"With pleasure, my boy,—if you are sure your father will not object."

"Oh, no, indeed, Sir! My father has told me I must always entertain any gentlemen who may call when he is out,—that is, if he is to return soon; and any one may look at this book;—it is only his portfolio, in which he sketches whatever new or pretty things we see on our travels; but there are some very nice pictures in it,—landscapes, and houses, and people."

"Have you travelled much, then?"

"Oh, yes! we have been travelling ever since I can remember; we have been far, and seen a great many strange sights, and some such queer people!—There! that is our shepherd in Australia; isn't he funny? his name was Dirk. I tied that blue ribbon round his straw hat, that seems big enough for an umbrella. He looks as if he were laughing, doesn't he? That's because I was there when my father sketched him; and he made such droll faces, with his brown skin and his great grizzly moustaches, when father told him he must make up a pleasant expression, that it set me laughing,—for my father said he looked like a Cape lion making love; and then Dirk would laugh too, and spoil his pleasant expression; and father would scold; and it was so funny! I loved Dirk very much, he was so good to me; he gave me a tame kangaroo, and a black swan, and taught me to throw the boomerang; and once, when he went to Sydney, he spent ever so much money to buy me a silver bell for Lipse, my yellow lamb. I wonder if Dirk is living yet? Do you think he is dead, Sir? I should be very much grieved, if he were; for I promised I would come back to see him when I am a man."

—"That is Dolores,—dear old Dolores! Isn't she fat?"

"Yes, and good, too, I should think, from the kind face she has. Who was Dolores?"

"Ah! you never saw Dolores, did you? And you never heard her sing. She was my Chilena nurse in Valparaiso; and she had a mother—oh, so very old!—who lived in Santiago. We went once to see her; the other Santiago—that was Dolores's son—drove us there in the veloche. Wasn't it curious, his name should be the same as the city's? But he was a bad boy, Santiago,—so mischievous! such a scamp! Father had to whip him many times; and once the vigilantes took him up, and would have put him in the chain-gang, for cutting an American sailor with a knife, in the Calle de San Francisco, if father had not paid five ounces, and become security for his good behavior. But he ran away, after all, and went as a common sailor in a nasty guano ship. Dolores cried very much, and it was long before she would sing for me again. Oh, she did know such delightful songs!—Mi Nina, and Yo tengo Ojos Negros, and

"'No quiero, no quiero casarme; Es mejor, es mejor soltera!'"

And the delightful little fellow merrily piped the whole of that "song of pleasant glee," one of the most melodious and sauciest bits of lyric coquetry to be found in Spanish.

"Ah," said he, "but I cannot sing it half so well as Dolores. She had a beautiful guitar, with a blue ribbon, that her sweetheart gave her before I was born, when she was young and very pretty;—he brought it all the way from Acapulco."

—"And that pretty girl is Juanita; she sold pine-apples and grapes in the Almendral, and every night she would go with her guitar—it was a very nice one, but did not cost near so much money as Dolores's—and sing to the American gentlemen in the Star Hotel. My mother said she was a naughty person, and that she did not dare tell where she got her gold cross and those jet ear-rings. But I liked her very much, for all that; and I'm sure she would not steal, for she used to give me a fresh pine-apple every morning; and whenever her brother Jose came down from Casa Blanca with the mules and the pisco, she sent me a large melon and some lovely roses."

—"That is the house we lived in at Baltimore. It was painted white, and there was a paling in front, and a dooryard with grass. We had some honeysuckles on the porch;—there they are, and there's the grape-vine. I had a dog-house, too, made to look like a church, and my father promised to buy me a Newfoundland dog,—one of those great hairy fellows, with brass collars, you know, that you can ride on,—when he had sold a great many pictures, and made his fortune. But we did not make our fortune in Baltimore, and I never got my dog; so we came here to Tom Tiddler's ground, to pick up gold and silver. When we are fixed, and get a new tent, my father is going to give me a little spade and a cradle, to dig gold enough to buy a Newfoundland dog with, and then I shall borrow a saw and make a dog-house, like the one I had in Baltimore, out of that green chest. Charley Saunders lived in that next house in the picture, and he had a martin-box, with a steeple to it; but his father gave fencing-lessons, and was very rich."

As the intelligent little fellow ran on with his pretty prattle, I was diligently pursuing the lady and child of the specimens through the sketches. On every leaf I encountered them, ever changing, yet always the same. Here was the child by my side,—unquestionably the same; though now I looked in vain for the anxious mouth and the foreboding eyes in his face of careless, hopeful urchinhood. But who was the other?—his mother, no doubt; and yet no trace of resemblance.

"And tell me, who is this beautiful lady, my lad,—here, and here, and here, and here again? You see I recognize her always,—so lovely, and so gentle-looking. Your mother?"

"Oh, no, Sir!" and he laughed,—"my mother is very different from that. That is nobody,—only a fancy sketch."

"Only a fancy sketch!" So, then, I thought, my pretty entertainer, confiding and communicative as you are, it is plain there are some things you do not know, or will not tell.

"She is not any one we ever saw;—she never lived. My father made her out of his own head, as I make stories sometimes; or he dreamed her, or saw her in the fire. But he is very fond of her, I suppose, because he made her himself,—just as I think my own stories prettier than any true ones; and he's always drawing her, and drawing her, and drawing her. I love her, too, very much,—she looks so natural, and has such nice ways. Isn't it strange my father—but he's so clever with his pencil and brushes!—should be able to invent the Lady Angelica? —that's her name. But my mother does not like her at all, and gets out of patience with my father for painting so many of her. Mamma says she has a stuck-up expression,—such a funny word, 'stuck-up'!—and does not look like a lady. Once I told mamma I was sure she was only jealous, and she grew very angry, and made me cry; so now I never speak of Lady Angelica before her. What makes me think my father must have dreamed her is that I dreamed her once myself. I thought she came to me in such a splendid dress, and told me that she was not only a live lady, but my own mother, and that mamma was—— Hush! This is my father, Sir."

Wonderful! how the lad had changed!—like a phantom, the thoughtless prattler was gone in a moment, and in his place stood the seer-boy of the picture, the profound foreboding eyes fixed anxiously, earnestly, on the singular man who at that moment entered: a singularly small man, cheaply but tidily attired in black; even his shoes polished,—a rare and dandyish indulgence in San Francisco, before the French bootblacks inaugurated the sumptuary vanity of Day and Martin's lustre on the stoop of the California Exchange, and made it a necessity no less than diurnal ablutions; a well-preserved English hat on his head, which, when he with a somewhat formal air removed it, discovered thin black locks, beginning to part company with the crown of his head. In his large, brown eyes an expression of moving melancholy was established; a nervous tremulousness almost twitched his refined lips, which, to my surprise, were not concealed by the universal moustache,—indeed, the smooth chin and symmetrically trimmed mutton-chop whiskers, in the orthodox English mode, showed that the man shaved. His nose, slightly aquiline, was delicately cut, and his nostrils fine; and he had small feet and hands, the latter remarkably white and tender. As he stood before me, he was never at rest for an instant, but changed his support from one leg to the other,—they were slight as a young boy's,—and fumbled, as it were, with his feet; as I have seen a distinguished medical lecturer, of Boston, gesticulate with his toes. He played much with his whiskers, too, and his fingers were often in his hair—as a fidgety and vulgar man would bite his nails. From all of which I gathered that my new acquaintance was an intensely nervous person,—very sensitive, of course, and no doubt irritable.

He was accompanied by a—female, much taller than he, and as stalwart as dear woman can be; an especially common-looking person, bungled as to her dress, which was tawdry-fine, unseasonable for the place as well as time, inappropriate to herself, inharmonious in its composition, and every way most vilely put on; a clumsy and, as I presently perceived, a loud person, whose face, still showing traces of the coarse but decided beauty it must once have possessed, fell far short of compensating for the complete gracelessness of her presence.

Her eyes had a bibulous quality, and the bright redness of her nose vied vulgarly with the rusty redness of her cheeks. I suspected her complexion of potations, but charitably let it off with—beer; for she was, at first glance, English. As she jerked off her flaunting bonnet, and dragged off her loud shawl, saluting me, as she did so, with an overdone obeisance, she said, "This San Fanfrisko"—why would she, how could she, always twist the decent name of the metropolis of the Pacific into such an absurd shape?—"was a norrid 'ole; she happealed to the gentleman,"—meaning me,—"didn't 'e find it a norrid 'ole, habsolutely hawful?" And then she went clattering among tinware and crockery, and snubbed the gentlemanly boy in a sort of tender Billingsgate.

While she was thus gracefully employed, the agonized artist, his face suffused with blushes and fairly ghastly with an enforced smile, was painfully struggling to abstract himself, by changing the places of things, shifting the position of his easel, prying in a lost way into lumbered corners, and pretending to be in search of something, —ingenious, but unable to disguise his chagrin. He pranced with his legs, and tumbled his hair, and twitched at his whiskers more than ever, as he said,—

"My dear," (and the boy had called her Mamma; so, then, it must be a fancy sketch, after all,) "my dear, no doubt the gentleman is more a cosmopolite than yourself, and blessed with more facility in adapting himself to circumstances."

"You know, Madam," I came to his assistance, "we Americans have a famous trick of living and enjoying a little in advance, of 'going ahead' of the hour, as it were. We find in San Francisco rather what it promises to be than what it is, and we take it at its word."

"Oh, pray, don't mention Americans! I positively 'ate the hodious people. I confess I 'ave a hinsurmountable prejudice hagainst the race; you are not haware that I am Hinglish. I think I might endure heven San Fanfrisko, if it were not for the Americans. Are you an American?"

Alternating between the pallor of rage and the flush of mortification, her husband now turned, with a calmness that had something of desperation in it, and saved me the trouble and the pain of replying, by asking, in the frigid tone of one who resented my presence as the cause of his shame,—

"Did you wish to see me on business, Sir? and have you been waiting long?"

