Blackwood's Edinburgh Magazine, Volume 62, Number 361, November, 1845.

So far Clarke – the accomplished and famed traveller of Cambridge. We now give a favourable specimen of Bishop Heber – his companion in traversing Russia – the celebrated author, in early life at Oxford, of Palestine, the amiable and upright Bishop of Calcutta, whose life, if ever that could be said of mortal, was literally spent in doing good. This accomplished and excellent prelate thus describes the first view of the Himalaya range and the summits of Nundidevi, the highest mountain in the world, neatly 5000 feet above the loftiest peak of Chimborazo.

"After coasting the lake for a mile, we ascended for thirteen more by a most steep and rugged road over the neck of Mount Gaughur, through a succession of glens, forests, and views of the most sublime and beautiful description. I never saw such prospects before, and had formed no adequate idea of such. My attention was completely strained, and my eyes filled with tears; every thing around was so wild and magnificent that man appeared as nothing, and I felt myself as if climbing the steps of the altar of the great temple of God. The trees, as we advanced, were in a large proportion fir and cedar; but many were ilex, and to my surprise I still saw, even in these wild Alpine tracts, many venerable Peepul trees, on which the white monkeys were playing their gambols. Tigers used to be very common and mischievous; but since the English have begun to frequent the country, they have become very scarce. There are many wolves and bears, and some chamois, two of which passed near us. After wending up

'A wild romantic chasm, that slantedDown the steep hill athwart a cedar cover —A savage place, as holy and enchantedAs e'er beneath the waning moon was hauntedBy woman's wailing for her demon lover,'

we arrived at the gorge of the Pass, in an indent between the two principal summits of Mount Gaughur, near 8600 feet above the sea. And now the snowy mountains, which had been so long eclipsed, opened upon us in full magnificence. To describe a view of this kind is only lost labour: and I found it nearly as impossible to make a sketch of it. Nundidevi was immediately opposite, Kedar Nath was not visible, but Marvo was visible as a distant peak. The eastern mountains, for whom I could procure no name, rose into great consequence, and were very glorious objects as we wound down the hill on the other side. The guides could only tell us they were a great way off, and on the borders of the Chinese empire. Nundidevi, the highest peak in the world, is 25,689 feet above the sea, 4000 higher than Chimborazo. Bhadinath and Kedernath, which are merely summits of it, are 22,300 feet high. They are all in the British dominions." – (Heber's India, Vol. ii. pp. 193-194, 209.)

On comparing the descriptions of the most interesting objects in Europe and Asia – Greece and the Himalaya range – by these two distinguished British travellers, with the pictures given by Humboldt of the Andes, the falls of the Orinoco, the forests of the same river, and the expanse of the Pampas in South America, every one must admit the great superiority of the German's powers of painting Nature. Neither Clarke nor Heber appear to attempt it. They tell you, indeed, that certain scenes were grand and beautiful, certain rocks wild, certain glens steep; but they make no attempt to portray their features, or convey to the reader's mind the pictures which they tell you are for ever engraven on their own. This is a very great defect, so great indeed that it will probably prevent their works, how valuable soever as books of authority or reference, from ever acquiring lasting fame. It is a total mistake to say that it is in vain to attempt describing such scenes; that is the same mistake as was formerly committed by pacific academical historians, who said it was useless to attempt painting a battle, for they were all like each other. How like they really are to each other, has been shown by Colonel Napier and many other modern historians. We question if even the sight of the rapids of the Orinoco would make so vivid an impression on the imagination, as Humboldt's inimitable description; or a journey over the Pampas or the Andes, convey a clearer or more distinct idea of their opposite features than what has been derived from his brilliant pencil. It is the same with all the other scenes in nature. Description, if done by a masterly hand, can, to an intelligent mind, convey as vivid an idea as reality. What is wanting is the enthusiasm which warms at the perception of the sublime and the beautiful, the poetic mind which seizes as by inspiration its characteristic features, and the pictorial eye which discerns the appearances they exhibit, and by referring to images known to all, succeeds in causing them to be generally felt by the readers.

