his way and be unprotected, direful, indeed, might be the consequences. Sudden disease, like a pestilence at mid-day, might seize you, and on those lovely shores you might pine away and die. Dreadful accidents might overwhelm you and bury all your happiness forever. Therefore be wise in time.

"Women," says Vairus, "have more power to fascinate than men"; but the reason he gives will not, I fear, recommend itself to the sex,—for the worthy padre feared women as devils. According to him, their evil influence results from their unbridled passions: "Quia irascendi et concupiscendi animi vim adeo effrenatam habent, ut nullo modo ab ir et cupiditate sese temperare valeant." (Certainly, he is a wretch.) But it will be some consolation to know that the young and beautiful have far less power for evil than "little old women," (aniculas,) and for these you must specially look out. But most of all to be dreaded, male or female, are those who are lean and melancholy by temperament, ("lean and hungry Cassiuses,") and who have double pupils in their eyes, or in one eye a double pupil and in the other the figure of a horse. Perhaps Mr. Squeers and all of his kind come within this class, as having more than one pupil always in their eye,—but, specially, this rule would seem to warn us against jockey schoolmasters, with a horse in one eye and several pupils in the other. Those, too, are dangerous, according to Didymus, who have hollow, pit-like eyes, sunken under concave orbits, with great projecting eyebrows,—as well as those who emit a disagreeable odor from their armpits, (con rispetto,) and are remarkable for a general squalor of complexion and appearance. Persons also are greatly to be suspected who squint, or have sea-green, shining, terrible eyes. "One of these," says Didymus, "I knew,—a certain Spaniard, whose name it is not permitted me to mention,—who, with black and angry countenance and truculent eyes, having reprimanded his servant for something or other, the latter was so overcome by fear and terror, that he was not only affected with fascination, but even deprived of his reason, and a melancholic humor attacking his whole body, he became utterly insane, and, in the very house of his master, next the Church of St. James, committed suicide, by hanging himself with a rope." [Footnote: The passage from Didymus is this: "Macilenti et melancholici, qui binas pupillas in oculis habent, aut in uno oculo geminam pupillam, in altero effigiem equi,—quique oculos concavos ac veluti quibusdam quasi foveis reconditos gerunt, exhaustoque adeo universo humore ut ossa,—quibus palpebr coherent, eminere, hirquique sordibus scatere cernuntur,—quibus in tota cute qu faciem obducit squallor et situs immoderatus conspicitur, facillime fascinant. Strabones, glaucos, micantes et terribiles oculos habentes qucumque et iratis oculis aspiciunt fascino inficiunt. Et ego hisce oculis Rom quondam Hispanum genere vidi, quem nominare non licet, qui cum truculentis oculis tetro et irato vultu servum ob nescio quod objurgsset, adeo servus ille timore ac terrore perterritus fuit, ut non modo fascino affectus, sed rationis usu privatus fuerit, et melancholico humore totum ejus corpus invadente, ita ad insaniam redactus fuit, ut in domo sui heri prope ecclesiam Divi Jacobi sibi mortem consciverit et laqueo vitam finiverit."]

Moral.—If you ever meet with such an agreeable person as this Spaniard appears to have been,—look out!

In this connection, the reader will recall the similar power of Vathek, in Beckford's romance, who killed with his eye,—and the story of Racine, whom a look of Louis XIV. sent to his grave.

The famous Albertus Magnus, master of medicine and magic, devotes a long chapter to the subject of eyes, giving us, at length, descriptions of those which we may trust and those which we must fear, some of them terrible and vigorous enough. From among them I select the following:—"Those who have hollow eyes are noted for evil; and the larger and moister they are, the more they indicate envy. The same eyes, when dry, show the possessors to be faithless, traitorous, and sacrilegious; and if these eyes are also yellow and cold, they argue insanity. For hollow eyes are the sign of craft and malignity; and if they are wanting in darkness, they also show foolishness. But if the eyes are too hollow, and of medium size, dry and rigid,—if, besides this, they have broad, overhanging eyebrows, and livid and pallid circles round them, they indicate impudence and malignity." [Footnote: Albertus Magnus, De Anim.] If this be not enough to enable you, O my reader, to recognise the Evil Eye at sight, let me refer you to the whole chapter, where you will find ample and very curious rules laid down, showing a singular acuteness of observation.