"The success with which your charming little boy has entertained me has made the time seem very short. I could willingly have waited longer."

That last remark was a mere contretemps. I did not mean to be as severe as he evidently thought me, for he bowed haughtily and resentfully.

I came at once to business,—drew from my pocket the engraving I had brought,—"Could he copy that for me?"

"How?—in miniature or life-size?—ivory or canvas?"

"You are, then, a portrait-painter, also?—Ah! to be sure!" and I glanced at the canvas on the easel.

"Certainly,—I prefer to make portraits."

"And in this case I should prefer to have one. Extravagant as the vanity may seem, I am willing to indulge in it, for the sake of being the first, in this land of primitive wants and fierce unrefinements, to take a step in the direction of the Fine Arts,—unless you have had calls upon your pencil already."

"None, Sir."

"Then to-morrow, if you please,—for I cannot remain longer at present,—we will discuss my whim in detail."

"I shall be at your service, Sir."

"Good day, Madam! And you, my pretty lad, well met,—what is your name?"

"Ferdy, Sir,—Ferdinand Pintal."

At that moment, his father, as if reminded of a neglected courtesy, or a business form, handed me his card,—"Camillo Alvarez y Pintal."

"Thanks, then, Ferdy, for the pains you took to entertain me. You must let me improve an acquaintance so pleasantly begun."

The boy's hand trembled as it lay in mine, and his eyes, fixed upon his father's, wore again the ominous expression of the picture. He did not speak, and his father took a step toward the door significantly.

But the doleful silence that might have attended my departure was broken by a demonstration, "as per sample," from my country's fair and gentle 'ater. "She 'oped I would not be hoffended by the freedom of 'er hobservations on my countrymen. I must hexcuse 'er Hinglish bluntness; she was haware that she 'ad a somewhat hoff-'and way of hexpressing 'er hemotions; but when she 'ated she 'ated, and it relieved 'er to hout with it hat once. Certainly she would never—bless 'er 'eart, no!—'ave taken me for an American; I was so huncommonly genteel."

With my hand upon the region of my heart, as I had seen stars, when called before the curtain on the proudest evening of their lives, give anatomical expression to their overwhelming sense of the honor done them, I backed off, hat in hand.

"Camillo Alvarez y Pintal," I read again, as I approached the Plaza. "Can this man be Spanish, then? Surely not;—how could he have acquired his excellent English, without a trace of foreign accent, or the least eccentricity of idiom? His child, too, said nothing of that. English, no doubt, of Spanish parentage; or,—oh, patience! I shall know by-and-by, thanks to my merry Virginia jade, who shall be arrayed in resplendent hues, and throned in a golden frame, if she but feed my curiosity generously enough."

Next day, in the afternoon, having bustled through my daily programme of business, I betook myself with curious pleasure to my appointment with Pintal. To my regret, at first, I found him alone; but I derived consolation from the assurance, that, wherever the engaging boy had gone, his mother had accompanied him. Even more than at my first visit, the artist was frigidly reserved and full of warning-off politeness. With but a brief prelude of courteous commonplaces, he called me to the business of my visit.

My picture, as I have said, was a fairly executed steel engraving, taken from some one of the thousands of "Tokens," or "Keepsakes," or "Amulets," or "Gems," or such like harmless giftbooks, with which youths of tender sentiment remind preoccupied damsels of their careful penchants. It represented an "airy, fairy Lilian" of eighteen, or thereabouts, lolling coquettishly, fan in hand, in an antique, high-backed chair, with "carven imageries," and a tasselled cushion. She rejoiced in a profusion of brown ringlets, and her costume was pretty and quaint,—a dainty chemisette, barred with narrow bands of velvet, as though she had gone to Switzerland, or the South of Italy, for the sentiment of her bodice,—sleeves quaintly puffed and "slashed,"—the ample skirt looped up with rosettes and natty little ends of ribbon; her feet beneath her petticoat, "like little mice," stole out, "as if they feared the light." Somewhere, among the many editions of Dickens's works, I have seen a Dolly Varden that resembled her.

It was agreed between us that she should be reproduced in a life-size portrait, with such a distribution of rich colors as the subject seemed to call for, as his fine taste might select, and his cunning hand lay on. I sought to break down his reserve, and make myself acceptable to him, by the display of a discreet geniality, and a certain frankness, not falling into familiarity, which should seem to proceed from sympathy, and a bonhommie, that, assured of its own kindly purpose, would take no account of his almost angry distance. The opportunity was auspicious, and I was on the alert to turn it to account. I made a little story of the picture, and touched it with romance. I told him of Virginia,—especially of that part of the State in which this saucy little lady lived,—of its famous scenery, its historic places, and the peculiar features of its society. I strove to make the lady present to his mind's eye by dwelling on her certain eccentricities, and helping my somewhat particular description of her character with anecdotes, more or less pointed and amusing, especially to so grave a foreigner, of her singular ready-wittedness and graceful audacity. Then I had much to say about her little "ways" of attitude, gesture, and expression, and some hints to offer for slight changes in the finer lines of the face, and in the expression, which might make the likeness more real to both of us, and, by getting up an interest in him for the picture, procure his favorable impression for myself.

I had the gratification, as my experiment proceeded, to find that it was by no means unsuccessful. His austerity appreciably relaxed, and the kindly tone into which his few, but intelligent observations gradually fell, was accompanied by an encouraging smile, when the drift of our talk was light. Then I spoke of his child, and eagerly praised the beauty, the intelligence, and sweet temper of the lad. 'Twas strange how little pleasure he seemed to derive from my sincere expressions of admiration; indeed, the slight satisfaction he did permit himself to manifest appeared in his words only, not at all in his looks; for a shade of deep sadness fell at once upon his handsome face, and his expression, so full of sensibility, assumed the cast of anxiety and pain. "He thanked me for my eloquent praises of the boy, and—not too partially, he hoped—believed that he deserved them all. A prize of beauty and of love had fallen to him in his little Ferdy, for which he would be grieved to seem ungrateful. But yet—but yet—the responsibility, the anxiety, the ceaseless fretting care! This fierce, unbroken city";—he spoke of it as though it were a newly-lassoed and untamed mustang,—I liked the simile; "this lawless, blasphemous, obscene, and dangerous community; these sights of heartlessness and cruelty; these sounds of selfish, greedy contention; the absence of all taste and culture,—no lines of beauty, no strains of music, no tones of kindness, no gestures of gentleness and grace, no delicate attentions, no ladies' presence, no social circle, no books, no home, no church;—Good God! what a heathenish barbarism of coarse instincts, and irreverence, and insulting equalities, and all manner of gracelessnesses, to bring the dangerous impressionability of fine childhood to! The boy was nervous, sensitive, of a spirit quick to take alarms or hurts,—physically unprepared to wrestle with arduous toil, privation, and exposure,—most apt for the teachings of gentleness and taste. It was cruel to think—he could wish him dead first—that his clean, white mind must become smeared and spotted here, his well-tuned ear reconciled to loud discords, and his fine eye at peace with deformity; but there was no help for it." And then, as though he had suddenly detected in my face an expression of surprised discovery, he said, "But I am sure I do not know how I came to say so much, or let myself be tedious with sickly egotisms to a polite, but indifferent, stranger. If you have gathered from them more than I meant should appear, you will at least do me the justice to believe that I have not been boasting of what I regard as a calamity."

I essayed to reassure him by urging upon his consideration the manifest advantages of courage, self-reliance, ingenuity, quick and economical application of resources, independence, and perseverance, which his son, if well-trained, must derive from even those rude surroundings,—at the same time granting the necessity of sleepless vigilance and severe restraints. But he only shook his head sadly, and said, "No doubt, no doubt; and I hope, Sir, the fault is in myself, that I do not appreciate the force and value of all that."

The subject was so plainly full of a peculiar pain for him, he was so ill at mind on this point, that I could not find it in my heart to pursue it further at the cost of his feelings. So we talked of other things: of gold, and the placers, and their unimpaired productiveness, —of the prospects of the country, and of the character the mineral element must stamp upon its politics, its commerce, and its social system,—of San Francisco, and all the enchantments of its sudden upspringing,—of Alcaldes and town-councils,—of hounds and gamblers,—of real estate and projected improvements,—of canvas houses, and iron houses, and fires,—of sudden fortunes, and as sudden failures,—of speculations and markets, and the prices of clothing, provisions, and labor,—of intemperance, disease, and hospitals,—of brawls, murder, and suicide,—till we had exhausted all the Californian budget; and then I bade him good day. He parted with me with flattering reluctance, cordially shaking my hand and urging me to repeat my visit in a few days, when he should be sufficiently forward with the picture to admit me to a sight of it. I confessed my impatience for the interval to pass; for my interest was now fully awakened and very lively;—so well-informed and so polished a gentleman, so accomplished and so fluent, so ill-starred and sad, so every way a man with a history!

I saw much of Pintal after this, and he sometimes visited me at my office. Impelled by increasing admiration and esteem, I succeeded by the exercise of studious tact in ingratiating myself in his friendship and confidence; he talked with freedom of his feelings and his affairs; and although he had not yet admitted me to the knowledge of his past, he evinced but little shyness in speaking of the present. At our interviews in his tent I seldom met his wife; indeed, I suspected him of contriving to keep her out of the way; for I was always told she had just stepped out;—or if by chance I found her there, she was never again vulgarly loquacious, but on some pretext or other at once took herself away. On the other hand, the child was rarely absent,—from which I argued that I was in favor; nor was his pretty prattle, even his boldest communicativeness, harshly checked, save when, as I guessed, he was approaching too near some forbidden theme. Then a quick flash from his father's eye instantaneously imposed silence upon him: as if that eye were an evil one, and there were a malison in its glance, the whole demeanor of the child underwent at once a magical change; the foreboding look took possession of his beautiful eyes, the anxious lines appeared around his mouth, his lips and chin became tremulous, his head drooped, he let fall my hand which he was fond of holding as he talked, and quietly, penitently slunk away; and though he might presently be recalled by his father's kindliest tones, his brightness would not be restored that time.