With all Humboldt's great and transcendent merits, he is a child of Adam, and therefore not without his faults. The principal of these is the want of arrangement. His travels are put together without any proper method; there is a great want of indexes and tables of contents; it is scarcely possible, except by looking over the whole, to find any passage you want. This is a fault which, in a person of his accurate and scientific mind, is very surprising, and the more inexcusable that it could so easily be remedied by mechanical industry, or the aid of compilers and index-makers. But akin to this, is another fault of a more irremediable kind, as it originates in the varied excellences of the author, and the vast store of information on many different subjects which he brings to bear on the subject of his travels. He has so many topics of which he is master himself, that he forgets with how few, comparatively, his readers are familiar; he sees so many objects of enquiry – physical, moral, and political – in the countries which he visits, that he becomes insensible to the fact, that though each probably possesses a certain degree of interest to each reader, yet it is scarcely possible to find one to whom, as to himself, they are all alike the object of eager solicitude and anxious investigation. Hence, notwithstanding his attempt to detail his personal narrative from the learned works which contain the result of his scientific researches, he has by no means succeeded in effecting their separation. The ordinary reader, who has been fascinated by his glowing description of tropical scenery, or his graphic picture of savage manners, is, a few pages on, chilled by disquisitions on the height of the barometer, the disk of the sun, or the electricity of the atmosphere; while the scientific student, who turns to his works for information on his favourite objects of study, deems them strangely interspersed with rhapsodies on glowing sunsets, silent forests, and sounding cataracts. It is scarcely possible to find a reader to whom all these objects are equally interesting; and therefore it is scarcely to be expected that his travels, unrivalled as their genius and learning are, will ever be the object of general popularity.

In truth, here, as in all the other branches of human thought, it will be found that the rules of composition are the same, and that a certain unity of design is essential to general success or durable fame. If an author has many different and opposite subjects of interest in his head, which is not unfrequently the case with persons of the higher order of intellect, and he can discant on all with equal facility, or investigate all with equal eagerness, he will do well to recollect that the minds of his readers are not likely to be equally discursive, and that he is apt to destroy the influence, or mar the effect of each, if he blends them together; separation of works is the one thing needful there. A mathematical proposition, a passage of poetry, a page of history, are all admirable things in their way, and each may be part of a work destined to durable celebrity; but what should we say to a composition which should present us, page about, with a theorem of Euclid, a scene from Shakspeare, and a section from Gibbon? Unity of effect, identity of train of thought, similarity of ideas, are as necessary in a book of travels as in an epic poem, a tragedy, or a painting. There is no such thing as one set of rules for the fine arts, and another for works of thought or reflection. The Iliad is constructed on the same principles as the Principia of Newton, or the history of Thucydides.

What makes ordinary books of travels so uninteresting, and, in general, so shortlived, is the want of any idea of composition, or unity of effect, in the minds of their authors. Men and women seem to think that there is nothing more to do to make a book of travels, than to give a transcript of their journals, in which every thing is put down of whatever importance, provided only it really occurred. Scenes and adventures, broken wheels and rugged rocks, cataracts and omelets, lakes and damp beds, thunderstorms and waiters, are huddled together, without any other thread of connexion than the accidental and fortuitous one of their having successively come under the notice of the traveller. What should we say to any other work composed on the same principle? What if Milton, after the speech of Satan in Paradise Lost, were to treat us to an account of his last dinner; or Shakspeare, after the scene of the bones in Juliet, were to tell us of the damp sheets in which he slept last night; or Gibbon, after working up the enthusiasm of his readers by the account of the storming of Constantinople by the Crusaders, was to favour us with a digression on the insolence of the postilions in Roumelia? All the world would see the folly of this: and yet this is precisely what is constantly done by travellers, and tolerated by the public, because it is founded on nature. Founded on nature! Is every thing that is actually true, or real, fit to be recorded, or worthy of being recounted? Sketches from nature are admirable things, and are the only foundation for correct and lasting pictures; but no man would think of interposing a gallery of paintings with chalk drawings or studies of trees. Correctness, fidelity, truth, are the only secure bases of eminence in all the arts of imitation; but the light of genius, the skilful arrangement, the principles of composition, the selection of topics, are as necessary in the writer of travels, as in the landscape painter, the historian, or the epic poet.

