The Atlantic Monthly, Volume 05, No. 32, June, 1860

The evening passed quickly and agreeably. I played chess with the reverend prisoner. The man of war read steadily folio history of Marlborough's campaigns, making occasional references to maps and plans. As the clock struck nine, an explosion on the lawn made the windows rattle again. I jumped to my feet, but, seeing that the rest of the company looked surprised at my vivacity, I sat down, guessing that the six-pounder and the coachman had something to do with it.

"Don't be alarmed, Sir," said the General, "it's only gun-fire. We retire about this time."

I took the hint, requested to be shown to my room, undressed, jumped into a camp bedstead, and tried to sleep. Impossible!—the novelty of my day's experiences, the beauty of the night, (for the full moon was shining into the windows,) or perhaps a cup of strong coffee I had swallowed without milk after dinner because the others took it, kept me awake. Finding sleep out of the question, I got up and dressed myself. My chamber was on the ground-floor, and opened upon the lawn. I stepped quietly out into the hazy moonlight, lighted a cigar, and walked towards the river. It was a remarkably fine evening, certainly, but a very damp one. Heavy dew dripped from the trees. I found, as my weed grew shorter, that my fondness for the romantic in Nature waned, and slowly retraced my steps to the house, muttering to myself some of Edgar Poe's ghostly lines:—

"I stand beneath the mystic moon;An opiate vapor, dewey, dimExhales from out her golden rim,And softly dripping, drop by drop,Upon the quiet mountain-top,Steals drowsily and musicallyInto the universal valley."

I was about entering, when a figure advanced suddenly from behind a pillar of the veranda, holding a something in its hand which glittered in the moonlight, and which rattled as it dropped from the perpendicular to the horizontal, pointing at me.

"Who goes there?" said the apparition, in a hoarse voice. "Stand, and give the countersign!"

I recognized the voice of the soldier-servant of the morning. There he was again, that indefatigable coachman, doing duty as sentinel with a musket in his hands. Not knowing what else to say, I replied,—

"It is I, a friend!"

My good grammar was thrown away upon the brute.

"The countersign," he repeated.

"Pooh, pooh!" said I, "I do not know anything about the countersign. I am Mr. Shyster, who came up this morning, when you and the General were doing light-artillery practice on the lawn. Please let me go to my room."

But the brute stood immovable. As I advanced, I heard him cock his musket.

"Good God!" thought I, "this is no joke, after all. This stupid stable-man may have loaded his musket. What if it should go off? If I retreat, I must camp out,—no joke at this season;—rheumatism and a loss of salary, to say the least. This will never do."

And I screamed,—

"General! General Van Bummel!"

"Silence! or I'll march you to the guard-house," thundered the sentinel.

Luckily the General lay, like Irene, "with casement open to the skies." He heard the noise. I recognized his martial tones. I hurriedly explained my situation. He gave me the word; it was Eugene; countersign, Marlborough. This satisfied the Coach-Cerberus, and I passed into bed without further mishap.

The first sound I heard the next morning was the rat-tat-too of a drum. "There goes that d–d coachman again," I said to myself, and turned over for another nap; but a shrill bugle-call brought me to my seat.

Running to the window, I saw two men on horseback in dragoon equipments. The horses were the artillery-nags of yesterday; the riders, the General and his man-at-all-arms. Hurrying on my clothes, I got out of doors in time to see them go at a gallop across the lawn, leap a low hedge at the end of the grass-plot, and disappear in the orchard. Thither I followed fast to see the sport. They reached the boundary-line of the Van-Bummel estate, wheeled, and turned back on a trot. When the General espied me, he waved his sabre and shouted, "Charge!" They galloped straight at me. I had barely time to dodge behind an apple-tree, when they passed like a whirlwind over the spot I had been standing on, and covered me with dirt from the heels of their horses. I walked back to the house, very much annoyed, as men are apt to be, when they think they have compromised their dignity a little by dodging to escape danger from another's mischief or folly. At breakfast, accordingly, I remonstrated with the chief; but he only laughed, and asked me why I did not form a hollow square and let the front rank kneel and fire.

"As soon as you have finished your coffee," he added, "I will take you into the trenches, and there you will be out of danger."

I could not refuse. The trenches were at the bottom of the garden, near the entrance-drive. I had seen them yesterday, and in my ignorance thought of celery; now, I knew better. This morning, a tent was pitched a few yards from a long low wall of sods; and between the tent and the sods there was a small trench, about large enough to hold draining-tiles. Pointing to the wall, the general said,—

"There is Sebastopol," (pronouncing it correctly, accent on the to,) "and here," turning to the tent, "are my head-quarters. My sappers have just established a mine under the Quarantine Battery. In a few moments I shall blow it up, and storm the breach, if we make a practicable one."