This mysterious, severe understanding between the father and the child affected me painfully; I was at a loss to surmise its nature, whence it proceeded, or how it could be; for Ferdy evinced in his every word, look, movement, an undivided fondness for his father. And in his tender-proud allusions to the boy, at times let fall to me,—in the anxious watchfulness with which he followed him with his eye, when an interval of peace and comparative happiness had set childhood's spirit free, and lent a degree of graceful gayety to all his motions,—I saw the brimming measure of the father's love. Could it be but his morbidly repellant pride, his jealous guarding of the domestic privacies, his vigilant pacing up and down forever before the close-drawn curtain of the heart?—was there no Bluebeard's chamber there? No! Pride was all the matter,—pride was the Spartan fox that tore the vitals of Pintal, while he but bit his lips, and bowed, and passed.

Among the pictures in Pintal's tent was one which had in an especial manner attracted my attention. It was a cabinet portrait, nearly full-length, of a venerable gentleman, of grave but benevolent aspect, and an air of imposing dignity. Care had evidently been taken to render faithfully the somewhat remarkable vigor of his frame; his iron-gray hair was cropped quite short, and he wore a heavy grizzled moustache, but no other beard; the lines of his mouth were not severe, and his eye was soft and gentle. But what made the portrait particularly noticeable was the broad red ribbon of a noble order crossing the breast, and a Maltese cross suspended from the neck by a short chain of massive and curiously wrought links. I had many times been on the point of asking the name of this singularly handsome and distinguished-looking personage; but an instinctive feeling of delicacy always deterred me.

One day I found little Ferdy alone, and singing merrily some pretty Spanish song. I told him I was rejoiced to find him in such good spirits, and asked him if he had not been having a jolly romp with the American carpenter's son, who lived in the Chinese house close by. My question seemed to afflict him with puzzled surprise;—he half smiled, as if not quite sure but I might be jesting.

"Oh, no, indeed! I have never played with him; I do not know him; I never play with any boys here. Oh, no, indeed!"

"But why not, Ferdy? What! a whole month in this tiresome tent, and not make the acquaintance of your nearest neighbor,—such a sturdy, hearty chunk of a fellow as that is?—I have no doubt he's good-natured, too, for he's fat and funny, tough and independent. Besides, he's a carpenter's son, you know; so there's a chance to borrow a saw to make the dog-house with. Who knows but his father will take a fancy to you,—I'm sure he is very likely to,—and make you a church dog-house, steeple and all complete and painted, and much finer than Charley Saunders's martin-box?"

"Oh, I should like to, so much! And perhaps he has a Newfoundlander with a bushy tail and a brass collar,—that would be nicer than a kangaroo. But—but"—looking comically bothered,—"I never knew a carpenter's son in my life. I am sure my father would not give me permission,—I am sure he would be very angry, if I asked him. Are they not very disagreeable, that sort of boys? Don't they swear, and tear their clothes, and fight, and sing vulgar songs, and tell lies, and sit down in the middle of the street?"

Merciful Heaven! thought I,—here's a crying shame! here's an interesting case for professors of moral hygiene! An apt, intelligent little man, with an empty mind, and a by-no-means overloaded stomach, I'll engage,—with a pride-paralyzed father, and a beer-bewitched slattern of a mother,—with his living to get, in San Francisco, too, and the world to make friends with,—who has never enjoyed the peculiar advantages to be derived from the society of little dirty boys, never been admitted to the felicity of popular songs, nor exercised his pluck in a rough-and-tumble, nor ventilated himself in wholesome "giddy, giddy, gout,"—to whom dirt-pies are a fable!

"Ferdy," said I, "I'll talk with your father myself. But tell me, now, what makes you so happy to-day."

"My father got a letter this morning,"—a mail had just arrived; it brought no smile or tear for me,—no parallelogram of tragedy or comedy in stationery,—"such a pleasant one, from my uncle Miguel, at Florence, in Italy, you know. He is well, and quite rich, my father says; they have restored to him his property that he thought was all lost forever, and they have made him a chevalier again. But I am sure my father will tell you all about it, for he said he did hope you would come to-day; and he is so happy and so kind!"

"They have made him a chevalier again," I wondered. "Your uncle Miguel is your father's brother, then, Ferdy. And did you ever see him?"

Before he could reply, Pintal entered, stepping smartly, his color heightened with happiness, his eyes full of an extraordinary elation.

"Ah! my dear Doctor, I am rejoiced to find you here; I have been wishing for you. See! your picture is finished. Tell me if you like it."

"Indeed, a work of beauty, Pintal."

"To me, too, it never looked so well before; but I see things with glad eyes to-day. I have much to tell you. Ferdy, your mother is dining at the restaurant; go join her. And when you have finished your dinner, ask her to take you to walk. Say that I am engaged. Would you not like to walk, my boy, and see how fast the new streets spring up? When you return, you can tell me of all you saw."

The boy turned up his lovely face to be kissed, and for a moment hung fondly on his father's neck. The poor painter's lips quivered, and his eyes winked quickly. Then the lad took his cap, and without another word went forth.

"I am happy to-day, Doctor,—Heaven save the mark! My happiness is so much more than my share, that I shall insist, will ye, nill ye, on your sharing it with me. I have a heart to open to somebody, and you are the very man. So, sit you down, and bear with my egotism, for I have a little tale to tell you, of who I am and how I came here. The story is not so commonplace but that your kindness will find, here and there, an interesting passage in it.

"I have seen that that picture,"—indicating the one I have last described,—"attracted your attention, and that you were prevented from questioning me about it only by delicacy. That is my father's likeness. He was of English birth, the younger son of a rich Liverpool merchant. An impulsive, romantic, adventurous boy, seized early with a passion for seeing the world, his unimaginative, worldly-wise father, practical and severe, kept him within narrow, fretting bounds, and imposed harsh restraints upon him. When he was but sixteen years old, he ran away from home, shipped before the mast, and, after several long voyages, was discharged, at his own request, at Carthagena, where he entered a shipping-house as clerk, and, having excellent mercantile talents, was rapidly promoted.

"Meantime, through a sister, the only remaining child, except a half-witted brother, he heard at long intervals from home. His father remained strangely inexorable, fiercely forbade his return, and became violent at the slightest mention of his name by his sister, or some old and attached servant; he died without bequeathing his forgiveness, or, of course, a single shilling. But the young man thrived with his employers, whose business growing rapidly more and more prosperous, and becoming widely extended, they transferred him to a branch house at Malaga. Here he formed the acquaintance of the Don Francisco de Zea-Bermudez, whose rising fortunes made his own.

"Zea-Bermudez was at that time engaged in large commercial operations. Although, under the diligent and ambitious teaching of his famous relative, the profound, sagacious, patriotic, bold, and gloriously abused Jovellanos, he had become accomplished in politics, law, and diplomacy, he seemed to be devoting himself for the present to large speculations and the sudden acquisition of wealth, and to let the state of the nation, the Cortes, and its schemes, alone.

"Only a young, beautiful, and accomplished sister shared his splendid establishment in Malaga; and for her my father formed an engrossing attachment, reciprocated in the fullest, almost simultaneously with his friendship for her brother. Zea favored the suit of the high-spirited and clever young Englishman, whose intelligence, independence, and perseverance, to say nothing of his good looks and his engaging manners, had quite won his heart. By policy, too, no less than by pleasure, the match recommended itself to him;—my father would make a famous junior-partner. So they were married under the name of Pintal, bestowed upon his favorite English clerk by the adventurous first patron at Carthagena, who had found the boy provided with only a 'purser's name,' as sailors term it.

"I will not be so disrespectful to the memory of my distinguished uncle, nor so rude toward your intelligence, my friend, as to presume that you are not familiar with the main points of his history,—the great strides he took, almost from that time, in a most influential diplomatic career: the embassy to St. Petersburg, and the Romanzoff-Bermudez treaty of amity and alliance in 1812, by which Alexander acknowledged the legality of the ordinary and extraordinary Cortes of Cadiz; the embassy to the Porte in 1821; his recall in 1823, and extraordinary mission to the Court of St. James; his appointment to lead the Ministry in 1824; my father's high place in the Treasury; their joint efforts from this commanding position to counteract the violence of the Apostolical party, to meet the large requisitions of France, to cover the deficit of three hundred millions of reals, and to restore the public credit; the insults of the Absolutists, and their machinations to thwart his liberal and sagacious measures; his efforts to resign, opposed by the King; the suppression of a formidable Carlist conspiracy in 1825; the execution of Bessieres, and the 'ham-stringing' of Absolutist leaders; his dismissal from the Ministry in October, 1825, Ferdinand yielding to the Apostolic storm; the embassy to Dresden; his appointment as Minister at London.

"And here my story begins, for I was his Secretary of Legation then; while my brother Miguel, younger than I, was attache at Paris, where he had succeeded me, on my promotion,—a promotion that procured for me congratulations for which I could with difficulty affect a decent show of gratitude, for I knew too well what it meant. It was not the enlightened, liberal Minister I had to deal with, but the hard, proud uncle, full of expediencies, and calculating schemes for family advancement, and the exaltation of a lately obscure name.

"In Paris I had been admitted first to the flattering friendship, and then to the inmost heart of—of a most lovely young lady, as noble by her character as by her lineage,"—and he glanced at the open sketch-book.

"The Lady Angelica," I quietly said.