Things have, indeed, somewhat changed since the days of Didymus, in this respect, that men are now thought to be more potent for evil jettatura than women; but his general views still coincide with those entertained at the present time in Italy. Ever since the establishment, or rather decadence, of the Church in the Middle Ages, monks have been considered as peculiarly open to suspicion of possessing the Evil Eye. As long ago as the ninth century, in the year 842, Erchempert, a frate of the celebrated convent of Monte Cassino, writes,—"I knew formerly Messer Landulf, Bishop of Capua, a man of singular prudence, who was wont to say, 'Whenever I meet a monk, something unlucky always happens to me during the day.'" And to this day, there are many persons, who, if they meet a monk or priest, on first going out in the morning, will not proceed upon their errand or business until they have returned to their house and waited awhile. In Rome there are certain persons who are noted for this evil power, and marked and avoided in consequence. One of them is a most pleasant and handsome man, attached to the Church, and yet, by odd coincidence, wherever he goes, he carries ill-luck. If he go to a party, the ices do not arrive, the music is late, the lamps go out, a storm comes on, the waiter smashes his tray of refreshments,—something or other is sure to happen. "Sentite," said some one the other day to me. "Yesterday, I was looking out of my window, when I saw —— coming along. 'Phew!' said I, making the sign of the cross and pointing both fingers, 'what ill-luck will happen now to some poor devil that does not see him?' I watched him all down the street, however, and nothing occurred; but this morning I hear, that, after turning the corner, he spoke to a poor little boy, who was up in a tree gathering some fruit, and no sooner was out of sight than smash! down fell the boy and broke his arm." Even the Pope himself has the reputation of possessing the Evil Eye to some extent. Ask a Roman how this is, and he will answer, as one did to me the other day,—"Si dice, e per me veramente mi pare di s": "They say so; and as for me, really it seems to me true. If he have not the jettatura, it is very odd that everything he blesses makes fiasco. We all did very well in the campaign of '48 against the Austrians. We were winning battle after battle, and all was gayety and hope, when suddenly he blesses the cause, and everything goes to the Devil at once. Nothing succeeds with anybody or anything when he wishes well to them. See, here the other day he went to Santa Agnese to have a great festival, and down goes the floor, and the people are all smashed together. Then he visits the column to the Madonna in the Piazza di Spagna, and blesses it and the workmen, and of course one falls from the scaffolding the same day and kills himself. A week or two ago he arranged to meet the King of Naples at Porto d'Anzo, and up comes a violent storm and gale that lasts a week; then another arrangement was made, and then the fracas about the ex-queen of Spain. Then, again, here was Lord O——- came in the other day from Albano, being rather unwell; so the Pope sends him his special blessing, when pop! he dies right off in a twinkling. There is nothing so fatal as his blessing. We were a great deal better off under Gregory, before he blessed us. Now, if he hasn't the jettatura, what is it that makes everything turn out at cross purposes with him? For my part, I don't wonder the workmen at the Column refused to work the other day in raising it, unless the Pope stayed away."

No less a person than Rachel seems also to have been affected with this same superstition in regard to the Pope, if we may place confidence in the strange story which Madame de B——- relates in her memoirs of that celebrated daughter of Israel. According to her account, Rachel had been on a visit to her sister, who was quite ill in the Pyrenees, when one day the disease appeared to take so favorable a turn that Rachel left her to visit another sister. There she met several friends, and, (to continue the story in Madame de B——-'s words,) "exhilarated by the good news she had brought, and the hopes all hastened to build on the change, she began to chat and laugh quite merrily. In the midst of this exuberant gayety, her maid broke into the room in a state of great excitement; a fit had come on, the patient was in much danger, the physician desired Mdlle. Rachel's immediate presence. Rising with the bound of a wounded tigress, the tragdienne seemed to seek, bewildered, some cause for the blow that had fallen thus unexpectedly. Her eye lighted on a rosary blessed by the Pope, and which she had worn round her arm as a bracelet ever since her visit to Rome. Without, perhaps, accounting to herself for the belief, she had attached some talismanic virtue to the beads. Now, however, in the height of her rage and disappointment, she tore them from her wrist, and, dashing them to the ground, exclaimed, 'Oh, fatal gift! 'tis thou hast entailed this curse upon me!' With these words, she sprang out of the room, leaving every one in mute astonishment at her frantic action." On the 23d of June, immediately after, the sister died.

And yet the Pope does not at all answer to the accredited portraits of those who have the Evil Eye. He is fat, smiling, and most pleasant of aspect, as he is good in heart. But, certainly, nothing has prospered that he has touched. Read Dumas' description, and see if you should have recognized the Pope as a jettatore. "Le Jettatore," says he, "est ordinairement ple et maigre. II a un nez en bec de corbin, de gros yeux qui ont quelque chose de ceux de crapaud, et qu'il recouvre ordinairement pour les dissimuler d'une paire de lunettes." But it is the exception that proves the rule, say those who insist on the jettatura of Pius IX.

Dumas also speaks of a work on the jettatura, which I have vainly endeavored to procure, written by Nicola Valetta; and from what one can gather from the heads of the chapters which Dumas gives, it must be a very amusing book. [Footnote: The title of this work is Cicalata sul Fascino, volgarmente detto Jettatura, by Nicola Valetta. It was published more than fifty years since, and copies are now rare.] These heads are as follows. They speak for themselves, and show the fear entertained of a monk. He examines:—

"1. If a man inflicts a more terrible jettatura than a woman?

"2. If he who wears a peruke is more to be feared than he who wears none?

"3. If he who wears spectacles is not more to be feared than he who wears a peruke?