HAKEM THE SLAVE

A Tale extracted from the History of Poland

Chapter I

Albert Glinksi, the powerful, ostentatious, and intriguing Duke of Lithuania, was passing, distinguished by his glancing plume and gorgeous mantle, through one of the more retired streets of the city of Cracow, at this time (a. d. 1530) the capital of Poland, when a domestic wearing the livery of the palace deferentially accosted him.

"Her Majesty," he said, "commands me to deliver these tablets into your hands; you dropped them in the palace."

"I dropped no tablets," replied the duke; but instantly added, "Yes, they are mine – Give them me."

He took from the hands of the domestic certain tablets of ivory, which folded into a case of gold exquisitely wrought by one of the most skilful artists of Italy, and dismissed the bearer with a liberal gratuity for his services.

"Ha! my excellent Bona! youthful bride of our too aged monarch Sigismund!" said the duke to himself when he was left alone. "Each day some new device. What have we in these tablets? Here, in the corner of each leaf, I see a solitary figure finely pencilled in, which to any other eye than mine would mean nothing, but which tells me that at eight o'clock this evening you will receive your favoured duke. So, so! But, charming Bona! it is not love – loveable as you are – it is not love – it is ambition gives its zest, and must bring the recompense to this perilous intrigue. The Duke of Lithuania is no hot-brained youth to be entangled and destroyed by a woman's smiles. To have a month's happiness, as men phrase it, and then the midnight dagger of a jealous monarch – I seek no such adventures. It is the crown of Poland – yes, the crown – that you must help me to, fair lady."

As he stood reflecting on his ambitious schemes, his rival in the state, Count Laski, minister and chancellor of the king, passed by him on his way to the palace. The duke, assuming a frank and cordial manner, called to him. Laski paused. "What would the Duke of Lithuania?" he asked in his usual calm and reserved manner.

"Peace!" replied the duke – "amicable terms. Political opponents it seems we are destined to be. The world gives us out as the selected champions of two hostile factions. You affect the commons, I side with the nobility. Be it so. But there exists between us, I hope, a mutual respect; and it would be my greatest boast if, in spite of this political antagonism, I might reckon Count Laski amongst my personal friends."

A derisive smile played upon the countenance of the chancellor as he replied – "Such friendship, my lord, as is consistent with perpetual strife – open and concealed – shall, if it please you, subsist between us. Pardon me, but we prate a silly jargon when we talk of private friendship and public hostility."

"At all events," rejoined the duke, "political rivalry does not exclude the practice of the courtesies of life. It has been reported to me that you admire the marble statue of a nymph which an Italian sculptor has lately wrought for me. I, on my part, have envied you the possession of a certain Arab slave, a living statue, a moving bronze, that you have amongst your retainers. Let us, like Homeric heroes, make an exchange. Give me your statue-man, your swart Apollo, and accept from me what many have been pleased to call the living statue."

Glinski had a secret motive for the acquisition of this slave: his known fidelity, his surprising address and power, had protected the life of the minister against more than one scheme of assassination.

"The exchange," replied Laski, "is too much in my favour. Your Italian marble would purchase a hundred slaves. It would be a present in disguise; and you know my rule – even from his Majesty himself I never receive."

"Yes, we know your tyrannous munificence; but this," said the duke with a smile, "shall be pure barter."

"What say you, then," said the count, "to those golden tablets which you hold in your hand? Give me leave to look at them. They might suit my pedantic way of life. But," added he, as he examined their delicate workmanship, "came you honestly by this toy, my lord? What fair frailty have you cheated of this knack, that never, I will be sworn, was a man's marketing?"

"I am glad to hear so grave a gentleman indulge so pleasant a view," said the duke.

As Count Laski was handling the tablets, he touched, whether by accident or design, a spring that had not been observed by him to whom the present had been sent. The outer case flew back, and disclosed a miniature of the queen!