"Sir!" he exclaimed, quickly changing color, and assuming his most frigid expression and manner. But as quickly, and before I could speak, his sad smile and friendly tone returned, and he said,—

"Ah! I see,—Ferdy has been babbling of his visions and his dreams. Yes, the Lady Angelica. 'Very charming,' my uncle granted, 'but very poor; less of the angel and more of the heiress was desirable,' he said,—'less heaven and more land. A decayed family was only a little worse than an obscure one,—a poor knight not a whit more respectable than a rich merchant. I must relinquish my little romance,—I had not time for it; I had occupation enough for the scant leisure my family duties'—and he laid stress on the words—'left me in the duties of my post. He would endeavor to find arguments for the lady and employment for me.'

"It was in vain for me to remonstrate,—I was too familiar with my uncle's temper to waste my time and breath so. I would be silent, I resolved, and pursue my honorable and gallant course without regard to his scandalous schemes. I wrote to the 'Lady Angelica,'—since Ferdy's name for her is so well chosen,—telling her all, giving her solemn assurances of my unchangeable purpose toward her, and scorn of my uncle's mercenary ambition. She replied very quietly: 'She, also, was not without pride; she would come and see for herself';—and she came at once.

"The family arrived in London in the evening. Within two hours I was sent—after the fashion of an old-time courier, 'Ride! ride! ride!—for your life! for your life! for your life!'—to Turin with despatches, and sealed instructions for my own conduct, not to be opened till I arrived; then I found my orders were, to remain at Turin until it should be my uncle's pleasure to recall me.

"I had not been in Turin a month when a letter came from———the Lady Angelica. 'It was her wish that all intercourse between us, by interview or correspondence, should cease at once and forever. She assumed this position of her own free will, and she was resolute to maintain it. She trusted that I would not inquire obtrusively into her motives,—she had no fear that I would doubt that they were worthy of her. Her respect for me was unabated,—her faith in me perfect. I had her blessing and her anxious prayers. I must go on my way in brave silence and patience, nor ever for one moment be so weak as to fool myself into a hope that she would change her purpose.'

"What should I do? I had no one to advise with; my mother, whose faith in her brother's wisdom was sure, was in Madrid, and my father had been dead some years. At first my heart was full of bitter curses, and my uncle had not at his heels a heartier hater than I. Then came the merely romantic thought, that this might be but a test she would put me to,—that he might be innocent and ignorant of my misfortune. With the thought I flung my heart into writing, and madly plied her with one long, passionate letter after another. I got no answers; but by his spies my uncle was apprised of all I did.

"About this time,—it was in 1832,—Zea-Bermudez was recalled to Madrid in a grave crisis, and appointed to the administration of foreign affairs. Ferdinand VII. was apparently approaching the end of his reign and his life. The Apostolical party, exulting in their strength, and confiding in those well-laid plans which, with mice and men, 'gang aft agley,' imprudently showed their hand, and suffered their favorite project to transpire; which was, to set aside the ordinance by which the King had made null the Salic law, in favor of his infant daughter, and to support the pretensions of the King's brother, Carlos, to the throne.

"By this stupid flourish the Apostolical party threw themselves bound at the feet of Zea. All of their persuasion who filled high places under government were without ceremony removed, and their seats filled by Liberals. Many of them did not escape without more crippling blows. As for me, I looked on with indifference, or at most some philosophic sneers. What had I to fear or care? In my uncle's estimation, my politics had been always healthy, no doubt; and although he had on more than one occasion hinted, with sarcastic wit, that such a lady's-man must, of his devoir, be a 'gallant champion of the Salic law,' and dropped something rude and ill-natured about my English blood,—still, that was only in his dyspeptic moods; his temper was sure to improve, I fancied, with his political and material digestion.

"But I deceived myself. When, in the name of the infant Queen, Isabella Segunda, and in honor of the reestablishment of order and public safety, the pleasant duty devolved upon Zea-Bermudez of awarding approbation and encouragement to all the officers, from an ambassador to the youngest attache of foreign legations, and presenting them with tokens of the nation's happiness in the shape of stars, and seals with heraldic devices, and curious chains of historic significance, not even a paltry ribbon fell to my share, but only a few curt lines of advice, 'to look well to my opinions, and be modest,—obediently to discharge the duties prescribed to me, and remember that presumption was a fault most intolerable in a young gentleman so favored by chance as to be honored with the confidence of government.'

"That exhausted the little patience I had left. Savagely I tore the note into contemptible fragments, tossed into my travelling-boxes as much of my wardrobe as happened to be at hand, consigned to a sealed case my diplomatic instructions and all other documents pertaining to my office, placed them in the hands of a confidential friend, Mr. Ballard, the British Agent, and secretly took passage for England, where, without losing an hour, I made the best of my way to the abode of an ambitious cockney wine-merchant, to whose daughter I had not been disagreeable in other days, and within a fortnight married her. You have seen the lady, Sir," he said, eyeing me searchingly as he spoke, with a sardonic smile,—the only ugly expression I ever saw him wear.

"Certain title-deeds and certificates of stock, part of my father's legacy, which, as if foreseeing the present emergency, I had brought away with me, were easily converted into cash. I had then twenty thousand sterling pounds, to which my father-in-law generously added ten thousand more, by way of portion with his daughter.

"And now to what should I betake myself? I had small time to cast about me, and was easy to please; any tolerably promising enterprise, so the field of it were remote, would serve my purpose. The papers were full of Australian speculations, the wonderful prosperity of the several colonies there, the great fortunes suddenly made in wool. Good! I would go to Australia, and be a gentle shepherd on an imposing scale. But first I sought out my father's old friends, my Lords Palmerston and Brougham, and the Bishop of Dublin, and besought the aid of their wisdom. With but slight prudential hesitation they with one accord approved my project. Observe: a first-rate Minister, especially if he be a very busy one, always likes the plan that pleases his young friend best,—that is, if it be not an affair of State, and all the risks lie with his young friend. They would have spoken of Turin and Zea-Bermudez; but I had been bred a diplomat and knew how to stick to my point, which, this time, was wool. In another fortnight I had sailed for Sydney with my shekels and my wife. But first, and for the first time, I caused the announcement of my marriage to appear in the principal papers of London, Paris, St. Petersburg, and Madrid.

"Arrived in Australia, I at once made myself the proprietor of a considerable farm, and stocked it abundantly with sheep. Speculation had not yet burst itself, like the frog in the fable; and large successes, as in water-lot and steamboat operations here, to-day, were the rule. On the third anniversary of my landing at Sydney, I was worth three hundred thousand pounds, and my commercial name was among the best in the colony. Six months after that, the rot, the infernal rot, had turned my thriving populous pastures into shambles for carrion-mutton, and I had not sixpence of my own in the wide world. A few of the more generous of my creditors left me a hundred pounds with which to make my miserable way to some South American port on the Pacific.

"So I chose Valparaiso, to paint miniatures, and teach English, French, Italian, and German in. But earthquakes shook my poor house, and the storm-fiend shook my soul with fear;—for skies in lightning and thunder are to me as the panorama and hurly-burly of the Day of Wrath, in all the stupid rushing to and fro and dazed stumbling of Martin's great picture. I shall surely die by lightning; I have not had that live shadow of a sky-reaching fear hanging over me, with its black wings and awful mutterings, so long for nothing; in every flash my eyes are scathed by the full blaze of hell. If I had been deaf and blind, I might have lived in Valparaiso. As it was, I must go somewhere where I need not sit all day and night stopping my ears and with my face covered, fearing that the rocks would fall upon me too soon.

"So, with my wife and the child,—we have had no other, thank God!—I got round Cape Horn—Heaven knows how! I dare not think of that time—to the United States. We were making for Boston; but the ship, strained by long stress of heavy weather, sprung a leak, and we put in at Baltimore. I was pleased with the place; it is picturesque, and has a kindly look; and as all places were alike to me then, save by the choice of a whim, I let go my weary anchor there.

"But the Baltimoreans only admired my pictures,—they did not buy them; they only wondered at my polyglot accomplishment, and were content with ringing silly-kind changes on an Encyclopaedic compliment about the Admirable Crichton, and other well-educated personages, to be found alphabetically embalmed in Conversations-Lexicons,—they did not inquire into my system of teaching, or have quarterly knowledge of my charges. So I fled from Baltimore, pretty speeches, and starvation, to San Francisco, plain talk, and pure gold. And now—see here, Sir!—I carry these always about with me, lest the pretty pickings of this Tom Tiddler's ground should make my experience forget."

He drew from his pocket an "illuminated" card, bearing a likeness of Queen Victoria, and a creased and soiled bit of yellow paper. The one was, by royal favor, a complimentary pass to a reserved place in Westminster Abbey, on the occasion of the coronation of her Britannic Majesty, "For the Senor Camillo Alvarez y Pintal, Chevalier of the Noble Order of the Cid, Secretary to His Catholic Majesty's Legation near the Court of St. James,"—the other, a Sydney pawnbroker's ticket for books pledged by "Mr. Camilla Allverris i Pintal." He held these contrasted certificates of Fortune,—her mocking visiting-cards, when she called on him in palace and in cabin,—one in each hand for a moment; and bitterly smiling, and shaking his head, turned from one to the other. Then suddenly he let them fall to the ground, and, burying his face in his hands, was roughly shaken through all his frame by a great gust of agony.

I laid my hand tenderly on his shoulder: "But, Pintal," I said,—"the Lady Angelica,—tell me why she chose that course."

In a moment the man was fiercely aroused. "Ah, true! I had forgotten that delectable passage in my story. Why, man, Bermudez went to her, told her that my aspirations and my prospects were so and so,—faring, brilliant,—that she, only she, stood in the way, an impassable stumbling-block to my glorious advancement,—told her, (devil!) that, with all my fine passion for her, he was aware that I was not without embarrassment on this score,—appealed to her disinterested love, to her pride,—don't you see?—to her pride."

"And where is she now, Pintal?"

No anger now, no flush of excitement;—the man, all softened as by an angel's touch, arose, and, with clasped hands and eyes upturned devoutly, smiled through big tears, and without a word answered me.

I, too, was silent. Whittier had not yet written,—

"Of all sad words of tongue or pen The saddest are these: 'It might have been!'