"4. If he who takes tobacco is not more to be feared than he who wears spectacles? and if spectacles, peruke, and snuff-box combined do not triple the force of the jettatura?

"5. If the woman jettatrice is more to be feared when she is enceinte?

"6. If there is still more to be feared from her when she is certain that she is not enceinte?

"7. If monks are more generally jettatori than other men? and among monks what order is most to be feared?

"8. At what distance can jettatura be made?

"9. Must it be made in front, or at the side, or behind?

"10. If there are really gestures, sounds of voice, and particular looks, by which jettatura may be recognized?

"11. If there are prayers which can guaranty us against the jettatura? and if so, whether there are any special prayers to guaranty us against the jettatura of monks?

"12. Lastly, whether the power of modern talismans is equal to the power of ancient talismans? and whether the single or the double horn is most efficacious?"

Luckless, indeed, is he who has the misfortune to possess, or the reputation of possessing this fatal power. From that time forward the world flees him, as the water did Thalaba. A curse is on him, and from the very terror at seeing him accidents are most likely to follow. Keep him from your children, or they will break their legs, arms, or necks. Look not at him from your carriage, or it will upset. Let him not see your wife when she is enceinte, or she will miscarry, or you will have a monster for a son. Never invite him to a ball, unless you wish to see your chandelier smash, or the floor give way. Invite him not to dinner, or your mushrooms will poison you, and your fish will smell. If he wishes you buon viaggio, abandon the journey, if you would return alive. Nor be deceived by his good manners and kind heart. It is of no avail that he is amiable and good in all his intentions,—his jettatura is without and beyond his will,—nay, worse, is contrary to it; for all jettatura goes like dreams, by contraries. Therefore shudder when he wishes you well, for he can do no worse thing.

If you do not believe what I tell you, read the wonderful story of Count ——- which is told by Dumas in his "Corriccolo," and at least you will be amused, if not convinced. Listen, however, to this one historical incident, and believe it or not, as you please. Ferdinand of Naples died on the night of the 3d of January, 1825, and was found dead in the morning. The physicians attributed his death to a stroke of apoplexy; but that was in consequence of their pretended science and real ignorance. The actual cause of his death was this,—and if you do not believe it, ask any true Neapolitan, or Alexander Dumas, if you put more faith in him.—A certain canonico, named Don Ojori, had for many years desired an audience of Ferdinand, to present him a certain book, of which Don Ojori was the author. The King had his good reasons for refusing, for Don Ojori was well known to be the greatest jettatore in Naples. Finally, on the 2d of January, the King was persuaded to grant him the desired favor the next day, much against his will. The canonico came, and after a long audience left his book and many prayers for the King's prosperity. But Ferdinand did not survive the interview a whole day; and if this be not proof that Don Ojori bewitched him to his destruction, what is?

* * * * *



PYTHAGORAS.

Above the petty passions of the crowd I stand in frozen marble like a god, Inviolate, and ancient as the moon. The thing I am, and not the thing Man is, Fills these blank sockets. Let him moan and die; For he is dust that shall be laid again: I know my own creation was divine. Strewn on the breezy continents I see The veined shells and glistening scales which once Enwrapt my being,—husks that had their use; I brood on all the shapes I must attain Before I reach the Perfect, which is God, And dream my dream, and let the rabble go: For I am of the mountains and the sea, The deserts, and the caverns in the earth, The catacombs and fragments of old worlds.

I was a spirit on the mountain-tops,— A perfume in the valleys,—a simoom On arid deserts,—a nomadic wind Roaming the universe,—a tireless Voice. I was ere Romulus and Remus were; I was ere Nineveh and Babylon; I was, and am, and evermore shall be,— Progressing, never reaching to the end.

A hundred years I trembled in the grass, The delicate trefoil that muffled warm A slope on Ida; for a hundred years Moved in the purple gyre of those dark flowers The Grecian women strew upon the dead. Under the earth, in fragrant glooms, I dwelt; Then in the veins and sinews of a pine On a lone isle, where, from the Cyclades, A mighty wind, like a leviathan, Ploughed through the brine, and from those solitudes Sent Silence, frightened. To and fro I swayed, Drawing the sunshine from the stooping clouds. Suns came and went,—and many a mystic moon, Orbing and waning,—and fierce meteor, Leaving its lurid ghost to haunt the night I heard loud voices by the sounding shore, The stormy sea-gods,—and from ivory conchs Wild music; and strange shadows floated by, Some moaning and some singing. So the years Clustered about me, till the hand of God Let down the lightning from a sultry sky, Splintered the pine and split the iron rock; And from my odorous prison-house, a bird, I in its bosom, darted: so we fled, Turning the brittle edge of one high wave,— Island and tree and sea-gods left behind!

