It is impossible to give an idea of the jerky style of the lady's singing which so tickled our sensitive ears. At every repetition of the refrain, Susy and I squeezed our locked fingers spasmodically in order to suppress the unseemly laughter bubbling to our lips. At every emphatic word she nodded at us merrily, thus adding to our inward disquiet.
I like now, when picturing Harriet Martineau entertaining with noble themes the men and women of letters she drew around her in England and America, to remember, in connection with her strong, plain face and brilliant intellect, the simple kindliness with which she once unbent to a brace of little Hoosier maids in the "Far West."
"Louis Agassiz: His Life and Correspondence[A]." Edited by Elizabeth Cary Agassiz. Boston: Houghton, Mifflin & Co.
The northeastern corner of the ancient Pays de Vaud, only part of which is included in the modern canton, is little known to tourists. It lies away from the chief lines of travel, and it has neither the magnificent views that draw the visitor aside to Orbe nor the associations that induce him to stop at Coppet or Clarens. Yet its breezy upland plains and its quiet villages—some of them once populous and prosperous towns—are not devoid of charm, or of the interest connected with historical epochs and famous names. The "lone wall" and "lonelier column" at Avenches date from the period when this was the Roman capital of Helvetia. Morat still shows many a mark and relic of its siege by Charles the Bold and of the overthrow of his forces by the Swiss. Payerne was the birthplace, in 1779, of Jomini, the greatest of all writers on military operations, whose precocious genius, while he was a mere stripling and before he had witnessed any battles or manoeuvres, penetrated the secret of Bonaparte's combinations and victorious campaigns, which veteran commanders were watching with mere wonderment and dismay. At Motiers, a few miles farther north, was born, in 1807, Louis Agassiz, who at an equally early age displayed a like intuitive comprehension of many of the workings of Nature, and who subsequently became the chief exponent of the glacial theory and the highest authority on the structure and classification of fishes. Each of these two men gave his ripest powers and longest labors to a great country far from their common home,—Jomini to Russia, Agassiz to the United States; and, dissimilar as were their objects and pursuits, their intellectual resemblance was fundamental. The pre-eminent quality of each was the power of rapid generalization, of mastering and subordinating details, of grasping and applying principles and laws. Agassiz differed as much from an animal-loving collector like Frank Buckland, whose father was one of his stanchest friends and co-workers, as Jomini differed from a fighting general like Ney, to whom he suggested the movements that resulted in the French victory at Bautzen. Switzerland is equally proud of the great strategist and the great naturalist, but to Americans in general the former is at the most a mere name, while the career of the latter is an object of wide-spread and even national interest.
In the volumes before us the story of that career is clearly and completely, yet concisely, set forth. Readers of biography who delight mainly in social gossip may complain of the absence of everything of the kind; but such matter neither belonged to the subject nor was required for its elucidation. We are prone to draw a distinction between what we call a man's personal life and the larger and more active part of his existence, and to fancy that the clue to his character lies in some minor idiosyncrasies, or in habits and tastes that were perhaps accidentally formed. But every earnest worker reveals in his methods and achievements not alone his intellectual capacities, but all the deep and essential qualities of his nature. With Agassiz this was conspicuously the case. The enthusiasm, the singleness of purpose, and the indefatigable energy that constituted the fond, so to speak, of his character were as open to view as the features of his countenance. Hence the single and strong impression he produced on all with whom he came in contact, the sympathy he so quickly kindled, and the co-operation he so readily enlisted. It was easily perceived that he was no self-seeker, that no thought of personal interest mingled with his devotion to science, and that he was not more intent on absorbing knowledge than desirous of diffusing it. No one has ever more fully and happily blended the qualities of student and teacher, and it was in this double capacity that he became so public and prominent a figure and exerted so wide an influence in the country of his adoption.
Some men overcome obstacles and attain their ends by sheer persistency of will, others by tact and persuasiveness, while there is a third class, before whom the barred doors open as they are successively approached, through what are called either fortunate accidents or Providential interventions, but are seen, on closer inspection, to have been the direct and natural effects of the force unconsciously exerted by an harmonious combination of qualities. Agassiz's career was full of such instances. The insistent desire of his parents, while stinting themselves to secure his education, that he should adopt a bread-winning profession, yielded, not to any urgent appeals or dogged display of resolution, but to the proof given by his labors that he was choosing more wisely for himself. Cuvier, without any request or expectation, resigned to the neophyte who, after following in his footsteps, was outstripping him in certain lines, drawings and notes prepared for his own use. Humboldt, at a critical moment, saved him from the necessity for abandoning his projects by an unsolicited loan, supplemented by many further acts of assistance of a different kind. In England every possible facility and aid was afforded to him as well by private individuals as by public institutions. In America, men like Mr. Nathaniel Thayer and Mr. John Anderson needed only in some chance way to become acquainted with his plans to be ready to provide the means for carrying them out. It was the same on all occasions. The United States government, the Coast Survey, the legislature of Massachusetts, private individuals throughout the country, showed a rare willingness, and even eagerness, to forward his views. The man and the object were identified in people's minds, and, as in all such cases, a feeling was roused and an impulse generated which could have sprung from no other source.