"Ah, well! for us all some sweet hope lies Deeply buried from human eyes;

"And, in the hereafter, angels may Roll the stone from its grave away!"

Then Pintal paced briskly to and fro a few turns across the narrow floor of his tent, and presently stopping, said,—his first cheerfulness, with its unwonted smile, returning,—

"But I must tell you why I should be happy today. I have a letter from my brother Miguel, who is Secretary to the Legation at the Porte. He has leave of absence, and is happy with his dearest friends in Florence. He shared my disgrace until lately, but bore it patiently; and now is reinstated in his office and his honors, a large portion of his property restored, which had been temporarily confiscated, while he was under suspicion as a Carlist. He is authorized to offer me pardon, and all these pretty things, if I will return and take a new oath of allegiance."

"And you will accept, Pintal?"

"Why, in God's name, what do you take me for?—Pardon! I forgot myself, Sir. Your question is a natural one. But no, I shall surely not accept. Zea-Bermudez is dead, but there is a part of me which can never die; and I am happy today because I feel that I am not so poor as I thought I was."

Ferdy entered, alone. He went straight to his father and whispered something in his ear,—about the mother, I suspected, for both blushed, and Pintal said, with a vexed look,—"Ah, very well! never mind that, my boy."

Then Ferdy threw off his cap and cloak, and, seating himself on a pile of books at his father's feet, quietly rested his head upon his knee. I observed that his face was vividly flushed, and his eyes looked weary. I felt his pulse,—it indicated high fever; and to our anxious questions he answered, that his head ached terribly, and he was "every minute hot or cold." I persuaded him to go to bed at once, and left anxious instructions for his treatment, for I saw that he was going to be seriously ill.

In three days little Ferdy was with the Lady Angelica in heaven. He died in my arms, of scarlet fever. In the delirium of his last moments he saw her, and he departed with strange words on his lips: "I am coming, Lady, I am coming!—my father will be ready presently!"

Some strangers from the neighborhood helped me to bury him; we laid him near the grave of the First Lady; but very soon his pretty bones were scattered, and there's a busy street there now.

Pintal, when I told him that the boy was dead, only bowed and smiled. He did not go to the grave, he never again named the child, nor by the least word or look confessed the change. But when, a little later, a fire swept down Dupont Street and laid the poor tent in ashes, spoiling the desolate house whose beautiful lar had flitted,—when his wife went moaning maudlinly among the yet warm ashes, and groping, in mean misery, with a stick, for some charred nothing she would cheat the Spoiler of, there was a dangerous quality in Pintal's look, as, with folded arms and vacant eyes, he seemed to stare upon, yet not to see, the shocking scene. Presently the woman, poking with the stick, found something under the ashes. With her naked hands she greedily dug it out;—it was a tin shaving-case. Another moment, and Pintal had snatched it from her grasp, torn it open, and had a naked razor in his hand. I wrested it from him, as he fairly foamed, and dragged him from the place.

A few days after that, I took leave of them on board a merchant ship bound for England, and with a heavy-hearted prayer sped them on their way. On the voyage, as Pintal stood once, trembling in a storm, near the mainmast, a flash of lightning transfixed him.—That was well! He had been distinguished by his sorrows, and was worthy of that special messenger.

* * * * *

That picture,—it was the first and last he painted in California. I kept it long, rejoicing in the admiration it excited, and only grieved that the poor comfort of the praises I daily heard lavished upon it could never reach him.

Once, when I was ill in Sacramento, my San Francisco house was burned, but not before its contents had been removed. In the hopeless scattering of furniture and trunks, this picture disappeared,—no one knew whither. I sought it everywhere, and advertised for it, but in vain. About a year afterward, I sailed for Honolulu. I had letters of introduction to some young American merchants there, one of whom hospitably made me his guest for several weeks. On the second day of my stay with him, he was showing me over his house, where, hanging against the wall in a spare room, I found,—not the Pintal picture, but a Chinese copy of it, faithful in its every detail. There were the several alterations I had suggested, and there the rich, warm colors that Pintal's taste had chosen. Of course, it was a copy. No doubt, my picture had been stolen at the fire, or found its way by mistake among the "traps" of other people. Then it had been sold at auction,—some Chinaman had bought it,—it had been shipped to Canton or Hong Kong,—some one of the thousand "artists" of China Street or the Victoria Road had copied it for the American market. A ship-load of Chinese goods—Canton crape shawls, camphor-boxes, carved toys, curiosities, and pictures—had been sold in Honolulu,—and here it was.

* * * * *

THE HOUSE THAT WAS JUST LIKE ITS NEIGHBORS.

Oh, the houses are all alike, you know,— All the houses alike, in a row! You'll see a hat-stand in the hall, Against the painted and polished wall; And the threaded sunbeams softly fall On the long stairs, winding up, away Up to the garret, lone and gray: And you can hear, if you wait awhile, Odd little noises to make you smile; And minutes will be as long as a mile;— Just as they would in the house below, Were you in the entry waiting to go.

Oh, the houses are all alike, you know,— All the houses alike, in a row! And the world swings sadly to and fro,— Mayhap the shining, but sure the woe! For in the sunlight the shadows grow Over the new name on the door, Over the face unseen before. Yet who shall number, by any art, The chasms that keep so wide apart The dancing step and the weary heart? Oh, who shall guess that the polished wall Is a headstone over his neighbor's hall?

Yet the houses are just alike, you know,— All the houses alike, in a row! And solemn sounds are heard at night, And solemn forms shut out the light, And hideous thoughts the soul affright: Death and despair, in solemn state, In the silent, vaulted chambers wait; And up the stairs as your children go, Spectres follow them, to and fro,— Only a wall between them, oh! And the darkest demons, grinning, see The fairest angels that dwell with thee!

For the houses are all alike, you know,— All the houses alike, in a row! My chariot waited, gold and gay: "I'll ride," I said, "to the woods to-day,— Out to the blithesome woods away,— Where the old trees, swaying thoughtfully, Watch the breeze and the shadow's glee." I smiled but once, with my joy elate, For a chariot stood at my neighbor's gate,— A grim old chariot, dark as fate. "Oh, where are you taking my neighbor?" I cried. And the gray old driver thus replied:—

"Where the houses are all alike, you know,— Narrow houses, all in a row! Unto a populous city," he saith: "The road lies steep through the Vale of Death Oh, it makes the old steeds gasp for breath! There'll be a new name over the door, In a place where he's never been before,— Where the neighbors never visit, they say,— Where the streets are echoless, night and day, And the children forget their childish play. And if you should live next door, I doubt If you'd ever hear what they were about Who lived in the next house in the row,— Though the houses are all alike, you know!"



DAPHNAIDES:

OR THE ENGLISH LAUREL, FROM CHAUCER TO TENNYSON.

[Concluded.]

Dorset was still Lord Chamberlain when the death of Shadwell placed the laurel again at his disposal. Had he listened to Dryden, William Congreve would have received it. Of all the throng of young gentlemen who gathered about the chair of the old poet at Wills's, Congreve was his prime favorite. That his advice was not heeded was long a matter of pensive regret:—

"Oh that your brows my laurel had sustained! Well had I been deposed, if you had reigned! The father had descended for the son; For only you are lineal to the throne. Thus, when the state one Edward did depose, A greater Edward in his room arose."[1]

The choice fell upon Nahum Tate:—

"But now not I, but poetry is cursed; For Tom the Second reigns like Tom the First."

What particular quality recommended Tate we are not wholly able to explain. Dryden alleges "charity" as the single impulse of the appointment,—not the merit or aptitude of the candidate. But throughout life Dorset continued to countenance Nahum, serving as standing dedicatee of his works, and the prompter of several of them. We have remarked the want of judgment which Lord Dorset exhibited in his anxious patronage of the scholars and scribblers of his time,—a trait which stood the Blackmores, Bradys, and Tates in good stead.

But there was still another reason why Tate was preferred to Congreve. Dorset was too practised a courtier not to study the tastes of his master to good purpose. A liking for the stage, or a lively sense of poetic excellence, was not among the preferences of King William. The Laureate was sub-purveyor of amusement for the court; but there was no longer a court to amuse, and the King himself never once in his reign entered a theatre. The piety of Queen Mary rendered her a rare attendant at the play-house. Plays were therefore no longer wanted. A playwright could not amuse. Congreve was a dramatist who had never exhibited even passable talent for other forms of poetical composition. But Tate's limited gifts, displayed to Dorset's satisfaction in various encomiastic verses addressed to himself, were fully equal to the exigencies of the office under the new order of things; he was by profession a eulogist, not a dramatist. He was a Tory; and the King was out of humor with the Whigs. He was pretentiously moral and exemplary of life and pen, and so suited the Queen. The duties of the office were conformed, as far as practicable, to the royal tastes. Their scene was transferred from the play-house to the church. On the anniversaries of the birthdays of the two sovereigns, and upon New Year's day, the Laureate was expected to have ready congratulatory odes befitting the occasion, set to music by the royal organist, and sung after service in the Chapel Royal of St. James. Similar duties were required when great victories were to be celebrated, or national calamities to be deplored. In short, from writing dramas to amuse a merry monarch and his courtiers, an office not without dignity, the Laureate sunk into a hired writer of adulatory odes; a change in which originated that prevalent contempt for the laurel which descended from the era of Tate to that of Southey.