Free as the air, from zone to zone I flew, Far from the tumult to the quiet gates Of daybreak; and beneath me I beheld Vineyards, and rivers that like silver threads Ran through the green, and gold of pasture-lands,— And here and there a hamlet, a white rose,— And here and there a city, whose slim spires And palace-roofs and swollen domes uprose Like scintillant stalagmites in the sun; I saw huge navies battling with a storm By ragged reefs along the desolate coasts,— And lazy merchantmen, that crawled, like flies, Over the blue enamel of the sea To India or the icy Labradors.

A century was as a single day. What is a day to an immortal soul? A breath,—no more. And yet I hold one hour Beyond all price,—that hour when from the heavens I circled near and nearer to the earth, Nearer and nearer, till I brushed my wings Against the pointed chestnuts, where a stream That foamed and chattered over pebbly shoals Fled through the bryony, and with a shout Leaped headlong down a precipice: and there, Gathering wild-flowers in the cool ravine, Wandered a woman more divinely shaped Than any of the creatures of the air, Or river-goddesses, or restless shades Of noble matrons marvellous in their time For beauty and great suffering; and I sung, I charmed her thought, I gave her dreams; and then Down from the sunny atmosphere I stole And nestled in her bosom. There I slept From moon to moon, while in her eyes a thought Grew sweet and sweeter, deepening like the dawn, A mystical forewarning! When the stream, Breaking through leafless brambles and dead leaves, Piped shriller treble, and from chestnut-boughs The fruit dropped noiseless through the autumn night, I gave a quick, low cry, as infants do: We weep when we are born, not when we die! So was it destined; and thus came I here, To walk the earth and wear the form of man, To suffer bravely as becomes my state,— One step, one grade, one cycle nearer God.

And knowing these things, can I stoop to fret And lie and haggle in the market-place, Give dross for dross, or everything for nought? No! let me sit above the crowd, and sing, Waiting with hope for that miraculous change Which seems like sleep; and though I waiting starve, I cannot kiss the idols that are set By every gate, in every street and park,— I cannot fawn, I cannot soil my soul: For I am of the mountains and the sea, The deserts, and the caverns in the earth, The catacombs and fragments of old worlds.

* * * * *



CLARIAN'S PICTURE.

A LEGEND OF NASSAU HALL.

"Turbine raptus ingenii."—SCALIGER.

Mac and I dined together yesterday,—as we are used to do at least once or twice every year, for the sake of our ever-mellowing friendship, and those good old times in which it began. Like all who are ripe enough to have memories, we delight to recall the period of our vernal equinox, and to moralize, with gentle sadness and many wise wags of our frosty polls, upon the events in which that period was prolific; and so, when the cloth was removed yesterday, and we sat toying with our cigars and our Sherry, our talk insensibly drifted back to those merry college-days when we not infrequently "heard the chimes at midnight."

"Ah, old fellow," quoth I to my chum, "those good old days are gone by, now, and Israel worships strange gods. Old Nassau will never be what she was before the fire of '55. Those precious heirlooms of our day are sunk from sight forever, dear and mossy as they were,—swept down, like cobwebs, before the flame-besom. 'Fuit Ilium!' The old bell will never again ring out the gay 'larums of a 'Third Entry' barring-out. Homer's head no longer perches owl-like and wise over the central door-way. 'Ai, Adonai!' No more wilt proud fingers point to the spot whereat entered—not like 'Casca's envious dagger'—that well-aimed cannon-ball which pierced the picture-gallery, punched 'Georgius Res' on the head, and frightened away forever the Hessians that were stabled there, fouling the nest of stout old John Witherspoon. They call other rolls now in chapel and in class-room, and chant other songs at their revels and their feasts. 'Eheu, Posthume!'"

"Pshaw, Ned Blount! there's corn in Egypt still. Out of that bug-riddled old barn we used to know a new and comely Phoenix has been born unto Princeton; the fire hath purged, not destroyed; and we wiseacres who flourished in the old 'flush times' yet survive in tradition, patterns for our children, very Turveydrops of collegiate deportment. The belfry clangs with a louder peal; even Clarian's Picture, though it hath utterly perished to the eye of sense, lives vivid in a thousand memories, and, having found in the tenderness of tradition and legend an engraver whose burin is as faithful as Raphael Morghen's, has left the damp dark wall, like Leonardo's Cenacolo, to accompany all of us to our firesides."

Clarian's Picture! what memories the mention of it stirred up!

"Poor Clarian!" I murmured.

"Poor, indeed I" repeated Mac, with a sneer. "He is only worth a lovely wife and six children, with half a million to back them. And he only weighs two hundred pounds, with I forget how many inches of fat over the brisket. Poor, indeed! 'Tis pity you and I have not experienced a slight attack of that same poverty, Ned Blount!"

"Poor Clarian!" repeated I, sturdily. "To think that a man who could paint such a picture, a soul of imagination so compact, a so delicate ether-breathing spirit, should settle down at last into a mere mechanical, a plodding, every-day merchant, whose finest fancies are given to the condition of the money-market, who governs his actions by a decline of Erie, and narrows his ideas down to the requirements of filthy lucre, like a mere 'wintry clod of earth'! Ay, poor Clarian, poor anybody, when we wake from our bright youth-dream and tread the rough pathway of a reality like this!"

