Rus always feels in secret that he is at a disadvantage so long as he must go to town every day to attend to his business. He reasons plausibly that the train or the boat is no more than the horse-car, and he proves conclusively that he can be at his office within half an hour of his friend who lives in Fiftieth Street. But his friend irritatingly replies that on pleasant mornings he prefers not to take the car. He walks down in the bright air and through the busy street. With twinkling and triumphant eyes he invites Rus to do the same.

Rus gayly replies that the sun is quite as bright upon green fields as upon brick blocks or stone flagging, and the shifting panorama from the car window is a lovely picture. Urbs assents, and adds that the dust and cinders also give great zest to the enjoyment, and that dragging through tunnels is full of delight and beauty.

But the real sorrow that Rus feels has not yet been touched. It is the grief which Mr. Tibs has observed and confided to the Easy Chair. It haunts his happy hours with sad foreboding. He cannot look from his window but he sees it. He cannot celebrate the charms of country and suburban life but it seems to mock him. It turns his joy to ashes. He looks upon the wife of his bosom with anguish as he thinks of it. He gazes ruefully into his children's eyes; pretty innocents, they know naught of the impending blow. It is a Shadow, as Thackeray would have solemnly said, with Bulwerian impressiveness, which Pursues Him at Mid Day. It Awakens Him at Mid Night, and Says to Him, Sleep No More! What is it, do you ask? inquires Mr. Tibs, in his most startling manner. Brethren, 'tis the fell hand of improvement. That is it. It is that which harrows the suburban soul and destroys suburban peace. No man who lives in the neighborhood of the city, or in any little settlement, community, hamlet, thorp, village, or town which is occupied with people doing business in the city, but is exposed in his rural retirement, in his suburban home, to the ravages of improvement.

There are suburban neighborhoods of New York which are said to be subject to malaria, to fever and ague. It is false, as every denizen of Bay Ridge and Flushing knows. There are others which are alleged to be a prey to mosquitoes and chills. 'Tis a base fabrication, as every Staten Islander and dweller by the Newark marshes is ready to swear. It is notorious, and is established upon the very best authority, namely, that of the inhabitants of the districts themselves, that no shores are so salubrious as those of the bay of New York. Strict justice, indeed, demands—and to nothing so much as strict justice and truthfulness in these matters are the peaceful people of those shores devoted—strict justice and truth demand that it should not be denied that single, exceptional, but upon the whole sufficiently well attested cases of malarial trouble have been known. But they were always brought from abroad, probably from that losel Yankee-land from which most of the woe of New York has proceeded. While, therefore, it is a wanton calumny—and the corroboration of all suburban property-holders is invited to the statement—to assert that any portion of the neighborhood of New York, or of any other great city, let it be Philadelphia, Chicago, or St. Louis, Boston, Baltimore, or Savannah, is subject to malaria, or is otherwise than the true sanitarium of the continent, yet it must be owned with sorrow that every suburban region is infested with the spirit of improvement.

Edwin and Angelina were married yesterday, and will devote their honey-moon to the quest of a place in which to build their permanent nest. They find it at last in the most delightful of suburban neighborhoods. They build the pretty cottage. They spread out smooth green lawns, and plant trees and shrubs, and hide themselves in flowers. They have made a sweet sylvan seclusion, in which they sit and smile at the eloquence of Urbs, who pities their exile and depicts the charm of streets. Streets are charming, respond Edwin and Angelina in connubial chorus, but we will have none of them. Fond, foolish pair! For even at that moment the desolating spirit of improvement is staking out a street across their most emerald lawn and through their most sacred grove; their trees and flowers and turf are doomed, and their seclusion is to be turned into a dusty highway.

Suburban improvement is the ruthless devastator of home. There is no remedy. To oppose the ruin of the place which you have carefully made, which has grown around you in increasing beauty with the growth and development of your family, which is associated with all that is happiest in your life, and which is in some sort the flowering and expression of yourself, is to be derided as withstanding the public benefit and the advantage of those less fortunate than yourself. The instinct of protecting the home that you have made is denounced as sentimental selfishness, and the law steps forward, cuts down your trees, plows up your lawn, lays a gutter under your window, destroys your home, and hands you some dollars for what it calls compensation, or demands them for what it styles improvement.

I am of opinion, therefore, says Mr. Tibs, and the Easy Chair commends the reflection to those intending matrimony and thinking of a country home, that there are some serious objections to a suburban residence.



RIP VAN WINKLE.

Going the other evening to see "Rip Van Winkle," the old question of its moral naturally came up, and Portia warmly asserted that it was shameful to bring young children to see a play in which the exquisite skill of Jefferson threw a glamour upon the sorriest vice.

"See," she said, "the earnest, tearful interest with which these boys and girls near us hang upon the story. The charm to them of the scene and of the acting is indescribable. Do you suppose they can escape the effect? All their sympathy is kindled for the good-natured and good-for-nothing reprobate, and when Gretchen turns him out into the night and the storm, they cannot help feeling that it is she, not he, who has ruined the home, and that the drunken vagabond, who has just made his endearments the cover of deception, is really the victim of a virago. And when he returns, old and decrepit, and, we might hope, purged of that fatal appetite which has worked all the woe, it is his old victim, the woman whose youth his evil habits ruined, and who, in consequence of those habits was driven into the power of the tormentor, Derrick von Beekman, who hands him 'the cup that shall be death in tasting,' as if it were she, and not he, who had been properly chastened and converted from the fatal error of supposing that drunkenness is not a good thing.

"No, no," said Portia, indignantly and eloquently, raising her voice to that degree that the Easy Chair feared to hear the appalling "'sh! 'sh!" of the disturbed neighbors; "it is a grossly immoral spectacle, and the subtler and more fascinating the genius of Mr. Jefferson in the representation, the more deadly is the effect."

The drop had just fallen, and the scene on the mountains was about to open. The house had been darkened, and as the clear, quiet, unforced tone of Rip, yielding, not remonstrating, to the doom that we all knew and he did not, fell upon the hushed audience, the eyes of men and women were full of tears; while the orchestra murmured, mezzo voce, during the storm within and without the house, the tenderly pathetic melody of the "Lorelei:"

"I know not what it presages, This heart with sadness fraught; 'Tis a tale of the olden ages That will not from my thought."

It was not easy to find in the emotion of that moment a response to Portia's accusation of gross immorality. There was but a poetic figure in the mind—the sweet-natured, weak-willed, simple-hearted vagabond of the village and the mountain—touching the heart with pity, and, in the drunken scene, with sorrow. This figure excludes all the rest. Its symmetry and charm are the triumph of the play as acted. Now the immorality can not lie in the kindly feeling for the tippling vagabond, for that is natural and universal. Indeed, the same kind of weakness that leads to a habit of tippling belongs often to the most charming and attractive natures, and the representation of the fact upon the stage is not in itself immoral. The immorality must be found, if anywhere, as Portia insisted, in the charm with which vice is invested.

But is it so invested in this play? It used to be urged against Bulwer's early novels that they made scoundrels fascinating, and that boys after reading them would prefer rascals to honest men. If that had been the fact, the novels would have been justly open to that censure. But, tried by this standard, Rip Van Winkle, as Mr. Jefferson plays it, is far from an immoral play. The picture as he paints it is moral in the same sense that nature is moral. No man, shiftless, idle, and drunken, afraid to go home, ashamed before his children, without self-respect or the regard of others, however gentle and sweet, and however much a favorite with the boys and girls and animals he may be, is a man whose courses those boys will wish to imitate or who will make vice more tasteful to them. The pathos of the second part of the play, in which the change of age mingled with mystery is marvellously portrayed, is largely due to the consciousness that this melancholy end is all due to that woful beginning. The expulsion of Derrick and his nephew is nothing, the happiness of Meenie and her lover is nothing, the release of Gretchen is nothing, there is only a wasted old man, without companions, the long prime of whose life has been lost in unconsciousness, and who, suddenly awaking, looks at us pitifully from the edge of the grave.

By the most prosaic standards this should not seem to adorn vice with attraction. It is true that the spectator is more interested in Rip than in his wife, and that she is made a virago. But it is not his drunkenness that charms, and her virtue is at least severe. Indeed, if this performance is to be tried by this standard, the play must be regarded as a temperance mission. For temperance is to be inculcated upon the youthful spectators who sit near us not so much by stories and pictures of the furious brute who drives wife and children from a home made desolate by him, and who fly from him as from a demon, as by this simple, faithful showing of the kind-hearted loiterer who makes wretched a wife who yet loves him, and who denounces himself to the child that he loves. This is the fair view of it as a picture of ordinary human life.

But, as we look, the low wail of the sad music is in our ears, the scene changes to a weird world of faery, the story merges in a dream, and Rip Van Winkle smiles at us from a realm beyond the diocese of conscience. If conscience, indeed, will obtrude, conscience shall be satisfied. It is a sermon if you will, but if you will, also, it is a poem.



A CHINESE CRITIC.

The Easy Chair was agreeably surprised the other day by a call from a yellowish-visaged gentleman in a queue, who announced himself as of the family of Lien Chi Altangi, a name which the reader will recall as that of the Chinese philosopher and citizen of the world whose letters of observation in England were edited by Dr. Goldsmith. After the natural courtesies of such a meeting, and the Easy Chair's compliments upon the shrewdness and charm of his distinguished ancestor's observations, the Chinese gentleman fell into easy conversation, and was congratulated upon his singular familiarity with our language. He remarked that it was always an advantage to a traveller to know the language of the country, and he had no doubt that so travelling a people as the American were of the same opinion. "And as you travel over the world more generally than any other people," he said, "I presume that you are generally familiar with many languages." The Easy Chair bowed, and cleared its throat, and smiled, and said, "Oh yes—probably—undoubtedly."