And yet the odes were in no sense more thoroughly Pindaric than in the circumstance of their flatteries being bought and paid for at a stated market value. The triumphal lyrics of Pindar himself were very far from being those spontaneous and enthusiastic tributes to the prowess of his heroes, which the vulgar receive them for. Hear the painful truth, as revealed by the Scholiast.[2] Pytheas of AEgina had conquered in rough-and-tumble fight all antagonists in the Pancratium. Casting about for the best means of perpetuating his fame, he found the alternative to lie between a statuette to be erected in the temple of the hero-god, or one of the odes of the learned Theban. Choosing the latter, he proceeded to the poet's shop, cheapened the article, and would have secured it without hesitation, had not the extortionate bard demanded the sum of three drachmas,[3] nearly equal to half a dollar, for the poem, and refused to bate a fraction. The disappointed bargainer left, and was for some days decided in favor of the brazen image, which could be had at half the price. But reflecting that what Pindar would give for his money was a draft upon universal fame and immortality, while the statue might presently be lost, or melted down, or its identity destroyed, his final determination was in favor of the ode,—a conclusion which time has justified. Nor was the Bard of the Victors ashamed of his mercenary Muse. In the Second Isthmian Ode, we find an elaborate justification of his practice of praising for pay,—a practice, he admits, unknown to primitive poets, but rendered inevitable, in his time, by the poverty of the craft, and the degeneracy of the many, with whom, in the language of the Spartan sage, "money made the man." With this Pindaric precedent, therefore, for selling Pindaric verses, it is no wonder, if the children of the Muse, in an age still more degenerate than that of their great original, found ample excuse for dealing out their wares at the best market. When such as Dryden and Pope lavished in preface and dedication their encomiums upon wealth and power, and waited eagerly for the golden guineas the bait might bring them, we have no right to complain of the Tates and Eusdens for prostituting their neglected Muses for a splendid sum certain per annum. Surely, if royalty, thus periodically and mercenarily eulogized, were content, the poet might well be so. And quite as certainly, the Laureate stipend never extracted from poet panegyric more fulsome, ill-placed, and degrading, than that which Laureate Dryden volunteered over the pall of Charles II.[4]

Tate had been known as a hanger-on at the court of Charles, and as a feeble versifier and pamphleteer of the Tory school, before an alliance with Dryden gave him a certain degree of importance. The first part of "Absalom and Achitophel," in 1681, convulsed the town and angered the city. Men talked for a time of nothing else. Tate, who was in the secret of its authorship, talked of it to Dryden, and urged an extension of the poem. Were there not enough of Shaftesbury's brisk boys running at large who deserved to be gibbeted? Were there not enough Hebrew names in the two books of Samuel to name each as appropriately as those already nomenclatured? But Dryden was indisposed to undertake a continuation which must fall short of what had been executed in the exact proportion that the characters left for it were of minor consequence. He recommended the task to Tate. Tate, flattered and nothing loath, accordingly sent to the press the second part of "Absalom and Achitophel," embodying a contribution from Dryden of two hundred lines, which are as plainly distinguishable from the rest as a patch of cloth of gold upon cloth of frieze. The credit of this first alliance proved so grateful to Nahum, that he never after ventured upon literary enterprise without the aid of a similar coalition. His genius was inherently parasitic. In conjunction with Tory and Jesuit, he coalesced in the celebration of Castlemaine's gaudy reception at Rome.

In conjunction with Nicholas Brady, he prepared that version of the Psalms still appended to the English Book of Common Prayer. In conjunction with Dryden and others, he translated Juvenal. In conjunction with Lord Dorset, he edited a praiseworthy edition of the poems of Sir John Davies, which might otherwise have been lost or forgotten. In conjunction with Garth, he translated the "Metamorphoses" of Ovid. And in conjunction with Dr. Blow, he prepared those Pindaric flights which set King William asleep, and made Godolphin ashamed that the deeds of Marlborough should be so unworthily sung.

So long as he continued to enjoy the patronage of his liberal Maecenas, Tate, with his aid, and these labors, and the income of his office, contrived to maintain the state of a gentleman. But Dorset died in 1706; the Laureate's dull heroics found no vent; and ere the death of Queen Anne,—an event which he bewailed in the least contemptible of his odes,—his revenues were contracted to the official stipend. The accession of the house of Hanover, in 1714, was the downfall of Toryism; and Tate was a Tory. His ruin was complete. The Elector spared not the house of Pindar. The Laureate was stripped of the wreath; his only income confiscated; and after struggling feebly with fate in the form of implacable creditors, he took refuge in the Old Mint, the resort of thieves and debtors, where in 1715 he died,—it is said, of starvation. Alas, that the common lot of Grub Street should have precedent in the person of laurelled royalty itself!

The coronation of Laureate Rowe was simultaneous with that of George I. His immediate claim to the honor dated back to the year 1702, when his play of "Tamerlane" had caught the popular fancy, and proved of vast service to the ministry at a critical moment in stimulating the national antipathy to France. The effect was certainly not due to artistic nicety or refinement. King William, as Tamerlane, was invested with all virtues conceivable of a Tartar conqueror, united with the graces of a primitive saint; while King Louis, as Bajazet, fell little short of the perfections of Satan. These coarse daubs, executed in the broadest style of the sign-post school of Art, so gratified the mob, that for half a century their exhibition was called for on the night of November the fifth. Rowe, moreover, belonged to the straitest sect of Whiggery,—was so bigoted, indeed, as to decline the acquaintance of a Tory, and in play and prologue missed no chance of testifying devotion to liberal opinions.[5] His investiture with the laurel was only another proof that at moments of revolution extremists first rise to the surface. A man of affluent fortune, and the recipient of redundant favors from the new ministry, Rowe enjoyed the sunshine of life, while the dethroned Nahum starved in the Mint, as the dethroned James starved at Rome. Had the dramatic tribute still been exacted, there is little doubt that the author of the "Fair Penitent," and of "Jane Shore," would have lent splendid lustre to his office. His odes, however,—such, at least, as have been thought worthy of preservation among his works,—are a prodigious improvement upon the tenuity of his predecessor, and immeasurably superior in poetical fire and elegance to those of any successor antecedent to Warton.

For, following Nicholas Rowe, there were dark ages of Laureate dulness,—a period redeemed by nothing, unless by the ridicule and controversy to which the wearers of the leaf gave occasion. Rowe died in the last days of 1718. The contest for the vacant place is presumed to have been unusually active. John Sheffield, Duke of Buckinghamshire, imitating Suckling's "Session of the Poets," brings all the versifiers of the time into the canvas, and after humorously dispatching one after another, not sparing himself, closes,—

"At last, in rushed Eusden, and cried, 'Who shall have it, But I, the true Laureate, to whom the King gave it?' Apollo begged pardon, and granted his claim, But vowed, though, till then, he ne'er heard of his name."[6]

This Laurence Eusden was a scribbling parson, whose model in Art was Sir Richard Blackmore, and whose morality was of the Puritanical stripe. He had assisted Garth in his Ovid, assuming, doubtless upon high moral grounds, the rendering of the impurest fables. He had written odes to great people upon occasions more or less great, therein exhibiting some ingenuity in varying the ordinary staple of adulation. He had addressed an epithalamium to the Duke of Newcastle upon his marriage with the Lady Henrietta Godolphin,—a tribute so gratifying to his Grace, then Lord Chamberlain, as to secure the poet the place of Rowe. Eusden's was doubtless the least honorable name as yet associated with the laurel. His contemporaries allude to him with uniform disdain. Cooke, the translator of Hesiod, tells us,—

"Eusden, a laurelled bard, by fortune raised, By very few was read, by fewer praised,"

Pope, as cavalierly, in the "Dunciad":—

"She saw old Prynne in restless Daniel shine, And Eusden eke out Blackmore's endless line."

Jacobs, in his "Lives of the Poets," speaks of him as a multifarious writer of unreadable trash,—and names but few of his productions. The truth was, Eusden, secluding himself at his rectory among the fens of Lincolnshire, took no part in society, declined all association with the polite circles of the metropolis, thus inviting attacks, from which his talents were not respectable enough to screen him. That the loftiest revelations of poetry were not required of the Laureate of George I., who understood little or no English, there can be no question. George II. was equally insensible to the Muses; and had the annual lyrics been a mosaic of the merest gibberish, they would have satisfied his earlier tastes as thoroughly as the odes of Collins or Gray. A court, at which Pope and Swift, Young and Thomson were strangers, had precisely that share of Augustan splendor which enabled such as Eusden to shine lustrously.[7]

And so Eusden shone and wrote, and in the fulness of time—September, 1730—died and was buried; and his laurel others desired.[8] The leading claimants were Richard Savage and Colley Cibber. The touching story of Savage had won the heart of the Queen, and she had extracted from the King the promise of the Laureateship for its hero. But in the Minister, Sir Robert Walpole, Savage had an irreconcilable opponent. The apprehension of exciting powerful enmities, if he elevated the "Bastard" and his wrongs to so conspicuous a place, had, no doubt, an influence with the shrewd statesman. Possibly, too, so keen and practical a mind could not but entertain thorough contempt for the man, who, with brains, thews, and sinews of his own, a fair education, and as many golden opportunities of advancement as a reasonable being could desire, should waste his days in profitless mendicancy at the doors of great people, in whining endeavors to excite the sympathies of the indifferent, in poem and petition, in beastly drunkenness, or, if sober, in maudlin lamentations at the bitterness of his fortune. A Falconbridge would have better suited the ministerial taste. At all events, when his Majesty came to request the appointment of the Queen's protege, he found that the patent had already been made out in the name of Cibber: and Cibber had to be Laureate. The disappointed one raved, got drunk, sober again, and finally wrote an ode to her Majesty, announcing himself as her "Volunteer Laureate," who should repeat his congratulations upon each recurrence of her birthday. The Queen, in pity, sent him fifty pounds, with a promise of an equal amount for each of his annual verses. And although Cibber protested, and ridiculed the new title, as no more sensible than "Volunteer Duke, Marquis, or Prime Minister," still Savage adhered to it and the pension tenaciously, sharing the Queen's favor with Stephen Duck, the marvellous "Thresher,"[9] whose effusions were still more to her taste. That the yearly fifty pounds were expended in inexcusable riot, almost as soon as received, was a matter of course. Upon the demise of Queen Caroline, in 1738, Savage experienced another proof of Walpole's dislike. The pensions found upon her Majesty's private list were all continued out of the exchequer, one excepted. The pension of Savage was the exception. Right feelingly, therefore, might he mourn his royal mistress, and vituperate the insensible minister; and that he did both with some degree of animation, the few who still read his poems will freely admit.