"I have been indiscreet," said the count, and immediately folded up and returned the tablets. "This is perilous ware to deal in, Duke of Lithuania. Have you aught else in the way of honest barter to propose?"

"What you may infer," said the duke, reddening with anger, and grievously embarrassed at his discovery – "What you may infer from this silly bauble I shall not be at the pains to enquire. I addressed you, my lord, in courteous and amicable terms; you have ill responded to them; our conversation had better close here."

"As you will," said the chancellor, bowing; and he continued his way towards the palace, with the same deliberate step with which he was proceeding when accosted by the duke.

"He is master of our secret," muttered the duke. "He or I" —

Chapter II

In an apartment of the palace fitted up with every luxury her native Italy could supply, sat Bona, the young and beautiful queen of Poland. She is known to have transplanted into that northern clime, not only the arts and civilization of her own genial soil, but also the intrigue and voluptuousness, and the still darker crimes for which it was celebrated. Daughter of the crafty Sforza, Duke of Milan, educated in a city and at a court where pleasure reigned predominant, married out of policy to a monarch many years older than her own father, it was almost to be expected that she should seek, in the society of some gay cavalier, a compensation for this banishment to a northern country, and a sexagenarian spouse. Nor had she hesitated long in her choice. Albert Glinski, Duke of Lithuania, who, though he was the father of a son ripening into manhood, was still in the vigour of life, and surpassed all his younger rivals in grace of manner and charm of conversation, had soon fixed her regard, and won whatever of affection or love the luxurious princess had to bestow.

She now sat waiting his arrival. Punctually at the hour of eight he entered. If any observer could have watched the duke as he traversed the corridor which led to the queen's apartment, he would have had great difficulty in believing that it was a favoured lover that was passing before him; so serious a brow did he wear, and so deep an air of abstraction was there on his countenance. No sooner, however, did he enter that apartment, than, by a sudden effort, his countenance lit up; his manner grew free and unrestrained, and he assumed that mingled tone of gaiety and pathos so effective with the fair sex. Never had the queen felt more entirely convinced of the merits of her cavalier; never had she more thoroughly approved of the choice she had made.

When this favourable disposition was at its height, the duke, adopting gradually a more serious tone of conversation, said —

"Has it never occurred to you, charming Bona, that the most exalted of your sex share with the humblest this one privilege – love alone must be the motive which brings a suitor to their feet. That passion must be genuine, must be fever-high, which makes a subject quite forget his Queen in the lovely woman before him, and tempts him to dare the vengeance of a Monarch, as well as of a husband."

"True, there is danger – perhaps to both of us," she replied, "but it daunts us not."

"No; – but it is at hand."

"What mean you, Glinski?"

"We are betrayed."

"How? – by whom?"

"How, or by whom, it matters little; but that subtle demon, Count Laski, knows that which in his hands is a warrant for our destruction."

"What is to be done? We will bribe him. All my jewels, all my hoards shall go to purchase his silence."

"Bribe Laski! bribe the north wind! bribe destiny itself, whose nature it is to distribute good and ill, but to feel neither. No, but I would have a dagger in his throat before the night were passed, but that his short light slumbers are guarded by a slave of singular power, whom the villains fear to attack. I had meant to beg or buy of him this same fierce automaton, but something broke off the treaty."

"We will poison the mind of the king against him: he shall be dismissed from all his offices."

"That poison is too slow. Besides, if he once communicate his suspicions to the king – which at this very moment he may be doing – see you not, that it is no longer the minister, but the jealous monarch that we have to guard against. Hear me, Bona, one of two fates must now be mine. Death – or thy hand, and with it the crown of Poland. Do not start. There is for me no middle station. You may be safe. A few tears, a few smiles, and the old king will lapse into his dotage."

"You speak in riddles, Glinski; I comprehend nothing of all this."