"Yours is a very great country," the visitor politely returned, "and this city is indeed magnificent. It promises one day to rival Pekin, at least in extent and population. The pleasure of seeing your great men—the great men of so great a city, I mean—must be very unusual, and I should be infinitely your debtor if you would accompany me to your temple of civic greatness—your City Hall, as I understand you call it. Your popular institutions, as we are told in China, are intended to secure worthy governors of the people by the votes of the people themselves. It is exceedingly interesting, and I am very anxious to study the working of your institutions in your chief city."

The Easy Chair bowed and cleared its throat again, and answered that the study of the city was certainly very interesting, but without proffering to escort the travelling philosopher to the City Hall, it contented itself with remarking that ours is a very great country, and that its institutions are unequalled in the world.

"I have met no American who is not of that opinion," courteously returned the Chinese gentleman, "and I was pleased to see upon a visit to your Washington and Fulton markets a noble illustration of the generous and becoming manner in which such important parts of your municipal institutions are managed."

The Easy Chair answered that it was not that kind of institution which it had intended by its remark.

"Possibly you allude to another great institution which I have visited," returned the traveller, with exquisite courtesy. "You justly pride yourself upon your advances in sanitary science, and I am a devout pilgrim seeking enlightenment. Judge, then, with what pleasure I saw your chief temple of the customs. What convenience and economy of arrangement! How singularly fitted for its purpose! You are indeed a great people. I passed into the main circular hall, and what purity of atmosphere, what admirable ventilation, what refreshing coolness and sweetness; it is, indeed, a sanitarium; nor can I wonder that you are proud of your progress and achievements in this science. But when I learned that the officers engaged in the public service in this temple, in the business of various accounts, and in determining the value of the products of the whole world, were appointed to the duty because of their zeal in providing candidates for offices and procuring votes for them, I was lost in admiration of institutions under which zealous shouting and running are evidence of skill to embroider muslin and to calculate interest. Truly you are a great people, and your institutions overflow with wisdom."

The Easy Chair bowed and smiled, but the precise terms of an appropriate reply did not suggest themselves, until, remembering what was due to its native land, it began: "There can, however, illustrious son of Lien Chi Altangi, be no doubt that we are a very great and superior people, and that we have a very just pity and contempt for all the unhappy victims of the effete despotisms and hoary empires of the older world—not that we believe the other continents to be actually older, for our own favored continent doubtless emerged first from chaos, but it is an expression which, with the generosity of our institutions, we are willing to tolerate."

"I cannot deny your greatness," politely said the yellowish-visaged gentleman, "and far be it from me to question your superiority. It was but yesterday evening that I attended a social assembly which was described to me as a full-undress party, and as I entered and beheld many of the other sex, I was struck by the accuracy of the description. As I promenaded through the brilliant throng with one of the loveliest of your young persons of that sex, she said to me, with a bewitching smile, 'Dear Mr. Altangi, is it true that Chinese women squeeze their feet for beauty? How very funny!'

"She panted as she spoke, and I saw that her body was evidently incased in some kind of rigid and unyielding garment, and that her waist was surely not the waist of nature. I gazed as intently as decorum would permit—for I am but a student of cities and of men—and I was sure that my lovely companion's body was more cruelly compressed than the feet of my adorable countrywomen, and her panting breath was but evidence of the justice of my observation. I asked her with sympathy if I could not call some companion to relieve her, or, if the case were urgent, whether I could not myself offer succor. But she gazed at me as if I spoke a strange language, and smilingly asked my meaning.

"'Dear miss,' I said, 'are you not in great suffering?' 'Not at all,' she replied, and I paid homage to her heroism. 'I know not, dear miss, whether to admire more the greatness of your heroism or the generosity of your sympathy. While you are in torment yourself, your tender interest goes forth to my countrywomen in what you believe to be torture. Be comforted, dear miss; the anguish of a squeezed foot is not comparable to that of a waist so cruelly confined as yours, and the consequences, also, are not to be compared.' If human bodies in your great and happy country are made like ours in China, certainly, Mr. Easy Chair, I must acknowledge that in heroic endurance of the cruelty of fashion your country is indeed pre-eminent."

There seemed to be such a singular misapprehension upon the part of the courteous visitor that the Easy Chair was beginning again to explain—"Yes, but the indisputable superiority of our glorious country"—when the son of Altangi interrupted, with suavity: "Certainly. I was about to add that while my fair companion insisted that I should confess the pinching of the feet to be a heinous folly, if not, as she was plainly disposed to believe, a crime, my eye was arrested by another lightly and lowly draped figure of the same sex advancing towards us with an uncertain, hobbling step so like the gait of the lovely Chinese maidens of almond eyes that again I watched intently, and I saw that not only was this sylph drawn out of all natural form at the waist, but that she was attempting to walk in little shoes supported upon high pivots called heels under the centre of the feet. It was an ingenious combination of torture and helplessness, to which no social circle in my native land offers a parallel. It is a wonderful achievement, due, I have no doubt, Mr. Easy Chair, to the manifest superiority of your great country, and plainly a striking illustration of it. Yet it is interesting and touching that the maidens of your politer circles, gasping in pinched waists, and balancing and tottering on pivots under their shoes, should inquire with so amused an air about the squeezed feet of Chinese ladies. I pay you my compliments, Mr. Easy Chair, upon your extraordinary country." The urbanity of the visitor was perfect. The Easy Chair looked at his eyes to see if they twinkled, but they had only a bland regard; and as it was beginning again—"Nevertheless, sir, you will admit that the superiority of our institutions"—there seemed to be so positive an approach to twinkling in the Chinese eyes that the Easy Chair paused, smiled, and then said: "Worthy son of Lien Chi Altangi, thy words enlighten the mind, even as those of thy ancestor illuminated the minds of our fathers over the sea. By their light I read the meaning of the saying that in my youth I heard in the valleys of the Tyrol, 'Beyond the mountains there are men also.'"



HOLIDAY SAUNTERING.

The richness and profusion and variety of the Christmas shops in a great city, the sack of the treasures of the whole earth, which furnish such splendid spoil, recall a remark of Buckle. He says that the history of the world shows enormous progress in all kinds of knowledge, in institutions, in commerce and manufactures, and in every pursuit of human activity, but not in knowledge of moral principle. The most ancient wisdom in morals is also the most modern. Time and the progress of civilization have added nothing to the demands of the conscience or to moral perception. The golden rule is an axiom of the most ancient wisdom.

These are bewildering speculations as we stroll along Fourteenth Street and loiter in Twenty-third Street, which, at the holiday season, have especially the aspect of a fair or a fascinating bazaar. The whole world is tributary to Santa Claus.

"Nothing we see but means our good, As our delight or as our treasure; The whole is either our cupboard of food Or cabinet of pleasure."

Invention and science have put a girdle about the globe fitly to decorate Christmas. Diedrich Knickerbocker, in his cocked hat and flowered coat, had heard of Japan, perhaps, as a romance of Prester John. But it would have been a wilder romance for him to imagine his grandchildren dealing at the feast of St. Nicholas with Japanese merchants in Japanese shops upon the soil of his own Manhattan and on the very road to Tappan Zee. Hendrik Hudson might have been reasonably expected to run down from the Catskills with a picked crew to vend Hollands for the great feast. But Cipango—!

Yes; we have subdued distance, we are plucking out even the heart of Africa. As the streets of Bokhara when the fairs were held were piled with the stuffs of many a province and thronged by merchants of every hue, so the streets of New York at Christmas show that we have taken the whole earth to drop into our Christmas stocking. The festival might be fitly celebrated by coming to the city merely to walk the streets and

"view the manners of the town, Peruse the traders, gaze upon the buildings."

Happily the eye can appropriate all the treasures that it would be theft for the hand to touch.

Corydon, sauntering with Amaryllis, and staring with her at the wonderful windows, may be a prince by proxy. "Those pearls," he whispers, "the diver plunged into Oman's dark waters to find for you. They are so far on their way, adored Amaryllis. They have reached your eyes, if not yet your ears. Let me but be rich—and I expect at least five dollars for my first fee—let the world but discover that in me the Law, whose seat is the bosom of God, has a new Mansfield, another Marshall, and yonder pearls shall circle the virgin neck for which they were predestined. Or do you prefer the diamonds behind the next pane? Or shall Santa Claus sweetly capture both for you, one for state dress and splendor, one for days less rigorous, not of purple velvets and flowered brocades, but summer draperies of soft lace?"

So the Marchioness and the gay Swiveller, with their happy gift of transforming a shred of lemon-peel and copious libations of pure water into nectar, might have walked the Christmas streets of New York as those of Ormus and of Ind. Lafayette, with the gold snuff-box in which the freedom of the city was presented to him, could not have been freer of it. The happy loiterers could see all the beautiful things, and what could they do more if they should buy them all? Like the kind people at Newport in the summer, who spare no vast expense to build noble houses and lay out exquisite grounds and drive in sumptuous carriages and wear clothes so fine and take pains so costly and elaborate to please the idle loiterer of a day, who gazes from the street-car or the omnibus or the sidewalk, so the good holiday merchants present the enchanting spectacle of their treasures freely to every penniless saunterer, but for the same enjoyment they demand of the rich an enormous price. The poor rich must bear also all the responsibility of possession and care, and cannot be secured against theft or loss.

The splendid streets beguile us from our question. In the brilliant bazaars we are recalling the New York of silence and solitary woods and roving Indians—the New York that the Dutch settlers bought from the Indians for twenty-four dollars, and which is now the city that we behold, the metropolis of the State of which Mr. Draper, its Superintendent of Public Instruction, asks, "Who shall say that these six millions of people are not better housed, better fed, better clothed, more generally educated, more active in affairs, better equipped for self-government than any other entire people numbering six millions, unless it be other citizens of our own country, surrounded by the same circumstances and conditions?" Not the Easy Chair, certainly. On the contrary, it says Amen.