The attractiveness and charm which everybody seems to have found in him had perhaps the same origin. It does not appear that his nature was peculiarly sympathetic, that it was through any unusual flow and warmth of feeling toward others that he so quickly became the object of their attachment or regard. Of course, we do not intend to intimate that he was deficient in strength of affection or in the least degree cold or unresponsive. But his "magnetism," to use the current word, lay in the ardor and singleness of his devotion to science, not as an abstraction, but as a potent agency in civilization, in the union of elevation with enthusiasm, in an openness that seemed to reveal everything, yet nothing that should have been hidden. Hence this biography, little as it deals with purely personal matters, awakens an interest of precisely the same kind as that which the living Agassiz was accustomed to excite. For the student of comparative zoology or of glacial action all that is here told about these subjects can have only an historical value. But no reader can follow the successive steps of a career that was always in the truest sense upward without being touched by that inspiring influence which it constantly diffused, and which Americans, above all others, have reason to hold in grateful remembrance.
"The Sermon on the Mount." Boston: Roberts Brothers.
"Poems of Nature." By John Greenleaf Whittier. Illustrated from Nature by Elbridge Kingsley. Boston and New York: Houghton, Mifflin & Co.
"Childe Harold's Pilgrimage." A Romaunt. By Lord Byron. Boston: Ticknor & Co.
"The Last Leaf." Poem. By Oliver Wendell Holmes. Illustrated by George Wharton Edwards and F. Hopkinson Smith. Boston: Houghton, Mifflin & Co.
"Pepper and Salt; or, Seasoning for Young Folks." Prepared by Howard Pyle. New York: Harper & Brothers.
"Davy the Goblin; or, What Followed Reading 'Alice's Adventures in Wonderland,'" By Charles E. Carryl. Boston; Ticknor & Co.
"Bric-à-Brac Stories." By Mrs. Burton Harrison. Illustrated by Walter Crane. New York: Charles Scribner's Sons.
"Rudder Grange." By Frank R. Stockton. Illustrated by A.B. Frost. New York: Charles Scribner's Sons.
In turning over the pictorial books of the season one experiences a genuine pleasure in coming upon this illustrated edition of "The Sermon on the Mount," which belongs to a high order of merit from its satisfactory interpretation of the subject and the beauty of its general design and careful detail. It is, of course, a modern performance, and nothing is more characteristic of most modern art than that it does consciously, from reminiscence and with a reaching after certain effects, what was once done simply, intuitively, and from the urgency of poetic feeling. A great difference must naturally exist not only in the outward mode but in the spirit of a group of modern artists who set to work to illuminate a sacred text, and that in which the task was undertaken by cloistered monks in whose gray lives a longing for beauty, for color, found expression only here. Thus one realizes that the decorative borders—which one looks at over and over again in this volume, and which actually satisfy the eye—do not represent the artist's own actual dreams, but are founded instead upon the ecstatic visions of Fra Angelico and others as they bent over their work in their silent cells; but they are beautiful nevertheless, far transcend what is merely decorative, and are full of imagination and feeling. In fact, into this frame-work, which might have contained nothing beyond conventional imitation, Mr. Smith has put vivid touches which show that he has the faculty to conceive and the skill to handle which belong to the true artist. It would be easy to instance several of these borders as remarkably good in their way: that which surrounds the "Lord's Prayer" suggests dazzling effects in jewelled glass. The book is made up in a delightful way, with full-page pictures interspersed with vignettes illustrating the text and set round with those richly-designed borders to which we have alluded. Mr. Fenn's pictures of actual places in the Holy Land, besides striking the key-note of veracity which puts us in a mood to see the whole story under fresh lights, are full of beauty and charm. We are inclined to like everything in the book, although in the various ways in which the beatitudes are interpreted we are conscious of some incongruities, and wish that certain illustrations had made way for designs showing more unity of conception among the artists. For instance, Mr. Church's introduction of a New England scene of tomahawking Indians cannot be said to throw a flood of light upon the meaning of "Blessed are they that are persecuted for righteousness' sake." Mr. St. John Harper's pictures are a trifle obscure; but their obscurity veils their want of pertinence and suggests subtilties that flatter the imagination into fitting the application to suit itself. Any mention of the book which failed to include Mr. Copeland's work on the engrossed text would be altogether inadequate, for it is very perfect, very beautiful, full of surprises and delightful quaintnesses, and helps to make the book what it actually is, a complete whole, which really answers our wishes of what an illustrated book should be.