"Potz tausend! the man is fou!" shouted Mac. "Come, drink your wine, Ned, and we'll have our coffee. It is quite time, I think,—and he used to be a three-bottle fellow," muttered my dear old friend, sotto voce. "'Heu, heu! tempora mutantur, et nos'—well, well, well!"

* * * * *

Clarian's Picture! What a gush of recollection the words evoke! I was in the heyday and blossom of my youth then, and now—well, 'tis some years since; yet how vividly I remember that pleasant noontide of a day of early summer, when, as a party of us students were lounging about the gates that opened from our shady campus upon the street, "Dennis" handed me a note from Clarian, in which my little friend announced that his picture was finished at last, and invited Mac and myself to call and see it "exhibited," at nine o'clock that very evening. We were talking about Clarian and his picture, at the time,—as, indeed, we had been doing for a month,—and when I mentioned the purport of the note, curiosity rose to the tiptoe of expectation, and numerous surmises were set afloat. I could have satisfied their queries as to the subject and character of the picture, for Mac and I had seen it only a few days before, but Clarian expected us to be secret about it; so I only listened and smiled, while the eager talk ran on, and a thousand conjectures were hazarded.

"So the magnum opus is finished at last," said Clayt Zoile, showing by his manner, as he joined us, that he at least had not received an invitation; "a precious specimen of Art it will prove, I doubt not, after all the outcry about it. 'Montes parturiunt' etc."

"You'll lose your wish this time, Clayt," drawled Mounchersey, carelessly; "Mr. Cosine told me yesterday that 'Boss' has called on Clarian about his cutting so many prayers and recites, and that, after seeing the unfinished picture, he gave the youngster carte blanche as to time, till it is completed;—so it must be something worth looking at"

"I guess Ned Blount's glad the picture is finished," said Tone Ninyan, turning to me,—"a'n't you, Ned?"

I confessed I was not by any means sorry, for Clarian's sake.

"No," laughed Zoile, "Ned isn't sorry,—be sure of that; for he wants his dear 'Whitewash' restored again to the bosom of society, lest the walls of his reputation should by chance suffer from fly-speck."

These words created a laugh at my expense; for Clarian had shown himself, in his warm, generous way, such a zealous advocate of my immaculate perfection, that he was quite generally known by the sobriquet of "Ned Blount's Whitewash."

Just then Mac came along, on his way to the post-office, and I joined him, showing him Ciarian's note.

"Hum," growled my good old chum, as he read it, "don't want to be disturbed to-day; sick, is he? I'd like to know who's to blame, if he isn't. Wishes me to bring my Shakspeare along;—it's a wonder he had not said Plotinus, or Jacob Bhme's 'Aurora'; they're more in his style. The deuse take that boy and his picture, Ned! What if we two fools have been playing too roughly with such plastic clay? I wish to-night were come and gone safely. I'll go see Dr. Thorne, and ask him to accompany us to-night. He claims to be something of a connoisseur, and the picture is really worth seeing, if the lad has not spoiled it with his 'final touches'. And anyhow, the boy will be a study for a psychological monomaniac like Thorne."

"You apprehend, then...."

"Sapperment, you owl-face! I apprehend nothing; only it will be as well to have Thorne present, for the boy is out of sorts, and his nerves were never very strong. Now look here, Ned Blount! don't put on that lugubrious phiz, I pray you;—and, moreover, don't you ever dare introduce any more of your Freshmen protg's to me; for, I warn you, I'll insult them, and you, too,—I will, by Jove!"

I was not less impatient than Mac for the night to come, for I was very anxious about Clarian, dreading lest some catastrophe was about to overtake him,—and the thought was by no means pleasant. For, as Mac had said, the lad was a protg of mine; he had been given into my charge by his sweet lady-mother; he had looked up to me as his senior and his friend; and I could not help feeling, that, if anything untoward should happen to him, it would be partly my fault.

From the very first I had been strongly attracted towards Clarian. Indeed, the lad was remarkable for a peculiar spiritual beauty of person and sweetness of manner that made almost every one love him. He was, in fact, lovely, in the etymological sense of that misused word, and people softened towards him as to a young, guileless child. I have known men cease swearing when he drew near, drop ribaldry, and take up some more innocent topic, simply through an unconscious impulse of fitness,—feeling that such things had no business to be repeated in his presence. And they were right; for a purer spirit than Clarian's I have never encountered in man or woman. His face most reminded one of the portraits of Raphael at twenty. He had the same broad, smooth forehead,—the same soft skin, delicate, yet rich as the inner leaves of a pale rose,—the same finely shaped nose, and ripe, womanly mouth, which a Persian, in default of a more tangible analogy, would have likened to the seal of Solomon. But his lower face was somewhat less full than Raphael's, the chin being shorter and sharper, and the jaw curving less sensuously. His hair was of the purest chestnut hue, rich and silken, showing here and there a thread of gold; he wore it long, and flowing in half-ringlets upon his neck and shoulders. Clarian's eye was large and dark, tender, rather sad, with now and then a speculative depth, now and then a hint of the Romeo fore-doom, now and then a warm eloquence, when meeting yours, that reminded strangely of a woman loving and in love. Other womanly traits he had, such as the ingenuous blush with which he asked or did a favor, and a certain not very boyish fondness for softness and elegance of dress. Not that Clarian was effeminate, or in any material respect deficient in manly character; but his mother was a widow, and he her only son, and consequently he had been brought up like a girl, at home, without any slightest opportunity to acquire those rough-and-tumble experiences of ordinary boyhood which are so necessary to fit us for battling in the world; for the world, though not unfeeling at core, wears yet a sufficiently rough rind, and pretends but little sympathy with persons of Clarian's stamp.