But is Buckle right? Are the six millions as much better morally than the first six millions of their white ancestors upon the continent, as they are better clothed, better educated, and better housed? Are they only materially better? Have they better poets, better artists, than the Greeks, than Dante, than Shakespeare, than Raphael and Michael Angelo? Have they wiser men than Plato, Aristotle, Bacon? Have they higher standards of conduct than those of Confucius and the Hindoos? A hundred years ago the pilgrim was sometimes a week travelling to Albany with great discomfort. To-day we travel thither in three hours with incredible ease and luxury. Do we find more public virtue when we get there? Comfort, knowledge, opportunity, resources, are multiplied a thousandfold. Schools, libraries, museums, societies, appliances, have sprung in a night, like Jack's bean-stalk, to a towering height. Have they brought us nearer heaven? Are we more truthful, more upright, manlier men? In a world where mechanical invention and victories over time and space were of no importance, but where moral qualities alone availed, should we men of the end of the nineteenth century stand any better chance than those of the beginning of the ninth?

That is the queer question which Santa Claus insists upon dropping into the stockings that hang by this Christmas hearth. He calls it a Christmas nut to crack. The old fellow chuckles as he thinks of it while he rides through the frosty starlight. "My children," he laughs, "what is the difference between six dozen dozen and half a dozen dozen?" While he asks and chuckles, the old fellow is himself an answer. He did not invent gifts. But he symbolizes universal giving. The moral law may be as old as man, but the demand and disposition for the general application of that law to actual life increase with every century. The moral law was the same when Howard revealed the horrors of prisons that it is now when modern philanthropy has purged and purified them. "The sense of duty," said Webster, in his greatest criminal argument, "pursues us ever." But it pursues us more effectively with the return of every Christmas.

If there be no larger knowledge of the moral law there is a more universal sense of moral obligation. Those pearls of Oman which Corydon designs for Amaryllis would not have adorned so noble a woman had they circled the neck of the Paphian Venus or Helen of Troy.



WENDELL PHILLIPS AT HARVARD. 1881.

The great Commencement event of the Summer was Wendell Phillips's oration at the centennial anniversary of the venerable Phi Beta Kappa at Cambridge. It was also the semi-centenary of the orator's graduation at Harvard, and there was great anticipation, not only because Mr. Phillips is now in many ways the first orator of his time, but because his alma mater has not sympathized with his career. On the day before, which was Commencement-day, there was general wonder among the Harvard men of all years whether the orator would regard the amenities of the occasion, and pour out his music and his wit upon some purely literary theme, or seize his venerable mother by the hair, and gracefully twist it out with a smile.

"I hope," uneasily said a distinguished alumnus of Harvard to the Easy Chair, "I hope he will not forget that he is a gentleman."

"He has never yet forgotten it," replied the Easy Chair.

The morning was beautiful—a sweet, fresh, brilliant June morning—and there was a great assembly in the grounds of the university. The usual Phi Beta Kappa attendance is not large. The celebration occurs on the last day of prolonged college festivities, and the number of members of the society is limited; nor, in fact, has it a real existence except on the day of its oration and poem and dinner. This year, however, the centenary of Harvard, from which all the other chapters, except the parent chapter at William and Mary, have proceeded, had drawn delegations from seventeen other colleges. The pink and blue ribbon, which has replaced the square gold watch-key of other days, fluttered at every button-hole, and with pealing music leading the way, the long, long procession—a Phi Beta Kappa procession such as perhaps Harvard never saw before—wound under the imposing buildings towards the beautiful college hall, the Sanders Theatre.

A great college day is always a feast of memory. As the music swelled and the procession moved, the air was full of visions of forms long vanished, of voices forever silent. To the Phi Beta Kappa memory in Cambridge, however, three of the society's famous days returned. First, that 26th of August, 1824, when Edward Everett delivered the oration, which closed with the apostrophe to Lafayette, sitting upon the platform in the old meetinghouse, which stood, we believe, where Gore Hall now stands. It is the college tradition that the audience rose in enthusiasm with the last words of the orator: "Welcome, thrice welcome, to our shores, and whithersoever throughout the limits of the continent your course shall take you, the ear that hears you shall bless you, the eye that sees you shall bear witness to you, and every tongue exclaim with heart-felt joy, Welcome, welcome, Lafayette!" and that Lafayette himself, not clearly apprehending the drift of the peroration, and swept on by sympathy, eagerly applauded with the excited throng. Second, that 31st of August, 1837, when Ralph Waldo Emerson read the remarkable discourse to whose calm, wise, and thrilling words the hearts of men who were young then still vibrate, and to which their lives have responded; and third, the day in 1836 when Oliver Wendell Holmes read his poem, "A Metrical Essay," which is the traditional Phi Beta Kappa poem, as Everett's and Emerson's are the traditional orations. Richard H. Dana, Jr., calls Everett's discourse the first of a kind of which since then there have been brilliant illustrations, the rhetorical, literary, historical, and political essay blended in one, and made captivating by every charm of oratory.

But the procession has reached the theatre, in which already there are ladies seated, and in a few moments the building is filled with an audience to which any orator would be proud to speak. There is music as the audience rustles and murmurs into its place with eager expectation. Then there is a prayer. Then Mr. Choate, the president of the day, with his customary felicity and sparkling banter, speaks of the origin of the ancient and mysterious brotherhood. "And now," he says, in ending, "I introduce to you him who, whenever and wherever he speaks, is the orator of the day." Mr. Phillips rises, and buttons his frock-coat across his white waistcoat as he moves to the front of the platform. Seen from the theatre, his hair is gray, and his face looks older, but there is the same patrician air; and with the familiar tranquillity and colloquial ease he begins to speak.

He spoke perhaps for two hours, perhaps for half an hour. But there was no sense of the lapse of time. His voice was somewhat less strong, but it had all the old force and the old music. He was in constant action, but never vehement, never declamatory in tone, walking often to and fro, every gesture expressive, art perfectly concealing art. It was all melody and grace and magic, all wit and paradox and power. The apt quotation, the fine metaphor, the careful accumulation of intensive epithet to point an audacious and startling assertion, the pathos, the humor. But why try to describe beauty? It was consummate art, and as noble a display of high oratory as any hearer or spectator had known.

It is usually thought that there must be a great occasion for great oratory. Burke and Chatham upon the floor of Parliament plead for America against coercion; Adams and Otis and Patrick Henry in vast popular assemblies fire the colonial heart to resist aggression; Webster lays the corner-stone on Bunker Hill, or in the Senate unmasks secession in the guise of political abstraction; Everett must have the living Lafayette by his side. But here is an orator without an antagonist, with no measure to urge or oppose, whose simple theme upon a literary occasion is the public duty of the scholar. Yet he touches and stirs and inspires every listener; and as he quietly ends his discourse with a stanza of Lowell's that he has quoted a hundred times before, every hearer feels that it is a historic day, and that what he has seen and heard will be one of the traditions of Harvard and of Phi Beta Kappa.

It does not follow, because the audience was charmed, and overflowed with expressions of delight, that it therefore agreed. When an orator calls the French Revolution "the greatest, the most un-mixed, the most unstained and wholly perfect blessing Europe has had in modern times, unless, perhaps, we may possibly except the Reformation," there will be those who differ—who will grant the beneficent results of revolutions, as of wild storms of nature, but who will hesitate to call a movement of which the September days, the noyades, and the bloody fury of a brutal mob were incidents, the most unmixed and the most unstained of blessings. No American would lament the agitation for emancipation, to which the life of the orator has been devoted. It was a great blessing to the country and to humanity; but from the blood of Lovejoy to that of the last victim of the war on either side, it was not an unstained and unmixed blessing. There is, indeed, a sense in which "to gar kings know" that they have a joint in their necks may in itself be called an unstained political gain. But since historically the lesson is taught only by the cruel suffering of the innocent and the guilty together, it is, in fact, indelibly stained. "Ah!" said the most benignant of men, "it was a delightful discourse, but preposterous from beginning to end."

Yet its central idea, that it is the duty of educated men actively to lead the progress of their time, is incontestable. The orator, indeed, virtually arraigned his alma mater for moral hesitation and timidity. But a university lives in its children, and is judged by them; and surely the history of civil and religious liberty in this country from Samuel Adams, James Otis, and Joseph Warren down to Channing and Parker, to Charles Sumner and Wendell Phillips, and the brave boys of whom Memorial Hall is the monument, all of whom were sons of Harvard, does not show that the old university has not contributed her share of leadership.

Such answers, striking and trenchant and admirable, were perhaps made at the delightful dinner which followed the oration. Perhaps President Eliot promptly took up and threw back with eloquent energy the gage which had been thrown in the very face of the venerable mother by one of her eminent children, so illustrating that ample resource and sagacious firmness which have made his administration most efficient and memorable. Perhaps Dr. Holmes, whose felicitous genius overflowing in wit and music has long put the sparkling bead upon the Phi Beta Kappa goblet, recited the lines whose response was the gay laughter that rang through a pelting shower of rain far over the college grounds. Perhaps as "Auld Lang Syne" was sung with locked hands at the end of the dinner, if "Auld Lang Syne" is ever sung at Phi Beta Kappa dinners, there was a general feeling that the day had been a red-letter day for the university, and a white day in the recollection of all who had heard one of the most charming discourses that were ever delivered in the country, and had beheld a display of oratorical art which in this time, at least, cannot be surpassed.

But of all this nothing can ever be known, because the feasts of Phi Beta Kappa are sealed with secrecy.



EASTER BONNETS.

It is not a great many years ago that, among Protestants in this country, Easter was mainly the festival of one denomination, and even within that denomination it was celebrated with comparatively little pomp. But now it is universal, especially in the larger towns and cities, and many churches decorate themselves with flowers, and observe with annually accumulating splendor the great feast of the immortal hope. The churches are filled with people. The music is elaborate, and it is elaborately advertised during the preceding week, and, by one of those odd coincidences which associate the most diverse things, it is on Easter-Day that the new spring bonnets of the ladies appear, and there is a delightful mingling of most diverse interests.

"I have observed," said an elderly gentleman, as he watched from the window of his club the pretty procession of new clothes winding churchward on Easter morning, "that some ladies of high fashion dress more and more elaborately as they advance in years, and as the sweet light of youth fades from their eyes it is replaced by a greater blaze of diamonds upon their persons."