Mr. Whittier's "Poems of Nature" make the felicitous occasion this year for one of Messrs. Houghton & Mifflin's rich and attractive series of their authors' selected works. An admirable etching of the poet faces the title-page, and the poems, chiefly descriptive of New England scenes, are illustrated by designs from nature, the work of a single artist. That Mr. Kingsley is in sympathy with the poet, and that he is an impassioned lover of nature and the various moods of nature, no one can doubt, and the impression of truthfulness which his work produces on the mind makes his pictures interesting and full of sentiment even when they are not entirely successful. Perhaps he aims in general at rather too large effects to bring them out vividly; for when the scene he chooses is least composite he is at his best. "Deer Island Pines," for example, and "The Merrimac" are excellent, and we find much charm in "A Winter Scene" and in a Boughton-like "November Afternoon."
There is a certain temerity in undertaking to illustrate a work like "Childe Harold," which, if it has been read at all, has aroused its own distinct conceptions of scenery in the mind of its reader which must make any ordinary pictures setting off familiar lines tame and insipid. It is the triumph of art when the artist can bring out meanings and beauties in the text hitherto undreamed of; but we acquit the artists of the present book of any failure in that respect, for their intention seems never to have gone beyond amiable commonplace. The little cuts are all pleasant, trim, and, if not suggestive, at least not sufficiently the reverse to be displeasing. The head-pieces to the cantos are extremely good, and the two scenes "There is a pleasure in the pathless woods" and "There is a rapture on the lonely shore" we like sufficiently well to exempt them from the accusation of insipidity.
Happy the poet who lives to see one of the poems he carelessly flung off in early youth come back to him in his old age in such a setting as is here given to Dr. Holmes's "Last Leaf." "Just when it was written," the author says in his delightful and characteristic "Envoi" to the reader, "I cannot exactly say, nor in what paper or periodical it was first published. It must have been written before April, 1833,"—that is, when he was in the early twenties. The poem has always been a favorite, its sentiment suggesting Lamb's "All, all are gone, the old familiar faces." It must henceforth be ranked as a classic, for it is the happy destiny of the two artists who have worked together to give it this exquisite setting forth to make its actual worth clear to every reader. They have put nothing into the lines which was not there already, but they have shown fine insight in their choice of subjects and in conveying delicate and far-reaching meanings. They have subordinated—as designers do not invariably do—their instinctive methods and capricious inclinations to a careful study of their subject. The result is—instead of a pretty but chaotic decorativeness interspersed with florid and meaningless exaggerations—a complete and beautiful whole marred by no redundancy or incongruity. Their full play of intelligence brought to bear upon the suggestions of the poet has developed a series of pictures which give occasionally a delightful sense of surprise at their grace and unexpectedness. For example, the three which illustrate
have absolutely a magical effect. Besides the full-page pictures, etchings, and photo-gravures, the minor details of title-lines, head- and tail-pieces, and the like, are executed in a way so pretty and clever as to leave nothing to be desired. The rich quarto is sumptuously bound, and, altogether, as a holiday gift-book the work has every element of beauty and appropriateness.
"Pepper and Salt" is one of those brilliantly clever books for little people which rouse a wonder as to whether the juvenile mind keeps pace with the highly stimulated imaginative powers of modern artists and finds solid entertainment in the richly-seasoned feast prepared for it. There is plenty of humor and whim in this volume, in which many old apologues appear in new shapes; wit, too, is to be found, and a sprinkling of wisdom. Effective designs, droll, fantastic, and invariably ingenious, set off the least of the poems and stories, and make it as striking and attractive a quarto as will be found among the young people's books this season.
"Alice's Adventures in Wonderland" gave a new stimulus to children's literature, with its effective magic for youthful minds and its brilliant success among all classes of readers. "Davy the Goblin" is one of the many volumes which have been founded, so to say, on its idea and been carried along by its impulse. Thus little can be said for the actual originality of the book, although it deals in new combinations and abounds in droll situations. It is well printed and illustrated, and most children will be glad to have a new excursion into Wonderland.
Mrs. Burton Harrison's "Bric-à-Brac Stories," illustrated by Walter Crane, make an attractive volume with a good deal of solid reading within its covers. The stories are told with the verve and skill of a genuine story-teller, old themes are reset, and new material dexterously worked in, with characters drawn from fairy- and dream-land, and, set off by Mr. Crane's delightful drawings, the whole book is particularly attractive.
"Rudder Grange" is one of the books which it is essential to have always with us, and we are glad to see the stories so well illustrated, although the subject passes the domain of the artist, Mr. Stockton's humor being of that delicate and elusive order which strikes the inward and not the outward sense. "Pomona reading" in the wrecked canal-boat is a droll contribution, and many of the cuts show that the artist is in full harmony with the spirit of the author.