Hence, when Clarian came to college, he knew very little of life indeed,—and, moreover, he cherished not a few ascetic notions, deeming this world "all a fleeting show," from whose vain illusions it was one's chief duty to shield one's self. He had never read a novel, save "some of Scott's,"—nor ever seen or read a play, not even of Shakspeare's. How I envied him this new world, in whose usages I had been blas long before I was of an age to appreciate its beauties,—this bright, fancy-fostering world, to which he was to go all fresh and unsophisticated, like a bride to the nuptial sheets! In literature of a more solid kind his practice was quite considerable: he had surveyed many fields of Art, History, and Theology, all of which, however, had first been submitted to the test of that anxious maternal Index Expurgatorius, lest some drop of infidelity or impurity should trickle in unawares, to darken or embitter the pure crystal waters of his soul. Ah, thou poor fond mother, so unreasoningly ignoring the fact that each of us must somehow eat his "peck of dirt"!

Thus intrusted to my charge, and having such attractive elements in his character, I naturally took great interest in Clarian, and particularly spared no effort to give him use in college ways. I saw that the lad was not one to bear being laughed at, and so did all I could to screen him from the embarrassments of ignorance,—taught him our customs, our fashions, and gave him lessons upon that immemorial dialect in which college sublegists delight. I chicaned to secure him a fine room, which his lady-mother furnished "like a bridal chamher", if our Nassau cynics were to be credited,—introduced him where it was necessary, and exercised generally towards him that distinguished patronage which one who "knows the ropes" is able to bestow upon a very Freshman.

A fine generous fellow was Clarian, for all his apron-string antecedents,—bold as a lion, and as trustworthy as he was enthusiastic. He was of rather too nervous a temperament to be precisely healthy in all mental respects, but nevertheless had a fine comprehensive mind, very capable of sustained and concentrated effort. He had been well taught, and, unfortunately, was so far advanced beyond the studies of his class as to have a great deal of leisure. In consequence he turned to reading, and here, again unfortunately, he put himself under my guidance, and suffered me to govern him in his choice of books: unfortunately, I say, for I was then a worshipper of that clay-footed Nebuchadnezzar-image, Metaphysics, which I fondly deemed all of gold, and the most genuine of things. So, when Clarian came to me, I was eager enough to put to his lips the wine of which I was drunken. The boy took his first sip from Coleridge's "Biographia Literaria",—that cracked Bohemian glass, which, handed in a golden salver that might have come from the cunning graver of Cellini, yet forces one to taste, over a flawed and broken edge, the sourest drop of ill-made vin du pays, heavily drugged and made bitter with Paracelsian laudanum. Under that strange patchwork quilt so imaginative a soul as Clarian could not fail to dream. It was a great pity I had not been more circumspect, for the boy was already too deeply steeped in those Acherontic waters. His mother, like many other women, had loved to wander along the dreamy paths of sentimental theology, clothing from her own beautiful mind the dim, unsubstantial spectres that beckoned her, and accepting all their mystic utterances, in blind faith, for genuine oracles of God. Into these by-ways he had followed her, and his clearer vision had just sufficed to reveal to him the ghosts, without teaching him how to master or dispel them. Thus, Cowper's sweetness, which charmed her, became to him Cowper's dejection and despairing sadness, perplexing enough to his young brain. Where she took up and fed her soul upon John Wesley's conclusions, the boy found himself involved in John Wesley's perplexities, and struggling in desperate wrestle with the haunting shapes to which John Wesley had given successful battle. Thus prepared, no wonder my eager little friend plunged headlong into the sea of doubts, impatient to cry, "Eureka!" and plant his foot upon the Islands of the Blessed. The new excitement completely swept his feet from under him. 'Twas but a step from Coleridge and Esemplastic matters to Plotinus, and in a month he had taken that step,—the more readily, that he was a right good Grecian, and found no unpleasant philological difficulties in the "Enneades". Thence he went on in feverish unrest, wildly running up and down all Niffelheim in quest of some centre-point upon which he could stand firm and look around him. He had an excellent mind, and, unexcited, could take sufficiently common-sense views of most matters; but this was too much for him. He made substance of shadows, and then exhausted himself in giving them battle. He became anxious, uneasy, nervous,—showing very plainly, that, in his search after the Alkahest, he had injured his powers by making trial of too many drugs.