It was the venerable Ambassador from Sennaar who spoke, and who was smiling pleasantly upon the cheerful scene.

"For myself," he continued, "I can recall nothing more enchanting in human form than the granddaughter of my old friend whom I went to see some years ago in Newport, and who bounded in at the open window from the garden on a perfect June morning—herself incarnate June—clad in a white muslin dress, her hair simply knotted behind, holding a rose in her hand, and with the loveliest rose in her cheeks. That young woman, a girl not yet twenty, now has girls of her own more than twenty. I wonder if she wears a very elaborate bonnet this Easter morning, and whether her dress is a mass of pleats and puffs and marvellous trimmings, which, when profusely extravagant upon the form of an elder woman, always remind me of signals of distress hung out upon a craft that is drifting far away from the enchanted isles of youth. Is it the instinctive effort to prolong the brilliancy of youth that induces the advancing woman to decorate herself so brightly? Is it the involuntary hope that she will really seem to be buoyant and gay of heart if only her dress be gay? As they go trooping by I mark that richly caparisoned dowager, and I recall the days when I was merely an attache of the embassy, and when in the modest parlor in Bond Street she sang:

"'I wadna walk in silk attire, Nor siller hae to spare, Gin I must from my true love part, Nor think on Donald mair."

The old gentleman from Sennaar is always permitted to have his own way, and he prattles on without interruption. If you don't care to listen, it is always easy to withdraw, and to look out at another window, and to make your own comments instead of heeding his.

"But that was not exactly what I had in mind as I watched this pretty Easter procession," resumed the venerable Ambassador; "but the truth is that when I see a crowd of brightly dressed women, my mind scatters, as it were, and I am very apt not to hit my mark."

The old gentleman smiled again. "All the fine spring bonnets of Easter-Sunday do not prove the youth of every face under them, and I wonder whether this splendid celebration of Easter means that you are a more religious people than in the plainer Easter days that I remember. Is the sincerity of religious feeling always in proportion to the magnificence of the ritual? If it be, you have become a deeply religious people, especially in your great city. We used to think at the legation in Rome that the people of that city were in danger of mistaking a punctual observance of religious ceremonies for religion. But you are so intelligent that you are, of course, in no such danger. I accept these beautiful flowers and this pretty procession of new bonnets as the proof of your religious progress."

The Ambassador paused reflectively a moment, and then continued: "You send a great many missionaries to India and elsewhere. Is it because you have no work for them at home? In my country, my benighted and heathen Sennaar, we have a proverb that an ounce of practice is worth a pound of profession. In Rome, I say, we used to fear lest the people, with crossings and dippings and genuflections and repetitions of a long series of invocations and confessions and penance and many ceremonies, might come to confound these things with religion. But I suppose that this blossoming Easter, this solemn abstention from 'the German' in Lent, and this interest in draperies and postures, mean that you devote the same energy and time and care to studying how to help the helpless, how to console the suffering, how to teach poverty to hope and labor for its own relief. It means that the richly attired Christians who are walking in the most fashionable spring bonnets to church on Easter-Sunday have learned who is their neighbor, and what their duty is towards him, and are diligently doing it."

The Ambassador removed his eyeglasses, and turned to smile blandly upon the group of club-men near him.

"This reflection," he continued, "makes me very happy, and fills me with reverence for a Christian people. For if you built superb churches in one street, and tolerated heathen squalor of soul and body in the next street, you would crucify Christianity. No, no: these sweet flowers of Easter are not symbols of your words, but of your work; not of your professions, but of your practice."

The old gentleman resumed his glasses, and looked silently at the thronged street. How comfortable to believe with our venerable friend, and to perceive that the great increase in the beauty of the Easter commemoration is the fitting symbol of the corresponding increase in our religious faith and practice!



JENNY LIND.

It is many years ago that the Easy Chair, making the grand tour, was in Dresden, and saw in the newspaper that Jenny Lind, then in the first fulness of her fame, would sing for four nights in Berlin. It was in the autumn, and loitering along the Elbe and through the Saxon Switzerland was a very fascinating prospect. But the chance of hearing the Swedish Nightingale was more alluring than the Bastei and the lovely view from Konigstein, and at once the order of travel was interrupted, and the Easy Chair arrived eagerly in Berlin.

The Berlin of those days was still a city in which the student could live economically, and hear the lectures of great teachers upon the most reasonable terms. But the sole interest of the moment was the Northern singer, and upon reaching the hotel and making prompt inquiry, the Easy Chair learned that chairs for the Lind representations could be secured only at prices which were wholly unprecedented in the staid Hohenzollern capital. The exigency of the case, however, compelled the payment, and the Easy Chair devoted eighteen thaler, or nearly as many American dollars, to obtaining a seat to hear Jenny Lind for the first time. Never for such a sum was bought so rich a treasure of delightful and unfading recollections, always cheering and inspiring—an unwasting music which has murmured and echoed through a life.

The scene was the Royal Opera-house. The audience was the finest society of the court; and even then the musical taste of Berlin, as if forecasting Wagner, used to sneer loftily at that of Vienna, where Flotow was about to produce "Martha," as a taste for tanzmusik. The opera was the "Sonnambula," and after the pretty opening choruses and dances, Amina came tripping to the front through the clustering villagers.

She was an ideal peasant maiden, blooming and blithe and fair, of an indefinable simplicity and purity; the genuine peasant of the poetic world, not a fine lady of Marie Antoinette's Petit Trianon playing at rustic artlessness. The voice and the singing were but the natural expression of that charming maidenhood. The full volume, the touching sweetness of tone, the exquisite warble, the amazing skill and the marvellous execution, with the perfect ease and repose of consummate art, and the essential womanliness of the whole impression, were indisputable and supreme. To a person sensitive to music and of a certain ardor of temperament there could be no higher pleasure of the kind. Every such person who heard Jenny Lind in her prime, from 1847 to 1852, whether in opera or concert, can recall no greater delight and satisfaction.

Other famous singers charmed that happy time. But Jenny Lind, rivalling their art, went beyond them all in touching the heart with her personality. Certainly no public singer was ever more invested with a halo of domestic purity. When she stood with her hands quietly crossed before her and tranquilly sang "I know that my Redeemer liveth," the lofty fervor of the tone, the rapt exaltation of the woman, with the splendor of the vocalization, made the hearing an event, and left a memory as of a sublime religious function. This explains Jenny Lind's peculiar hold upon the mass of her audiences in this country, who were honest, sober, industrious, moral American men and women, to most of whom the opera was virtually an unknown, if not a forbidden, delight. Malibran had sung here in the freshness of her voice and charm; Caradori-Allan, Cinti-Damoreau, Alboni, Parepa, and other delightful singers followed her. Grisi came, too, but in her decline. Still others have ruled their hour. But in the general memory of the country Jenny Lind remains unequalled. There was the unquestionable quality in her song which made Mendelssohn say that such a musical genius appears but once in a century.

It was a pleasant little New York to which she came, but it thought itself a very important city. Fanny Ellsler had bewitched the town a few years before; and some graybeards and baldheads, now tottering in the sun upon Broadway, but then the golden youth of Manhattan, took the horses from the Bayadere's carriage and drew her in triumph to her hotel. Ole Bull, also, had come conquering out of the North like a young Viking, charming and subduing, and Vieuxtemps came also, disputing the palm. The town took sides. The virtuosi applauded Vieuxtemps as a true artist, and shrugged at Ole Bull as an eccentric player. If you whispered "Paganini?" they silently shrugged the more. Still the young Viking fascinated young and old. He played like the Pied Piper, and the entranced country danced after. But when Jenny Lind came, the welcome to the singer as yet unheard was more prodigious than that offered to any other European visitor except Dickens. It was managed, of course, by Barnum. It was advertising. But that was only until she sang. After that first evening at Castle Garden the delight advertised itself.

In this day, Wagner consule, of the eclipse of Italian opera, the programme of a Lind concert will perhaps win a glance of curiosity even from the lovers of "Tristan und Isolde," who follow with reverence in the parquette the mighty score of the trilogy upon the stage. Here, for instance, is the programme of a charitable concert of Jenny Lind's in Boston on Thursday evening, the both of October, 1850, just a month after her first concert in the country at Castle Garden in New York on the 11th of September. The programme is a pamphlet opening with four marvellous wood-cut likenesses of Jenny Lind, Jules Benedict, her conductor; Signor Belletti, the barytone, and Mr. Barnum. The words or each song in the original and in translation are printed upon separate pages, and the whole concludes with sketches of the lives of Jenny Lind, Signer Benedict, Signor Belletti—and Mr. Barnum. The selection of music comprises Beethoven's overture to "Egmont;" an air from the "Elijah," first time in America, sung by Jenny Lind; "Non piu andrai," from Mozart's "Nozze di Figaro," by Signor Belletti; piano solo, Mendelssohn's "Songs without Words," by Signor Benedict; and, for the first time in America also, "Und ob die Wolke," from "Der Freischutz," by Jenny Lind. This was the first part. The second part began with Reissiger's overture, "Die Felsenmuhle;" Signor Belletti then sang the "Piff Paff," from Meyerbeer's "Huguenots;" Jenny Lind followed with the "Come per me sereno," from the "Sonnambula," for the first time in America; then Belletti with the "Miei rampolli," from Rossini's "Cenerentola;" and the concert ended with the "Dalecarlian Melody" and the "Mountaineer's Song," both for the first time, by Jenny Lind.