"Yet it is clear enough. Thus it stands: the Duke of Lithuania loved the wife of Sigismund, king of Poland. Love! – I call to witness all the saints in heaven! – love alone prompted his daring suit. But now that fortune has first favoured and then betrayed him, where think you does his safety lie? Where, but in the bold enterprises of ambition? His only place of refuge is a throne. He who has won a queen must protect her with a sceptre. You must be mine – my very queen – you must extend your hand and raise me to the royalty of Poland, or see my blood flow ignominiously upon the scaffold."

"I extend my hand!" exclaimed the agitated queen, "how can a feeble woman give or take away the crown of Poland?"

"Him who wears the crown – she can take away."

"Murder the king!" shrieked Bona.

"Or sentence me," replied the duke.

It was no affected horror that the queen here displayed. Though at a subsequent period of her life, if history speaks true, her imagination had grown familiar with deeds of this very nature, and she had become skilful in the art of poisoning, she was at this time young, and unpractised in crime, and received its first suggestions with the horror which it naturally inspires. She had sought for pleasure only in the society of Glinski; it was a cruel disappointment, it was a frightful surprise, to find herself thrust suddenly, with unsandaled feet, on the thorny path of ambition. She sank back on the couch where they had both been sitting, and, hiding her face in both her hands, remained in that position while the duke continued to unfold his schemes at greater length.

He represented to her that the possession of the duchy of Lithuania, the inhabitants of which were distinguished by their bravery and their turbulence, would enable him – should the king opportunely die – to seize upon the vacant throne of Poland; – that he had numerous and powerful friends among the nobility; – that he had already drawn together his Lithuanians, under pretence of protecting the frontier from the incursion of predatory bands; – that he intended immediately to place himself at their head, and march towards Cracow. Now, if at this moment the throne should suddenly become vacant, what power on earth could prevent him from ascending it, and claiming the hand of his then veritable queen? And then he expatiated on the happiness they should enjoy, when they should live in fearless union,

"Like gods together, careless of mankind."

"What is this," exclaimed Bona, suddenly starting up – "what is this you would tempt me to? You dare not even name the horrid deed you would have me commit. Avaunt! you are a devil, Albert Glinski! – you would drag me to perdition." Then, falling in tears upon his neck, she implored him not to tempt her further. "Oh, Albert! Albert!" she cried, "I beseech you, plunge me not into this pit of guilt. You can! I feel you can. Have mercy! I implore you, I charge you on your soul, convert me not into this demon. Spare me this crime!"

"Is it I alone," said the duke, who strove the while by his caresses to soothe and pacify her – "Is it I alone who have brought down upon us this distressful alternative? Neither of us, while love decoyed us on step by step, dreamed of the terrible necessity towards which it was hourly conducting us. But here we are– half-way up, and the precipice below. We must rush still upwards. There is safety only on the summit. Pause, and we fall. Oh, did you think that you, a queen, could play as securely as some burgher's wife the pleasant comedy of an amorous intrigue? No, no; you must queen it even in crime. High station and bold deed become each other. We are committed, Bona. It is choice of life or death. His death or ours. For – scarcely dare I breathe the thought – the sudden revenge of your monarch husband, whose jealousy at least, age has not tamed, may execute its purpose before his dotage has had time to return."

"Where do you lead me? What shall I become?" cried the bewildered queen. "I have loved thee, Albert, but I hate not him."

"I ask thee not to hate" —

"They married me to Sigismund out of state policy. You I have chosen for the partner of my heart, and I will protect you to the uttermost. Let things rest there – 'tis well enough."

"We will consult further of our plans, sweet Bona," said the duke, and, circling her with his arm, he led the weeping queen into an adjoining room.

The victory, he felt, was his.

Chapter III

The scene changes to an apartment of a very different style. We enter the house of the chancellor; but it is not the chancellor himself who is first presented to our view. In an antique Gothic chamber, in the decoration and structure of which the most costly material had been studiously united with the severest simplicity of taste, sat Maria, the only daughter and child of Count Laski. She sat at her embroidery. The embroidery, however, had fallen upon her lap; she leaned back, resigned to her meditations, in a massive arm-chair covered with purple velvet, which it is impossible not to think must have felt something like pride and pleasure as her slight and lovely form sank into it. It was a long reverie.