Colley Cibber had recommended himself to promotion by consistent partisanship, and by two plays of fair merit and exceeding popularity. "The Careless Husband" even Pope had praised; "The Nonjuror," an adaptation of Moliere's "Tartuffe," was one of the most successful comedies of the period. The King had been delighted with it,—a circumstance doubtless considered by Sir Robert in selecting a rival for Savage. Cibber had likewise been the manager, time out of mind, of Drury-Lane Theatre; and if now and then he had failed to recognize the exact direction of popular taste,—as in the instance of the "Beggar's Opera," which he rejected, and which, being accepted by Manager Rich of Covent Garden, made Rich gay and Gay rich,—he was generally a sound stage-tactician and judicious caterer. His career, however, had not been so profitable that an additional hundred pounds should be a thing of indifference; in fact, the sum seemed to be just what was needed to enable him to forsake active duty on the stage,—for the patent was no sooner signed than the veteran retired upon his laurels.

The annals of the Laureateship, during Cibber's reign, are without incident.[10] The duties remained unchanged, and were performed, there is no reason to doubt, to the contentment of the King and court.[11] But the Laureate himself was peculiarly the object of sarcastic satire. The standing causes were of course in operation: the envy of rival poetasters, the dislike of political opponents, the enmities originating in professional disputes and jealousies. Cibber's manners had not been studied in the school of Chesterfield, although that school was then open and flourishing. He was rude, presumptuous, dogmatic. To superiors in rank he was grudgingly respectful; to equals and inferiors, insupportably insolent. But when to these aggravating traits he added the vanity of printing an autobiography, exposing a thousand assailable points in his life and character, the temptation was irresistible, and the whole population of Grub Street enlisted in a crusade against him.[12] Fortunately, beneath the crust of insolence and vanity, there was a substratum of genuine power in the Laureate's make, which rendered him not only a match for these, but for even a greater than these, the author of the "Dunciad." Pope's antipathy for the truculent actor dated some distance back.

Back to the 'Devil,' the last echoes roll, And 'Coll!' each butcher roars at Hockley-hole.

The latter accounts for it by telling, that at the first representation of Gay's "Three Hours after Marriage," in 1717, where one of the scenes was violently hissed, some angry words passed between the irritated manager and Pope, who was behind the scenes, and was erroneously supposed to have aided in the authorship. The odds of a scolding match must have been all in favor of the blustering Cibber, rather than of the nervous and timid Pope; but then the latter had a faculty of hate, which his antagonist had not, and he exercised it vigorously. The allusions to Cibber in his later poems are frequent. Thus, in the "Epistle to Dr. Arbuthnot":—

"And has not Colley still his Lord and whore? His butchers Henley? his freemasons Moore?"

And again:—

"So humble he has knocked at Tibbald's door, Has drunk with Colley, nay, has rhymed for Moore."

And in the "Imitation of Horace," addressed to Lord Fortescue:—

"Better be Cibber, I maintain it still, Than ridicule all taste, blaspheme, quadrille."

"The Dunciad," as originally published in 1728, had Lewis Theobald for its hero. There was neither sense nor justice in the selection. Pope hated Theobald for presuming to edit the plays of Shakspeare with greatly more ability and acuteness than himself had brought to the task. His dislike had no better foundation. Neither the works, the character, nor the associations of the man authorized his elevation to the throne of dulness. The disproportion between the subject and the satire instantly impresses the reader. After the first explosion of his malice, it impressed Pope; and anxious to redeem his error, he sought diligently for some plan of dethroning Tibbald, and raising another to the vacant seat. Cibber, in the mean time, was elevated to the laurel, and that by statesmen whom it was the fate of Pope to detest in secret, and yet not dare to attack in print. The Fourth Book of the "Dunciad" appeared in 1742, and its attacks were mainly levelled at the Laureate. The Laureate replied in a pamphlet, deprecating the poet's injustice, and declaring his unconsciousness of any provocation for these reiterated assaults. At the same time he announced his determination to carry on the war in prose as long as the satirist should wage it in verse,—pamphlet for poem, world without end. Hostilities were now fairly established. Pope issued a fresh edition of his satire complete. The change he had long coveted he now made. The name of Cibber was substituted throughout for that of Theobald, the portraiture remaining the same. Johnson properly ridicules the absurdity of leaving the heavy traits of Theobald on the canvas, and simply affixing the name of his mercurial contemporary beneath; and, indeed, there is much reason to doubt whether the mean jealousy which inspired the first "Dunciad," or the blundering rage which disfigured the second, is in the worse taste. Cibber kept his engagement, replying in pamphlet. The immediate victory was unquestionably his. Morbidly sensitive to ridicule, Pope suffered acutely. Richardson, who found him once with the Cibberine leaves in his hand, declared his persuasion, from the spectacle of rage, vexation, and mortification he witnessed, that the poet's death resulted from the strokes of the Laureate. If so, we must concede him to have been the victor who laid his adversary at his feet on the field. Posterity, however, which listens only to the satirist, has judged differently and unjustly.[13] Theobald, though of no original talent, was certainly, in his generation, the most successful illustrator of Shakspeare, and the first, though Rowe and Pope had preceded him in the effort, who had brought a sound verbal criticism to bear on the text. It is to his credit, that many of the most ingenious emendations suggested in Mr. Collier's famous folio were anticipated by this "king of the dunces"; and it must be owned, that his edition is as far superior to Warburton's and Hanmer's, which were not long after brought out with a deafening flourish of trumpets, as the editions of Steevens and Malone are to his. Yet, prompted by the "Dunciad," it is the fashion of literature to regard Theobald with compassion, as a block-head and empiric. Cibber escapes but little better, and yet he was a man of respectable talent, and played no second-rate part in the literary history of the time.

As Laureate Cibber drew near the end of earthly things, a desire, common to poetical as well as political potentates, possessed him,—a desire to nominate a successor. In his case, indeed, the idea may have been borrowed from "MacFlecknoe" or the "Dunciad." The Earl of Chesterfield, during his administration in Ireland, had discovered a rival to Ben Jonson in the person of a poetical bricklayer, one Henry Jones, whom his Lordship carried with him to London, as a specimen of the indigenous tribes of Erin. It was easier for this Jones to rhyme in heroics than to handle a trowel or construct a chimney. He rhymed, therefore, for the amusement and in honor of the polite circle of which Stanhope was the centre; the fashionable world subscribed magnificently for his volume of "Poems upon Several Occasions";[14] his tragedy, "The Earl of Essex," in the composition of which his patron is said to have shared, was universally applauded. Its introduction to the stage was the work of Cibber; and Cibber, assisted by Chesterfield, labored zealously to secure the author a reversion of the laurel upon his own lamented demise.

The effort was unsuccessful. Cibber's death occurred in December, 1757. The administration of the elder Pitt, which had been restored six months before, was insensible to the merits of the prodigious bricklayer. The wreath was tendered to Thomas Gray. It would, no doubt, have proved a grateful relief to royalty, obliged for twenty-seven years to listen twice yearly, if not oftener, to the monotonous felicitations of Colley, to hear in his stead the author of the "Bard," of the "Progress of Poetry," of the "Ode at Eton College." But the relief was denied it. Gray, ambitious only of the historical chair at Cambridge, declined the laurel. In the mean time, the claims of William Whitehead were earnestly advocated with the Lord Chamberlain, by Lord and Lady Jersey, and by the Earl Harcourt. A large vote in the House of Commons might be affected by a refusal. Pitt, who cared nothing for the laurel, but much for the votes, gave his assent, and Whitehead was appointed. Whitehead was the son of a baker, and, as an eleemosynary scholar at Winchester School, had won a poetical prize offered to the students by Alexander Pope. Obtaining a free scholarship at Cambridge, he became in due time a fellow of Clare Hall, and subsequently tutor to the sons of Lord Jersey and Lord Harcourt, with whom he made the tour of the Continent. Two of his tragedies, "The Roman Father," and "Creuesa," met with more success than they deserved. A volume of poems, not without merit, was given to the press in 1756, and met with unusual favor through the exertions of his two noble friends. That he was not a personal applicant for the laurel, nor conscious of the movement in his behalf, he takes occasion in one of his poems to state:—

"Howe'er unworthily I wear the crown, unasked it came, and from a hand unknown."[15]

From the warm championship of his friends, and the commendations of Mason, the friend of Gray, we infer that Whitehead was not destitute of fine social qualities. His verse, which is of the only type current a century ago, is elegantly smooth, and wearisomely tame,—nowhere rising into striking or original beauties. Among his merits as a poet modesty was not. His "Charge to the Poets," published in 1762, drew upon him the wrath and ridicule of his fellow-verse-wrights, and perhaps deservedly. Assuming, with amusing vanity, what, if ever true, was only so a century before or a half-century after, that the laurel was the emblem of supremacy in the realm of letters, and that it had been granted him as a token of his matchless merit,—

"Since my king and patron have thought fit To place me on the throne of modern wit,—"

he proceeds to read the subject throng a saucy lecture on their vices and follies,—

"As bishops to their clergy give their charge."

A good-natured dogmatism is the tone of the whole; but presumption and dogmatism find no charity among the genus irritabile, and Whitehead received no quarter. Small wits and great levelled their strokes at a hide which self-conceit had happily rendered proof. The sturdiest assailant was Charles Churchill. He never spares him,—

"Who in the Laureate chair— By grace, not merit, planted there— In awkward pomp is seen to sit, And by his patent proves his wit; For favors of the great, we know, Can wit as well as rank bestow; And they who, without one pretension, Can get for fools a place or pension, Must able be supposed, of course, If reason is allowed due force, To give such qualities and grace As may equip them for the place.