It would be still possible even for the devoutest Wagnerian disciple to hear such a concert, perhaps, without leaving the hall in indignation, perhaps even without a protest. All the concerts were of uniform excellence, and the Easy Chair is a competent witness, at least so far as attendance is concerned, for it heard all of the Lind concerts in New York except the first. During the second season an unknown name appeared one evening upon the bill, which announced that Mr. Otto Goldschmidt, a young and unknown pianist, would play for the first time in this country. Tripler Hall, opposite Bond Street upon Broadway, was crowded as usual, and when Jenny Lind had withdrawn after singing one of her "numbers," a slight, dark-haired youth came upon the stage and seated himself at the piano. He was courteously greeted, and just as he was about to begin, the door opened quietly at the back of the stage, and Jenny Lind stood in full view of the audience tranquilly to listen. At a happy point in the performance she clapped heartily, and the whole house, following its lovely leader, burst into a storm of applause. The young man bowed to the audience and to "Miss Lind," and, as he ended, with more hand-clapping and a bright and kindly smile Jenny Lind vanished, having secured the success of Mr. Otto Goldschmidt. It was a pretty scene. Perhaps the prima donna assoluta recalled the famous brava-a-a-a of Lablache on her first evening at her Majesty's Opera-house in London, which satisfied England that she was a great singer, and confirmed her career. To the audience her friendly interest seemed the impulse of her kindly heart for a young neophyte in this profession. To Mr. Otto Goldschmidt—!

Ole Bull returned to the country before Jenny Lind left it, and one evening, when she was staying at the Stevens House, in Broadway by the Bowling Green, she gave a dinner, and Ole Bull was among the guests. After dinner he seated himself at the piano, and running over the keys, struck into some wild minor chords, and began to sing Norwegian songs. They were of a singular melancholy, but very beautiful, and the company listened intently. Jenny Lind especially sat rapt in the music, until, after one of the songs, she rose quietly, and moving steadily across the floor as if carrying a jar of water upon her head and fearing to spill a drop, she pushed Ole Bull from his chair, and seating herself in his place at the piano, reproduced the entire song with exquisite pathos.

Indeed, it was in these characteristic Northern songs, full of strange and romantic tenderness, and suggestive of solitary seas and wide, lonely horizons, of awful mountain heights and secluded valleys of sober and sequestered life, that her voice seemed most extraordinary and her skill most marvellous. Romantic singing, picturesque, mournful, weird, could go no further. She was the spirit of the North singing its hymn, and the audience sat enchanted under the melodious spell. A veteran, as he recalls those days, might well suspect that he is still enthralled by the magician's wand of youth, and that it is not fact, but only its rosy exaggeration, which he describes. But the contemporary records of that astonishing career remain, and they confirm his story. The prices paid for tickets, the enormous receipts, and the generous gifts in charity of Jenny Lind are not fables. Yet the glamour of youth has its part in all recollection of the days of splendor in the flower. Once when the Easy Chair was extolling the melodious Swede to a senior, the hearer listened patiently, with a remote look in his eyes, and replied at last, musingly, "Yes, but you should have heard Malibran."

The series of American concerts which began on the 11th of September, 1850, at Castle Garden ended at the same place on the 24th of May, 1852. The vast space was not well suited for singing, but the magnificent voice filled it completely, and in the fascinated silence of the immense throng every exquisite note of the singer was heard. She sang with evident feeling, and with responsive tenderness the audience listened. Every time that she appeared she carried a fresh bouquet, the sight of which gladdened some ardent young heart. But when at last she came forward to sing the farewell to America, for which Goldschmidt had composed the music, she bore in her hand a bouquet of white rose-buds, with a Maltese cross of deep carnations in the centre. This she held while for the last time in public she sang in America; and the young traveller who, five years before, had turned aside at Dresden to hear Jenny Lind in Berlin, alone in all that great audience at Castle Garden knew who had sent those flowers.



THE TOWN.

In the city that we like to call the metropolis, the newspapers enable us to begin every day with the knowledge that yesterday Mr. and Mrs. A. entertained at dinner Messieurs and Mesdames B., C., D., E., F., G., H., I., and J. And why is this precious knowledge imparted to us? Why are we not also taught what else they did during the day? Why do we learn nothing of Mr. and Mrs. Y. and Z., at the other end of the alphabet, in Baxter Street? For these good folks who are mentioned are in no way distinguished except for riches. If, indeed, they had done or said or written anything memorable, if they had painted fine pictures, or carved statues of mark, or designed noble buildings, or composed beautiful music; if they had effected humane reforms, had happily cheered or refined or enriched human life, or in any way had made the world better and men and women happier, the curiosity to hear of them, and to see them, and to read of their daily course of life, would be as intelligible as the pleasure in seeing the birthplace of Burns, or walking in Anne Hathaway's garden, or hearing of Abraham Lincoln, or seeing Washington's bedstead and sitting in his chair.

But to read day after day in the paper, this golden domesday-book, the lists of rich people who ate terrapin together, or danced together in lace frills and white cravats afterwards, and to read it with avidity, is what might be done in some world of satire. But in a hard-working, sensible, Yankee world! You might say that nobody does read it, but the column of the newspaper which is devoted to this narrative, contrasted with the few paragraphs in which the important news from all parts of the globe is discussed, refutes you. The newspaper understands itself. It is a shrewd merchant who supplies the demand in the market.

But is there no other than a humiliating explanation of the fact? Is it only snobbishness, a mean admiration of mean things? Are we all essentially lackeys who love to wear a livery? Or is it not rather—all this interest in the small performances of those who, if distinguished for nothing else, are the distinguished favorites of fortune—the result of the ceaseless aspiration for a better condition, and the instinct of the imagination to decorate our lives with the vision of a fairer circumstance than our own, and to revenge the tyranny of fate by the hope of heaven? If the fine Titania could sing to Bottom,

"Mine ear is much enamored of thy note, ... Thou art as wise as thou art beautiful,"

why should not our liberal fancy sing the same song to the Four Hundred? They may be deftly enchanted to our eyes if to no others, and to our view our Bottom also be translated.

It is not what they are, but what we believe them to be, of which we read in the newspaper. The poor sewing-girl, as she stitches her life away "in poverty, hunger, and dirt," seeing unconsciously the fairy texture and costly delicacy of the robe she fashions, follows it in fancy to the form which is to wear it, and which to that fancy must needs be that of a most lovely and most gracious woman, because none other would that soft splendor of raiment befit. The lofty and benignant lady must needs also mate with her kind, and move only among those "learn'd and fair and good as she." All the circumstance of life must conform, and amid light and perfume and music the unspeakable hours of such women, such men, glide by.—The girl's head droops. For one brief moment she dreams, and that charmed life is real.

In a less degree, in our prosaic and plodding daily routine, we invest the life of the favorites of fortune with an ideal charm. It is, to our fond fancy, all that it might be. Those figures are not what Circe's wand might disclose. They are gods and goddesses feasting, and in happier moments we feign ourselves possible Ixions to be admitted to the celestial banquet. In the streets of the summer city their palaces are closed, their brilliant equipages are gone; they do not sparkle and murmur in their opera boxes, nor roll stately in slow lines along the trimmed avenues of the Park. But still the celestial life proceeds, a little out of sight, its lovely leisure brimmed with deeds becoming those who have no care but to do good and to transfigure their own fair fortune into a blessing for the world. We read the gross details of dress and dinner. But they remind us only more keenly of the ample resource, the boundless opportunity which our favorites of fortune enjoy.

Thus, Orestes, we ponder the society column not because we are snobs, but because our imaginations take fire; the dry narrowness and hard conditions of our lives are soothed as we contemplate those who have no excuse not to be benefactors; and what they should be, our imaginations, benevolent to ourselves, assure us that they are.



SARAH SHAW RUSSELL.

There died lately a woman not known to the public, but whose loss to those who personally knew her can never be made good. The summer that shall come may bring as of old roses and violets, but the summer that is gone will never return. In the memory of all of us there are persons who seem to have revealed to us the best that we know and are; they are so lofty that we are raised, so noble that we are ennobled; so pure that we are purified. They are generally women whose lives are noiseless, who live at home, wives and mothers, without the ambition that spurs men to strive for renown, but their days are full of such richness of beautiful life that its fitting image is that finest flower of tropical luxuriance, the magnificent Victoria Regia.

A nature so modest and simple, and a life so private that it seems almost a wrong to speak of them publicly, yet a character so firm and tranquil and self-possessed that if necessary it would have met without doubt or hesitation any form of martyrdom, can hardly be described without apparent exaggeration. She was born, in our familiar phrase, a lady, and from the beginning, throughout a long life, she was surrounded with perfect ease of circumstance. She was singularly beautiful in her youth, and to the close of her life she had the charm of personal loveliness. Her manner was direct and frank and cheerful, and with her perfect candor and vigorous good-sense it scattered the trivial and smirking artificialities of social intercourse as a clear wind from the north-west cools and refreshes the sultry languors of August. Early married to a man of the highest character and aims, and of that practical good-sense which makes ability most effective, she was in entire sympathy with his wise and humane interests, and thus in her family she was most fortunate and happy.

Yet by beauty, wealth, position, and the natural possession of the prizes for which life is generally a struggle, she was wholly unspoiled. Her views of duty and of just human relations were so clear and true that she reinvigorated the conscience of all who knew her. She was curiously free from the little weaknesses which we instinctively excuse in ourselves and others, and although her absolute truthfulness necessarily but involuntarily rebuked us all, we could no more be angry than with our own consciences. The reproach was entirely involuntary. Never was a woman more tenderly tolerant of every honest difference, or more careful not to wound either by look or word or tone. Too true herself to suspect falsity in others, she was much too sensible to assume the part of Mentor.

In the great mental and moral activity of her generation she was instinctively liberal, and never questioned in others the complete soul-liberty, as Roger Williams called it, which she calmly and naturally maintained for herself. No reform could conceal from her its essential value as a high aspiration, a good impulse, if nothing more; and however grotesque and extravagant the reformer, she pierced his mask of eccentricity and welcomed the earnest seeker, bewildered and blinded though he might be. She judged speech and action by a remarkable intuition of right and wrong, and it was interesting to see how surely and smoothly she cut sophistry straight through to the truth which it muffled and distorted. Men and women she valued solely for their intrinsic worth, and never by conventional standards. A fugitive slave and the Prince of Wales would have been treated by her in a way which would have assured them both that the different circumstances of their condition did not obscure their equal humanity.