Mac, with his sturdy good sense, and unerring mace-like judgment, speedily became aware of this waste of function to which Clarian was subjecting himself, and warned me accordingly.

"Why do you let that boy bother his brains about your stupid Ego and Non-Ego?" said he. "Don't you see he is injuring himself, beginning to sink under a sort of mental albumenurea,—at the very time, too, when he has most need of stamina? He does nothing but read, read, read,—and what, forsooth? Not anything that will teach him the genuineness of life and manhood, but those damnable spirit-exalting, body-despising emasculates of Alexandria,—Madame Guyon's meditations, too, and Isaac Taylor's giddy see-sawings,—all heresies, and bosh,—'Dead-Sea fruits that turn to ashes', and not only disgust you, but blister tongue and lips most vilely. You'll have him next trying to treat with the gods, to attain Brahm's purification, Boodh's annihilation, to jump over the moon, or doing something that will make him candidate for the shaved-head-and-blister treatment. Remember, Ned, his brain is made of finer stuff than that stolid sponge inside your pia mater, that can take in quantum sufficit of beer, fog, and tobacco-smoke, unharmed. He can't stand it, and he's too rare and delicate a machine to go cranky thus soon. You've got the child under your thumb,—bring him out o' that. Make him take a dose of Verulam, get him back into the world again, and order him four hours per diem at the dumb-bells."

And so, the next time Clarian came to our rooms, and was eagerly soliciting my opinion of a little essay he had written, to establish the identity of the Logos with the Demiurgic Mind, ("Plato's World-Soul, called in 'Timus' the best of Eternal Intelligences, the Noetic Partaker and Digester of Reason", said Clarian in his tract,) with some corollaries for the purpose of reconciling Geist and Freiheit, all sauced down, l'Allemagne, with numerous capitals and a proper degree of incomprehensibility,—Mac bluffly interrupted the colloquy, and accosted Clarian,—

"Younker! do you know you're a fool?"

Clarian colored up,—

"How, Mac?"

"What are we—Ned, and you, and I—here for?"

"To acquire knowledge."

"Ay, knowledge,—but what for?"

"To fit us for heaven."

"Phew! then you calculate to graduate from 'these classic shades' direct into celestial regions, do you, without sojourning awhile in this terrene purgatory? I do not, and, moreover, je n'en ai pas l'envie; I think the world has some claims upon me, and I mean to pay that debt, D. V."

"So do I, Mac," rejoined Clarian, a little proudly.

"And do you suppose your present studies adapted to fit you for such work? Now, if you want to be a monk, if you are willing, like Origen, to purchase with your entire manhood some supposed facility of spiritual contemplation and depth of insight into the Infinite, or if you intend to become a Brahmin, and seek in your navel the dyspeptic divinity who there wields his sceptre, while your despised body is given up to the predatory ravages of genus pediculus, well and good. Follow your hest, go on and conquer the [Greek: gnosis] and when you have got it, just inform me what it looks like, and whether you will be more able to make use of it than the fellow was of the elephant he bought at auction. But if you desire to take a man's part in this grand world around you, you must leap off your shadow, and never think about thinking, as the new Olympian has it. Let quiddities alone, they are dry-bone vampires, that drain you of your blood without growing fatter themselves."

"But how can truth harm? and that is what I seek,—truth, and beauty; if I commune with the world-soul, then also I know the world."

"Faugh! let shadows alone; believe in the man; do not be persuaded that the body is depraved and corrupt, and only the soul is worthy to be cultivated. Hold fast to the tangible. We know that we have a body, spite the Bishop of Cloyne, far more certainly than we know we have a soul. See, the soul is this smoke, that evanishes so quickly; the body this meerschaum that I have in my fingers, and will smoke again, please God."

"But it is the smoke, not the pipe, that gives you pleasure, and is the important consideration, Mac."

"Confound analogies, and pert Freshmen!" growled my chum, puffing vigorously. "Nevertheless, it is a noble and right royal thing, this body,—a thing to be cared for and cultivated for its own sake, apart from the fact of its being God's chosen sanctuary for what He lends us to see Him by. And you are neglecting it, both in theory and practice, Clarian; so you must give up these infernal Metaphysics. If you will bother about speculative matters, let Bacon teach you the correctives of error, and Locke how to govern and rein in the understanding. But you'd better learn first what men say about men. It may not make you happier, but it will make you wiser, and wisdom ranks high in heaven: Gabriel, Raphael, Michael,—'tis the second person in that archangelic trinity. Did you ever read Shakspeare? No, of course not; and yet I'll wager you have been hankering after the Bhagavat Ghita, and trying to get a copy of the illustrious Trismegistan Gimander! Don't blush,—you're not the first young man who has made an a—ahem—made a mistake. Fie! Learn men, Clarian, and then you will come to know man,—the surest way, I take it, of knowing the Multitudinous God. So read you Shakspeare, and schylus, save the 'Prometheus,'—that was begotten of Bactrian lore upon the mysteries of Karnac, and does not touch man nearly, spite of all its grandeur. Here, listen, and I will give you a lesson in the Myriad-Minded whom Stratford-upon-Avon blessed our little earth with."