"But he who measures as he goes A mongrel kind of tinkling prose, And is too frugal to dispense At once both poetry and sense,— Who, from amidst his slumbering guards, Deals out a charge to subject bards, Where couplets after couplets creep, Propitious to the reign of sleep," etc.

Again, in the "Prophecy of Famine,"—

"A form, by silken smile, and tone Dull and unvaried, for the Laureate known, Folly's chief friend, Decorum's eldest son, In every party found, and yet of none, This airy substance, this substantial shade."

And elsewhere he begs for

"Some such draught... As makes a Whitehead's ode go down, Or slakes the feverette of Brown."

But satire disturbed not the calm equanimity of the pensioner and placeman.

"The laurel worn By poets in old time, but destined now In grief to wither on a Whitehead's brow,"

continued to fade there, until a whole generation of poets had passed away. It was not until the middle of April, 1785, that Death made way for a successor.

The suddenness of Whitehead's decease came near leaving a royal birthday unsung,—an omission scarcely pardonable with one of George the Third's methodical habits. An impromptu appointment had to be made. It was made before the Laureate was buried. Thomas Warton, the Professor of Poetry at Oxford, received the patent on the 30th of April, and his ode, married to fitting music, was duly forthcoming on the 24th of May. The selection of Warton was faultless. His lyrical verse was the best of a vicious school; his sonnets, according to that exquisite sonneteer, Sir Egerton Brydges, were the finest in the language; his "History of English Poetry," of which three volumes had appeared, displayed an intimate acquaintance with the early English writers. Nor should we pass unnoticed his criticisms and annotations upon Milton and Spenser, manifesting as they did the acutest sensitiveness to the finest beauties of poetry. If the laurel implied the premiership of living poets, Warton certainly deserved it. He was a head and shoulders taller than his actual contemporaries.[16] He stood in the gap between the old school and the new, between the dead and the coming. Goldsmith and Johnson were no more; Cowper did not print his "Task" until the autumn of 1785; Burns made his debut about the same moment; Rogers published his "Ode to Superstition" the next year; the famous "Fourteen Sonnets" of Bowles came two years later; while Wordsworth and Landor made their first appearance in 1793. Fortunate thus in time, Warton was equally fortunate in politics. He was an Oxford Tory, a firm believer in divine right and passive obedience, and a warm supporter of the new ministers. To the King, it may be added, no nomination could have given greater satisfaction. The official odes of Warton evince all the elegant traits which characterize his other writings. Their refined taste and exquisite modulation are admirable; while the matter is far less sycophantic than was to be expected from so devout a monarchist. The tender of the laurel certainly gratified him:—

"Yet still one joy remains, that not obscure Nor useless all my vacant days have flowed, From youth's gay dawn to manhood's prime mature, Nor with the Muse's laurel unbestowed."[17]

And, like Southey, he was not indisposed to enhance the dignity of the wreath by classing Chaucer and Spenser, as we have seen, among its wearers. The genuine claims of Warton to respect probably saved him from the customary attacks. Bating a few bungling thrusts amid the doggerel of "Peter Pindar," he escaped scathless,—gaining, on the other hand, a far more than ordinary proportion of poetical panegyric.

"Affection and applause alike he shared; All loved the man, all venerate the bard: E'en Prejudice his fate afflicted hears, And lettered Envy sheds reluctant tears. Such worth the laurel could alone repay, Profaned by Cibber, and contemned by Gray; Yet hence its Breath shall new distinction claim, And, though it gave not, take from Warton fame."[18]

The last of Warton's odes was written in his last illness, and performed three days after his death. Appositely enough, it was an invocation to Health, meriting more than ordinary praise for eloquent fervor. Warton died May 21st, 1790. The laurel was vacant for a month, when Henry James Pye was gazetted. There was hardly a hungry placeman in London who had not as just pretensions to the honor. What poetical gifts he had displayed had been in school or college exercises. His real claims consisted in having spent a fortune in electioneering for ministers; and these claims being pressed with unusual urgency at the moment of Warton's death, he was offered the Laureateship as satisfaction in part.[19] He eagerly accepted it, and received the balance two years later in the shape of a commission as Police Magistrate of Middlesex. Thereafter, like Henry Fielding, or Gilbert A'Beckett, he divided his days between penal law and polite literature. His version of the "Poetics" of Aristotle, with illustrations drawn liberally from recent authors, was perhaps begotten of a natural wish to satisfy the public that qualifications for the laurel were not wholly wanting. A barren devotion to the drama was always his foible. It was freely indulged. With few exceptions, his plays were affairs of partnership with Samuel James Arnold, a writer of ephemeral popularity, whose tale of "The Haunted Island" was wildly admired by readers of the intensely romantic school, but whose tragedies, melodramas, comedies, farces, operas, are now forgotten. In addition to these auxiliary labors, which ripened yearly, Pye tried his hand at an epic,—the subject, King Alfred,—the plot and treatment not greatly differing from those which Blackmore brought to the same enterprise. The poem passed at once from the bookshop to the trunk-maker,—not, however, before an American publisher was found daring enough to reprint it. There are also to be mentioned translations from Pindar, Horace, and other classics, for Sharpe's edition of the British Poets, a collection to which he lent editorial aid. "Poet Pye"[20] was fortunate in escaping contemporary wit and satire. Gifford alluded to him, but Gifford's Toryism was security that no Tory Court-Poet would be roughly handled. Byron passed him in silence. The Smiths treated him as respectfully as they treated anybody. Moore's wit at the expense of the Regent and his courtiers had only found vent in the "Two-Penny Post-Bag" when Pye was gathered to his predecessors.

That calamity occurred in August, 1813. With it ended the era of birthday songs and New-Year's verses. The King was mad; his nativity was therefore hardly a rational topic of rejoicing. The Prince Regent had no taste for the solemn inanity of stipulated ode, the performance of which only served to render insufferably tedious the services of the two occasions in the year when imperative custom demanded his attendance at the Chapel. Consultation was had with John Wilson Croker, Secretary of the Admiralty. Croker's sharp common-sense at once suggested the abolition of the Laureate duties, but the retention of the office as a sinecure. Walter Scott, to whom the place was offered, as the most popular of living poets, seconded the counsel of Croker, but declined the appointment, as beneath the dignity of the intended founder of a long line of border knights. He recommended Southey. He had already recommended Southey to the "Quarterly," and through the "Quarterly" to Croker, then and still its most brilliant contributor; and this second instance of disinterested kindness was equally efficacious. Southey was appointed. The tierce of Canary ceased to be a perquisite of the office, the Laureate disclaiming it; and instead of annual odes upon set occasions, such effusions as the poet might choose to offer at the suggestion of passing events were to be accepted as the sum of official duty. These were to be said or read, not sung,—a change that completed the radical revolution of the office.

However important the salary of a hundred pounds may have been to Southey, it is very sure that the laurel seemed to infuse all its noxious and poisonous juices into his literary character. His vanity, like Whitehead's, led him to regard his chaplet as the reward of unrivalled merit. His study-chair was glorified, and became a throne. His supremacy in poetry was as indubitable as the king's supremacy in matters ecclesiastical. He felt himself constrained to eliminate utterly from his conscience whatever traces of early republicanism, pantisocracy, and heresy still disfigured it; and to conform unreservedly to the exactest requirements of high Toryism in politics and high Churchism in religion. He was in the pay and formed a part of the government; could he do else than toil mightily in his department for the service of a master who had so sagaciously anticipated the verdict of posterity, as to declare him, who was the least popular, the greatest of living poets? He found it a duty to assume a rigid censorship over as many of his Majesty's lieges as were addicted to verse,—to enact the functions of minister of literary police,—to reprehend the levity of Moore, the impiety of Byron, the democracy of Leigh Hunt, the unhappy lapse of Hazlitt, the drunkenness of Lamb. Assumptions so open to ridicule, and so disparaging to far abler men, told as disadvantageously upon his fame as upon his character. He became the butt of contemporary satire. Horace Smith, Moore, Shelley, Byron, lampooned him savagely. The latter made him the hero of his wicked "Vision of Judgment," and to him dedicated his "Don Juan." The dedication was suppressed; but no chance offered in the body of that profligate rhapsody to assail Bob Southey, that was not vigorously employed. The self-content of the Laureate armed him, however, against every thrust. Contempt he interpreted as envy of his sublime elevation:—

"Grin, Envy, through thy ragged mask of scorn! In honor it was given; with honor it is worn."

Of course such matchless self-complacency defied assault.

Southey's congratulatory odes appeared as often as public occasion seemed to demand them. There were in rapid succession the "Ode to the Regent," the "Carmen Triumphale," the "Pilgrimage to Waterloo," the "Vision of Judgment," the "Carmen Nuptiale," the "Ode on the Death of the Princess Charlotte." The "Quarterly" exalted them, one and all; the "Edinburgh" poured upon them volleys of keen but ineffectual ridicule. At last the Laureate desisted. The odes no longer appeared; and during the long and dark closing years of his life, the only production of the Laureate pen was the yearly signature to a receipt for one hundred pounds sterling, official salary.

Robert Southey died in March, 1843. Sir Robert Peel, who had obliged Wordsworth the year before, by transferring the post in the excise, which he had so long held, to the poet's son, and substituting a pension for its salary, testified further his respect for the Bard of Rydal by tendering him the laurel. It was not to be refused. Had the office been hampered with any demands upon the occupant for popular lyric, in celebration of notable events, Wordsworth was certainly the last man to place in it. His frigid nature was incapable of that prompt enthusiasm, without which, poetry, especially poetry responsive to some strong emotion momentarily agitating the popular heart, is lifeless and worthless. Fortunately, there were no such exactions. The office had risen from its once low estate to be a dignified sinecure. As such, Wordsworth filled it; and, dying, left it without one poetical evidence of having worn the wreath.