To say this must not leave the impression that she was other than a lady of the simplest, most refined, and most unobtrusive but cordial manner. There must be no vision of a Lady Bountiful, or of a Lady of the Manor, or of any self-conscious personage whatever. But a stronger influence upon the lives with which she was brought in contact cannot well be conceived, nor the perennial hope and encouragement which her cheerful presence inspired. Domestic sorrows touched that strong and noble heart not to any vehement demonstration, but to a deeper faith and a sober serenity, which interpreted the poet's sense of "the still sad music of humanity." Courage, confidence, cheerfulness—these were the good angels that dwelt with her, and through her they breathed their benediction on all whom she loved or who personally knew her. As she lived in communion with great thoughts and the widest human sympathies, so that her life, like our stillest, harvest-ripening days, passed in sunny repose, so the end was peace. With no wasting malady, no long decay of faculty, she tranquilly slept.

There is nothing that poets feign of women that was not justified by her. In thinking of her lofty life there is no need of excuse or allowance; for human nature, as it was never more unassuming or simple, was never greater and lovelier than in her. Beautiful and wise and brave and gentle and good, the thought of her is perpetual blessing.



STREET MUSIC.

A man grinding a hand-organ in the street is doubtless a sturdy beggar soliciting alms. A band of men blowing simultaneously into brass instruments, with a brazen pretence of making music, is probably like steam-whistles and church-bells and the cries of newspaper extras and of itinerant peddlers of many wares—a noisy nuisance. Yet the old cries of London, although doubtless strident and disturbing, have a certain romantic charm of association and tradition. Like the Tower and Billingsgate and Wapping Old Stairs, they were parts of very London, and London was less London when they ceased.

Were those old cries of the story-book, like the interpreted voices of the church-bells—

"Kettles and pans, Says the bell of St. Ann's; Apples and lemons, Says the bell of St. Clement's,"—

altogether shameless and exasperating noises? Were they not the same voices that called Whittington to turn again? Was not the deep bay of St. Paul's heard when Nelson, the old sea-dog, died? Could the music of the bells be spared from the story of London more than that of the cries? Is the milkman who announces the arrival of the morning's milk with a "barbaric yawp," like that in which Mr. Whitman is supposed to celebrate his own personality, a sturdy beggar? He would certainly resent the imputation. He is a merchant who sells a desirable commodity. Shall he be adjudged a nuisance?

But Signor Raffaello da Perugia, who produces opera airs upon a portable organ, with Don Whiskerando, who mounts with agility to the parlor window to receive the consideration in his feathered cap, is he not also a merchant who sells music to you in selected varieties, the latest popular songs and tunes of the theatre, the waltz of last year's ball-room? Must he be accounted a sturdy beggar because you happen not to be in immediate want of his wares? Or the band of which we were speaking, which arrives at the hour when the master of the house returns from his office, and performs a serenade of welcome as he greets the circle from which he has been absent since breakfast, shall it be denied the pleasure of heightening the pleasure of others? Are not the taxes of these Jem Baggses, these wandering minstrels, the "only rates uninvidious in the levy, ungrudged in the assessment?"

Where the intent is so unequivocally kindly, is it not gross and unfeeling to suggest in the modest orchestra a questionable chord, a cracked reed, a cornet out of tune? Why so insistent, so scrupulously exigent? Are you never out of tune, good sir? Your chords, say in the domestic concert, are they always finely harmonious, and your own reed never cracked? Why so eager to cast the first stone? Yonder trombone may have its weaknesses—who of us, pray, is without? Has tolerance gone out with astrology? "He had his faults," said the Reverend Bland Sudds yesterday in a funeral discourse upon the Honorable Richard Turpin—"he had his faults, yes, for he was human." But if a man may falter, shall we not forgive to a trombone even a half-note? If Turpin may be respectfully lamented with indulgent hope, shall a hesitating horn be doomed to "the all-sweeping besom of societarian reformation?"

While Eugenio was making the grand tour he loitered in Venice and lingered in Naples, wandering to Paestum, feasting in the orange groves of Sorrento, and penetrating the Blue Grotto at Capri. In Venice the songs of the country, in Naples the barcarolles, made his memory as he came away a thicket of singing-birds. Those ever-renewed snatches and remembered refrains of songs, Venetian and Neapolitan, like a sponge passed over a Giorgione, brought out the mellow richness of Italy, and as he paced Broadway and hummed a tender melody, he walked where Vittoria Colonna had trod, and heard the faint beat of oars upon moonlit Como. One morning, hard at work in his chamber, where only the confused roar of the city was audible, a strain rose high and clear above it all, with a soft, pathetic, penetrating urgency, "So' marinaro di questa marina," and, all else forgotten, he was once more rocking on Italian waters, and the red-capped fisher-boys filled the air with song.

He ran down, and into the street, and around the block, and, lo! Signor Raffaello was the fond magician. He was turning the crank of his heavy organ, and Don Whiskerando, feathered cap in hand, was climbing the balcony of the drawing-room windows, and Signor Raffaello was raising his eyes towards the upper windows to see if haply some child or nurse attended. Eugenio dropped more than a penny into the ready hand of the signore, and was gone before the swarthy magician could make out his benefactor. Eugenio gained his room, and with sympathetic intelligence the signore, playing out the College Hornpipe, once more touched the stop of "So' marinaro," and renewed the happy spell.

It is not fine music, that of the hand-organ and the street bands; it is indeed too oft a cracked and spavined pleasure. Doubtless it is justly classified as one of the street noises, and street noises are probably nuisances to be abated. But strolling in the eastern quarters of the city, beyond the domain of the Academy and the Metropolitan Opera-house and the halls of Steinway and Chickering, have you never seen an eager and ragged little rabble happily watching Don Whiskerando, while their elders are plainly pleased for a moment with that tuneful noise? The fruit is not wholly sound, but it is far from rotten. The music is poor, but the pleasure is unquestionable. Possibly the "Gotterdammerung," and even Siegfried's "Tod," would pass these people unmarked, like the wind. They cannot hold those mighty measures. But they are receptive of these little tunes. In a life of not much enjoyment this brings them some pleasure. Shall it be stopped altogether? It is the business of these peddlers of tunes to wander. They will move on if you do not want them. But must they also move away from those who do want them?

If there be too much noise in the streets, might not some other form of noise have been first silenced than that of the street musicians? There are the factory whistles and the church-bells. For the necessity of the first something may be said. But the heavy clangor of the bells is doubtless more than a discomfort to many, and it is wholly useless, while the music of the organs and the bands is a pleasure. Do the Aldermen, like Homer, sometimes nod? Sometimes, for an inadvertent hour, do the finer instincts of public spirit flag in those civic bosoms? What evil genius, hostile to the enjoyment of the people, persuaded them? Did the city fathers for one ill-starred moment forget their Tacitus, and silence the street music unmindful of those words, so familiar to them in their hours of classic relaxation—Solitudinem faciunt, pacem appellant?



A LITTLE DINNER WITH THACKERAY.

Mr. Lester Wallack in his reminiscences speaks of Thackeray, whom he knew in New York, and recalls with admiration his simple and hearty ways. Wallack says that as he returned from acting at his father's theatre, then at the corner of Broadway and Broome Street, to his lodgings in Houston Street, he used to pass Thackeray's quarters, who was living with the late William D. Robinson in Houston Street, and if he saw a light in the window he went in, and the gentlemen finished the night together. He says that Thackeray had a boy's enjoyment of the stories that the late-comer told, and although the guest does not say it, the reader easily imagines that had he been in Thackeray's place he would have shared Thackeray's pleasure in the gayeties of his guest. Thackeray had the tastes of the town, and Charles Marlowe and My Awful Dad were sure to bring their own welcome.

Wallack also alludes to a dinner which Thackeray gave at the old Delmonico's, at the corner of Broadway and Chambers Street, at the end of his first visit to this country. He had been most warmly received, and he had given universal delight by his lectures upon the English Humorists. The charm of these lectures is evident in the reading, but the pleasure of hearing them is quite indescribable. They were delivered in Dr. Chapin's old church, upon the east side of Broadway just below Prince Street, to an exceedingly intelligent and sympathetic audience, who knew their enjoyment to be the highest kind of literary pleasure. The thorough appreciation of the men whom he described, the sweet and sinewy simplicity of his English, of which he was a twin master with Hawthorne, the constant play of his kindly humor, and manly pathos and sympathy, with his rich voice and massive, magnetic presence, his melodious and refined inflection in speaking, and his quiet, easy, colloquial manner, thrusting thumbs and forefingers in his waistcoat-pockets—all these, pleasing to the mind and sense, made him the pleasantest of lecturers, and still enchant the memory of those

"happy evenings all too swiftly sped."

Just before he sailed upon his return to England he gave the dinner at Delmonico's of which Wallack speaks, to repay many civilities, and assembled a miscellaneous party of twenty or thirty guests. They were men of various distinction, "everybody being somebody," as one of the guests remarked while he glanced around the table. Thackeray was in high spirits, and when the cigars were lighted he said that there should be no speech-making, but that everybody, according to the old rule of festivity, should sing a song or tell a story. Lester Wallack's father, James Wallack, was one of the guests, and with a kind of shyness, which was unexpected but very agreeable in a veteran actor, he pleaded earnestly that he could not sing and knew no story. But with friendly persistence, which yet was not immoderate, Thackeray declared that no excuse could be allowed, because it would be a manifest injustice to every other modest man at table, and put a summary end to the hilarity. It was to be a general sacrifice, a round-table of magnanimity. "Now, Wallack," he continued, "we all know you to be a truthful man. You can, of course, since you say so, neither sing a song nor tell a story. But I tell you what you can do, and what every soul at this table knows you can do better than any living man—you can give us the great scene from the 'Rent Day.'"