Therewith, Mac began to read from the first act of "The Tempest." Now chum was a Shakspeare enthusiast, and, withal, a very fine reader, as well as, from long study, quite pervaded with the Master's diction and style of thought. As he read on, he commented, in his brief, pointed way, upon the text, contrasting the Boatswain's practical usefulness with the shivering helplessness of the Courtiers. "Now this is your proper somatology," he added. "What our Bo's'un says to Gonzalo, the world will say to you, Clarian, when you propose to it any of your panaceas: Are you able to do better than we? If so, save us from the shipwreck that threatens. If not, go to your prayers. Anyhow, 'out of our way, I say!'"

"Bravo!" cried I, when the homily came to an end, "Mac is preaching Carlylism, as I'm a sinner. The next utterance will be something about roofing Hell over, or the Everlasting Yea, or Morrison's Pills! Proceed: 'lay on,' Mac! none of us will cry, 'Hold, enough!' save under risible compulsion."

Mac sulked awhile, but soon resumed his reading,—sparing us further comment, however. Thus was Clarian led over the threshold, and introduced into Shakspeare's magic world. When Mac closed his book at the end of the act, Clarian's face glowed with a flattering something that must have pleased my chum, for he was proud of his reading,—and the moisture glittering in the lad's eye, his flushed cheek, and the tremor of his voice as he asked to hear more, spoke volumes.

But Mac said, "No,—enough is as good as a feast, younker, and just now I have to go with Bacchus in quest of a tragedian for Athens,—[Greek: brek kek koax, koax], you know. Study the Master yourself: and let me by all means advise your wisdom to detect a mystery in 'Hamlet,' and to essay the solution of the same. Nobody else has done so, of course, and it will become your long head. I've met several very mild, quiet people, whom you would not suspect of the slightest impropriety; but mention the Dane, and, presto! off they go upon their hobbies, ('theories,' they call 'em,) and canter around Bedlam at a most generous pace. 'Semel insanivimus omnes,' I suppose, and Hamlet and the Apocalypse offer rare opportunities."

"Now, Ned," said Mac, somewhat complacently, when Clarian was gone, "I think I have done that young rascal some good, and the bard will advantage him still more, if he can only be moderate enough."

And, indeed, these new pastures thus unbarred to Clarian's coltish fancies made a great change in the lad. At first he simply revelled in the new world of beauty that the Master's wand evoked, like a bird in the fresh, warm sunshine of returning spring. But this did not last long; the bird must busy himself with nest-building. Clarian's ardent, impetuous nature must evolve results, would not content itself with mere sensations. So he began to study Shakspeare,—not, as he had studied the philosophers, to pluck out and make his own some cosmical, pervading thought, but to find matter for Art-purposes. I think, that, if ever there was a born artist, who united to a fine sthetic sense the fervor of a devotee, Clarian was that one, heart and soul. Some men make a mistress of Art, and sink down, lost in sensual pleasure and excess, till the Siren grows tired and destroys them. Other men wed Art, and from the union beget them fair, lovely, ay, immortal children, as Raphael did. Some again, confounding Art with their own inordinate vanity, grow stern and harsh with making sacrifices to the stone idol, grinding down their own hearts in vain experimenting after properer pigments, whereby themselves may attain to a chill and profitless immortality. But there are others still, who, elevating Art into a grand divinity, bow down and worship it, devote their lives to its priesthood, and, as a reward, only ask the god to reveal to them once his unveiled effulgence, content with the one communion, though their rashness be fatal, and the god's benison prove but the ashes of Semele. Towards this class Clarian tended, I knew very well, and hence, from the first, I had thrown a damper upon his artistic aspirations, often rewarded by his mournful and reproaching glances, as I sneered at his sketches,—which, to tell the truth, were most admirable, showing at once a keen poetic insight, fine composition, and an unusual mastery of technical details. The obedient fellow had bowed to what he deemed my better judgment, and turned away, with something of a sigh, from his dear love and ambition. Now, however, this love came suddenly back, and with tenfold intensity, as is always the case, and, though I dreaded its unhealthiness, I could no longer thwart him. Indeed, the Art-sense took such complete possession of him that I feared to interpose obstacles. He did not go about his work like a boy, but bent himself to it with the calm, resolute purpose of a man of forty. I could see the increasing mastery of the idea, in his changed eye, in his compressed lip, in his statelier, calmer pose; and, however incredulous we may be respecting results, these initiatory motions never fail to impress us. Even Bluebeard would forbear to strike down his pregnant wife, for the sake of what she bore under her bosom; and I, seeing the boy's careful study, and his long and laborious preparation, could not help looking forward to a result of commensurate importance.