There was a burst of enthusiastic agreement, and old Wallack, smiling and yielding, still sitting at the table in his evening dress, proceeded in a most effective and touching recitation from one of his most famous parts. It was curious to observe from the moment he began how completely independent of all accessories the accomplished actor was, and how perfectly he filled the part as if he had been in full action upon the stage. It is only this effect that the Easy Chair recalls, but it was not to be forgotten. No enjoyment of it was greater, and no applause sincerer than those of Thackeray, who presently sang his "Little Billee" with infinite gusto. The song and story went round, as Lester Wallack records, but the by-play of the dinner, which is often the best part of such a banquet, was different for each of the guests. The Easy Chair recalls one incident which was a striking illustration of the masterly and phenomenal assurance of a well-known figure in the Bohemian circles of New York at that time, but whom it must veil under the name of Uncle Ulysses.

By the side of the Chair sat a poet, whom also it must protect by the name of Candide, for a simpler and sincerer literary man never lived. It was in the time, as Thackeray was fond of saying, Planco Consule, which in this instance means in the time of the old Putnam's Monthly Magazine. The number for the month had been just published, and Candide had contributed to it his "Hesperides," a charming poem, although the reader will not find that title in his works. He and the Easy Chair were speaking of the magazine, when Uncle Ulysses, who had never met Candide, and knew him only by name, dropped into the chair beyond him, and at a convenient moment made some pleasant remark to the Easy Chair across Candide, who sat placidly smoking. "By-the-bye," said Uncle Ulysses presently, "what a good number of Putnam it is this month! But, my dear Easy Chair, can you tell me why it is that all our young American poets write nothing but Longfellow and water? Here in this month's Putnam there is a very pretty poem called 'Hesperides.' Very pretty, but nothing but diluted Longfellow."

This was said to the Easy Chair most unsuspiciously across the author of the poem, and the moment it was uttered, the Easy Chair, to prevent any further disaster, broke in and said, "Yes, it is a delightful poem, written by our friend Candide, who sits beside you. Pray let me introduce you. Mr. Candide, this is Uncle Ulysses."

Candide turned, evidently swelling with anger, and the Easy Chair was extremely uncertain of the event, when Uncle Ulysses, with exquisite urbanity and a look of surprise and pleasure, held out his hand, and said: "Mr. Candide, this is a pleasure which I have long anticipated. I am very much honored in making your acquaintance, and I was just speaking to the Easy Chair of your delightful poem just published in Putnam. I congratulate you with all my heart."

Candide, astonished but perplexed, and yielding to the perfect bonhomie of Uncle Ulysses, half involuntarily put out his hand, which our uncle shook warmly, and in five minutes his fascinating tongue had charmed Candide so completely that the Easy Chair is confident that the good poet always supposed that in some extraordinary manner he had misunderstood Uncle Ulysses's remark touching the imitative tendency of young American poets.

So one reminiscence produces an ever-widening ripple of reminiscences. Those which circle about the recollection of Thackeray in this country are very many, but generally unrecorded. They linger, and appear occasionally in allusions like those of Lester Wallack. But whenever they are told they pay homage to the humorist. They recall his constant, sturdy, kindly simplicity and kindliness. Wallack speaks of a certain boyish or boy-like quality in Thackeray. It was certainly there. He had the utmost sympathy with boys, and one of his gay caricatures of himself represents him at a Christmas pantomime standing with two boys behind the rest of the audience, he towering aloft and seeing everything over other people's heads, while his poor little comrades, far down about his knees, ruefully see nothing. But you know that if no other seat could be found, the good giant would soon have them upon his shoulders, and all would be boyishly happy together. "They think I am a grinning surgeon with a scalpel," said the tender-hearted man. But those who have not found and felt the heart are yet to learn to know Thackeray.



CECILIA PLAYING.

As the great musical artists, especially the pianists, arrive one after the other, and lead the town captive, one asks, not whether there be any limit to the number, but to the skill. Last year there was the prodigy, the phenomenon, the boy Hofmann, and all the superlatives were spent in his praise. This year it is Rosenthal—valley of roses—and sweet as their attar is his spell. "Well, what is he?" "Simply miraculous; never was there anything like him." "But Rubinstein?" "Yes, a great genius, but he himself said that at every concert he dropped notes enough to furnish two concerts." "Then it is skill only, technique?" "Not at all; it is perfection of feeling, conception, touch, everything. Perhaps not the greatest of composers. But for playing—ah!"

Rapture is one kind of criticism. Perhaps in music, the effect of which is emotional, rapture, if you know the person, is the best criticism. The artist who can kindle to the utmost enthusiasm of delight a musically sensitive person who is also an exquisitely skilful player, and whom mere marvels of execution do not affect beyond reason, may be accepted as a very remarkable artist. Temperament also counts for much in estimating musicians. Natures are sympathetic. A silent, separate chord vibrates in response to a thrill of sound which leaves other things unmoved. The heart of the young man speaks to the psalmist, but the old man's may be dull and unawakened. The homoeopathic formula, like cures like, may be adapted to musical criticism at least so far as to say that like touches like.

When Cecilia says that she has been enchanted by the playing of any artist, the quality of her feeling and expression justly interprets the character of his performance. When Jenny Lind first sang in America one of the most accomplished critics said that he must wait a little to decide whether she was a great singer. That critic could never really hear her. Another said that she was a consummate ventriloquist. He meant that in the Herdsman's Song and the other Volkslieder and native melodies there was an effect of vocalism which seemed to him a trick. But to others it suggested wide, solitary horizons, the sadness and seclusion of remote Northern life. Mere imagination, retorted the critics. Yes, but to what does art, especially musical art, appeal? Rubinstein, as he said of himself, dropped notes without number under the piano. Thalberg did not, nor Henri Herz. But they dropped something which Rubinstein did not. The sunshine of a December day in this latitude is often cloudless and beautiful. But it unfolds no rose and restores no leaf to the bare bough.

A sweet and true, a full-volumed and thoroughly trained voice, is a rare gift to any man. But without a certain quality in the singer it is a perfect fruit without flavor. The singing that haunts us, which becomes part of our life, which fills the memory with tender and happy images of other days and scenes, is not necessarily that of the finest voices, but of that mingling in music of voice and skill and feeling which weave an enchanted spell. Those who have known the troubadour Riccardo have doubtless heard what are called greater voices, artists who hold for a triumphant moment the hazardous peak of the high C, whose roulades and phrasing are exquisite and admirable. But the singer whom they wish to hear, whose singing is a part of life, like the beauty of flowers and the dawn, is the singing of the troubadour Riccardo. It is so with Cecilia's playing, and it is impossible to suppose a person sensitive to music who could escape its spell.

When she sits at the piano and touches the keys, they respond, as one whom she fascinated said, with such smooth sweetness that you think there is conscious pleasure to them in that pressure. It is apparently as gentle, he insisted, as that of the breeze upon the grass which lightly sways beneath it. The impression upon this sensitive youth was a test of the character of her playing. If he had said she sings with her fingers he would have said what he doubtless thought, and what is true. She plays German songs—some of the familiar songs in the collections, or something of Lassen's or Weit's, or Abt's, or one of a thousand other songs, and the playing is like exquisite singing. It fills the mind with pictures, with persons, with scenes, and with that unspeakable content which only such music can give to the lovers of music. "What on earth is it all about?" said the Senator at the Symphony Concert, "and why do people come here?" The Hottentot would have asked the same question if he had heard the Senator upon the stump.

If the fairy godmother who presides over the cradle should give the newcomer the choice of gifts, what gift more precious could the young stranger ask than the power of giving a pleasure so pure as that which Cecilia's playing imparts? It is one of her praises that if the choice had been given to her she would instantly have selected the very power which the good fairy bestowed. For in giving the pleasure she does only what she delights to do and would have chosen to do. One philosopher, speaking to the Easy Chair of another, whose serenity was as undisturbed by events as the firmament by clouds, said of himself that he subdued more devils before breakfast every day than his serene brother had encountered in his whole life. Yet the serene brother's lofty repose was not less admirable because it was a quality of temperament, and not a triumph of the will; and it is not less the merit of Cecilia that the happiness she diffuses is as involuntary as the fragrance of the sweetbrier.

What is done without effort seems not to have been taught, and it is not easy to fancy Cecilia drudging at exercises and laboring at scales. Canaries, indeed, are trained to sing, and even young birds to fly. Yet the training is but showing them how to give themselves free play. To express entire facility we say that an act is done as naturally as a bird sings. Not less naturally does Cecilia play. You listen, and the song which you knew seems to sing itself, but enveloped with a richness and fulness of flowing accompaniment which is like the harping of aerial choirs. Then with others she plays the great music, concerted Bach or Beethoven, Chopin, Schumann, or Wagner, Weber or Mendelssohn; now an old gavotte, now a quaint fantasia, and why not a toccata of Galuppi Baldassero? It is more than a hint or a reminiscence, although it is not an orchestra. But when those fingers kindred with Cecilia's sweep the keys together, the listener wonders whether the hearer of the full orchestra has caught from it the subtle and exquisite significance of the strain which has poured from those enchanted pianos.

The piano is called an inadequate instrument. Perhaps it is, until you hear Cecilia play. Then by some secret sympathy you find yourself murmuring, "Not so sweetly sang Plumer as thou sangest, mild, childlike, pastoral M——; a flute's breathing less divinely whispering than thy Arcadian melodies when, in tones worthy of Arden, thou didst chant that song sung by Amiens to the banished Duke, which proclaims the winter wind more lenient than for a man to be ungrateful!"



THE MANNERLESS SEX.

To be told that the lily is not the flower of vestals, but of Venus, could not be more surprising than to be assured that the mannerless sex is not that of the troubadour Rudel, but of the Lady of Tripoli, to whom he sang. Such a suggestion is, of course, but a merry fancy. Could any critic, however inclined to misogyny, seriously allege ill-manners against the sex of Sidney's sister, Pembroke's mother? Yet this is precisely what has been recently done.

One censor enumerates and catalogues and classifies the sins against good manners of which the sex is guilty. He presents a philosophical analysis of the recondite forms of feminine discourtesy. It is the ancient sage again pitilessly exposing the Lamia. It is Circe out-Circed. He details the degrees of offence—in young women, in women who are no longer classed as girls, in nearly all women, in women with the fewest social duties. Then the boundless Sahara of ill-manners opening before him, and with a certain zest of unsparing scrutiny, he treats of the behavior of women in the horse-cars, at the railway station buying tickets, at the post-office, where the rule is imperative, first come first served, but where this chief of sinners presses for a reversal of the beneficent rule of equality in her favor.

Still more flagrant aspects of misconduct rise upon the censor's view of the sex. The shameful or shocking treatment by woman of those whom she holds to be her inferiors cries to Heaven. Her heartless detention of railway porters staggering under their burdens, her browbeating of "tradespeople," cause this observer of fine susceptibilities and an acute sense of the becoming to lament the desuetude of the ducking-stool. The more general outrage, however, apparently common to the sex from Helen of Troy to Florence Nightingale, is, according to our censor, the spite of women towards each other, which mounts into an ecstasy of rudeness when "woman goes a-shopping."

But our Cato the elder does not permit man truculently to exalt himself by contrast with discourteous woman. He expressly disclaims the declaration of the implication that man is mannerly, while woman is not. In many men he remarks indifference to rudimentary courtesies, and in many women a gentle regard for others which deserves even eulogy. The sum of the whole matter, nevertheless, is that the average woman is more neglectful of common courtesy than the average man.

"And no wonder," exclaims Cato the younger, "for the foolish fondness of man teaches her discourtesy." If man, instead of giving her his seat in the railway car, and slavishly removing his hat in the elevator, and acquiescing in her tyrannical hat at the theatre, insisted upon his legal rights in a bargain, and required the railroad company to furnish without evasion the commodity of seats for which it has been paid, or if he brought the manager to task for allowing one of his customers to steal what he has sold to another—namely, a view of the play—the world would tremble on the edge of the millennium of good manners.

This terrible arraignment is a comprehensive accusation of selfishness against the sex. But it seems to be a generalization founded on a local and restricted observation. It is true of the woman of many artists and critics. The women of Du Maurier, for instance, belong to "a set," but they are not representatives of a sex. Becky Sharp is no more a typical woman than Amelia, or Scott's Rebecca. Major Dobbin is as much a type of men as Lord Steyne. Should our social censor sequester himself for a time in any remote rural community, it would hardly occur to him to signalize the sex of the rural wives and mothers as the selfish sex. And in town, although there are a few fleeting hours of flattered youth in which the beautiful and fortunate Helen may tread on air and breathe adulation until she feels herself a goddess, yet a newer and younger Helen is always gently pushing her from the throne. Of all seasons that of blossoms is the briefest, and the maturer Helen, of whom the sex is composed, is not wayward and selfish, is no longer "uncertain, coy, and hard to please," but patient, self-sacrificing, and true.

Man was self-convicted from the beginning. Could there be more ineffable selfishness than Adam's plea in the garden? "The woman whom thou gavest to be with me, she gave me of the tree and I did eat." Had Eve been of no finer stuff than he, she would have left him there. But his craven answer at once revealed the essential weakness that demanded the devoted stay of unselfish constancy. Were woman the ever-selfish, Eve would have abandoned Adam to himself while she tripped to solitary pastures new. But the same quality that sustains the secluded farmer and his household in the hills supported the timid tiller of the first garden as the sword flamed behind him over the closing gate of Eden. If Adam plained that Eve had lost him Paradise, does not every son of Adam own that she has regained it for him?

The watchful traveller in city cars, or wherever his fate may guide, is not struck by the discourtesy of the gentler sex. The observable phenomenon in city transit is the resolute, aggressive, conscious selfishness of man hiding behind a newspaper, with an air of unconsciousness designed to deceive, or brazening it out with an uneasy aspect of defending his rights. This is the spectacle, and not a supercilious assumption on the part of the shop-girl. Her courteous refusal to take a seat, or courteous acceptance of it, is more familiar than the courteous proffer.

Cato the younger suggests that it is a wrong that seats should not be provided, and holds that the company should be compelled to furnish the accommodation for which it is paid. It is a Daniel come to judgment, but how shall it be done? Shall men keep their seats until, by sheer shame, and in deference to indignant public protest, the company does its duty? But would the shame and indignation be due to the consciousness that the accommodation paid for was not provided? Would they not arise rather from the consciousness of the peculiar wrong that the gentler sex should be so incommoded? And, if so, while the incommodation lasts, what but the selfishness of men devolves it upon women! But if men should agree to surrender their seats that women should be first accommodated, is there any doubt that the wrong would be speedily righted? And to what would this be due but to the fact that the selfishness of men would insist upon the comfort of which, while the incommodation lasts, they deprive women?

Indeed, if all men in crowded cars should resolutely keep all women standing, the wrong would not be righted, because women would submit with unselfish patience, and because corporations have no souls. The better plan, therefore, is that all men shall refuse to see a woman stand, because if men are really discomforted by their own courtesy they will compel redress.

In a world turned topsy-turvy, where Cordelia and Isabella and Juliet were mannerless, the other sex might be eulogized by distinction as mannerly. But in this world is the gentle Bayard as truly the type of the average man as Jeanie Deans of the average woman?



ROBERT BROWNING IN FLORENCE.

It is more than forty years since Margaret Fuller first gave distinction to the literary notices and reviews of the New York Tribune. Miss Fuller was a woman of extraordinary scholarly attainments and intellectual independence, the friend of Emerson and of the "transcendental" leaders, and her critical papers were the best then published, and were fitly succeeded by those of her scholarly friend, George Ripley. It was her review in the Tribune of Browning's early dramas and the "Bells and Pomegranates" that introduced him to such general knowledge and appreciation among cultivated readers in this country that it is not less true of Browning than of Carlyle that he was first better known in America than at home.

It was but about four years before the publication of Miss Fuller's paper that the Boston issue of Tennyson's two volumes had delighted the youth of the time with the consciousness of the appearance of a new English poet. The eagerness and enthusiasm with which Browning was welcomed soon after were more limited in extent, but they were even more ardent, and the devoted zeal of Mr. Levi Thaxter as a Browning missionary and pioneer forecast the interest from which the Browning societies of later days have sprung. When Matthew Arnold was told in a small and remote farming village in New England that there had been a lecture upon Browning in the town the week before, he stopped in amazement, and said, "Well, that is the most surprising and significant fact I have heard in America."

It was in those early days of Browning's fame, and in the studio of the sculptor Powers, in Florence, that the youthful Easy Chair took up a visiting-card, and, reading the name Mr. Robert Browning, asked, with eager earnestness, whether it was Browning the poet. Powers turned his large, calm, lustrous eyes upon the youth, and answered, with some surprise at the warmth of the question:

"It is a young Englishman, recently married, who is here with his wife, an invalid. He often comes to the studio."

"Good Heaven!" exclaimed the youth, "it must be Browning and Elizabeth Barrett."

Powers, with the half-bewildered air of one suddenly made conscious that he had been entertaining angels unawares, said, reflectively, "I think we must have them to tea."

The youth begged to take the card which bore the poet's address, and, hastening to his room near the Piazza Novella, he wrote a note asking permission for a young American to call and pay his respects to Mr. and Mrs. Browning, but wrote it in terms which, however warm, would yet permit it to be put aside if it seemed impertinent, or if, for any reason, such a call were not desired. The next morning betimes the note was despatched, and a half-hour had not passed when there was a brisk rap at the Easy Chair's door. He opened it, and saw a young man, who briskly inquired,

"Is Mr. Easy Chair here?"

"That is my name."

"I am Robert Browning."

Browning shook hands heartily with his young American admirer, and thanked him for his note. The poet was then about thirty-five. His figure was not large, but compact, erect, and active; the face smooth, the hair dark; the aspect that of active intelligence, and of a man of the world. He was in no way eccentric, either in manner or appearance. He talked freely, with great vivacity, and delightfully, rising and walking about the room as his talk sparkled on. He heard, with evident pleasure, but with entire simplicity and manliness, of the American interest in his works and in those of Mrs. Browning, and the Easy Chair gave him a copy of Miss Fuller's paper in the Tribune.

It was a bright and, to the Easy Chair, a wonderfully happy hour. As he went, the poet said that Mrs. Browning would certainly expect to give Mr. Easy Chair a cup of tea in the evening, and with a brisk and gay good-bye, Browning was gone.

The Easy Chair blithely hied him to the Cafe Done, and ordered of the flower-girl the most perfect of nosegays, with such fervor that she smiled, and when she brought the flowers in the afternoon, said, with sympathy and meaning: "Eccola, signore! per la donna bellissima!"

It was not in the Casa Guidi that the Brownings were then living, but in an apartment in the Via della Scala, not far from the place or square most familiar to strangers in Florence—the Piazza Trinita. Through several rooms the Easy Chair passed, Browning leading the way, until at the end they entered a smaller room arranged with an air of English comfort, where, at a table, bending over a tea-urn, sat a slight lady, her long curls drooping forward. "Here," said Browning, addressing her with a tender diminutive—"here is Mr. Easy Chair." And, as the bright eyes but wan face of the lady turned towards him, and she put out her hand, Mr. Easy Chair recalled the first words of her verse he had ever known:

"'Onora, Onora!' her mother is calling, She sits at the lattice, and hears the dew falling, Drop after drop from the sycamore laden With dew as with blossom, and calls home the maiden. 'Night cometh, Onora!'"

The most kindly welcome and pleasant chat followed, Browning's gayety dashing and flashing in, with a sense of profuse and bubbling vitality, glancing at a hundred topics; and when there was some allusion to his "Sordello," he asked, quickly, with an amused smile, "Have you read it?" The Easy Chair pleaded that he had not seen it. "So much the better. Nobody understands it. Don't read it, except in the revised form, which is coming." The revised form has come long ago, and the Easy Chair has read, and probably supposes that he understands. But Thackeray used to say that he did not read Browning because he could not comprehend him, adding, ruefully, "I have no head above my eyes."