Here the Protean coachman made his appearance with a leather apron and a broad-axe. He signified that all was ready. A lucifer was rubbed upon a stone, the train ignited, bang went the mine, and over went we all three, prostrated by a shower of turf and mud. The mine had exploded backward, and had annihilated the storming party. Fortunately, the General had economised in powder. Gradually we picked ourselves up, considerably bewildered, but not much hurt. Van Bummel attempted to explain; but I had had enough of war's alarms, and yearned for the safety and peace of Nassau Street. So I bade the warrior good-morning, and took the first down-train, multa mecum volvens; "making a revolver of my mind," Van Bummel would have translated it. I knew that our soil produced more soldiers even than France, the fertile mother of red-legged heroes; but I did not expect, in the Nineteenth Century and in the State of New York, to have beheld an avatar of the God Mars.

* * * * *

THINE

The tide will ebb at day's decline:Ich bin dein!Impatient for the open sea,At anchor rocks the tossing ship,The ship which only waits for thee;Yet with no tremble of the lipI say again, thy hand in mine,Ich bin dein!I shall not weep, or grieve, or pine.Ich bin dein!Go, lave once more thy restless handsAfar within the azure sea,—Traverse Arabia's scorching sands,—Fly where no thought can follow thee,O'er desert waste and billowy brine:Ich bin dein!Dream on the slopes of Apennine:Ich bin dein!Stand where the glaciers freeze and frown,Where Alpine torrents flash and foam,Or watch the loving sun go downBehind the purple hills of Rome,Leaving a twilight half divine:Ich bin dein!Thy steps may fall beside the Rhine:Ich bin dein!Slumber may kiss thy drooping lidsAmid the mazes of the Nile,The shadow of the PyramidsMay cool thy feet,—yet all the while,Though storms may beat, or stars may shine,Ich bin dein!Where smile the hills of Palestine,Ich bin dein!Where rise the mosques and minarets,—Where every breath brings flowery balms,—Where souls forget their dark regretsBeneath the strange, mysterious palms,—Where the banana builds her shrine,—Ich bin dein!Too many clusters break the vine:Ich bin dein!The tree whose strength and life outpourIn one exultant blossom-gushMust flowerless be forevermore:We walk this way but once, friend;—hush!Our feet have left no trodden line:Ich bin dein!Who heaps his goblet wastes his wine:Ich bin dein!The boat is moving from the land;—I have no chiding and no tears;—Now give me back my empty handTo battle with the cruel years,—Behold, the triumph shall be mine!Ich bin dein!* * * * *

THE REPRESENTATIVE ART

No art is worth anything that does not embody an idea,—that is not representative: otherwise, it is like a body without a soul, or the image of some divinity that never had existence. Art needs, indeed, to be individualized, to betray the characteristics of the artist, to be himself infused into his work; but more than this, it needs to typify, to illustrate the character of the age,—to be of a piece with other expressions of the sentiment that animates other men at the time. It must be one note in the concert, and that not discordant,—neither behind time nor ahead of it,—neither in the wrong key nor the other mode: you don't want Verdi in one of Beethoven's symphonies; you don't want Mozart in Rossini's operas. No art ever has lived that was not the genuine product of the era in which it appeared; no art ever can live that is not such a product: it may, perchance, have a temporary or fictitious success, but it can neither really and truly exert an influence at the moment of its highest triumph, nor afterwards remain a power among men, unless it reflect the spirit of the epoch, unless it show the very age and body of the time his form and pressure.

All greatness consists in this: in being alive to what is going on around one; in living actually; in giving voice to the thought of humanity; in saying to one's fellows what they want to hear or need to hear at that moment; in being the concretion, the result, of the influences of the present world. In no other way can one affect the world than in responding thus to its needs, in embodying thus its ideas. You will see, in looking to history, that all great men have been a piece of their time; take them out and set them elsewhere, they will not fit so well; they were made for their day and generation. The literature which has left any mark, which has been worthy of the name, has always mirrored what was doing around it; not necessarily daguerreotyping the mere outside, but at least reflecting the inside,—the thoughts, if not the actions of men,—their feelings and sentiments, even if it treated of apparently far-off themes. You may discuss the Greek republics in the spirit of the modern one; you may sing idyls of King Arthur in the very mood of the nineteenth century. Art, too, will be seen always to have felt this necessity, to have submitted to this law. The great dramatists of Greece, like those of England, all flourished in a single period, blossomed in one soil; the sculptures of antiquity represented the classic spirit, and have never been equalled since, because they were the legitimate product of that classic spirit. You cannot have another Phidias till man again believes in Jupiter. The Gothic architecture, how meanly is it imitated now! What cathedrals built in this century rival those of Milan or Strasbourg or Notre Dame? Ah! there is no such Catholicism to inspire the builders; the very men who reared them would not be architects, if they lived to-day. And the Italian painters, the Angelos and Raphaels and Da Vincis and Titians, who were geniuses of such universal power that they builded and carved and went on embassies and worked in mathematics only with less splendid success than they painted,—they painted because the age demanded it; they painted as the age demanded; they were religious, yet sensuous, like their nation; they felt the influence of the Italian sun and soil. Their faith and their history were compressed into The Last Judgment and the Cartoons; their passion as well as their power may be recognized in The Last Supper and The Venus of the Bath.

There is always a necessity for this expression of the character of the age. This spirit of our age, this mixed materialistic and imaginative spirit,—this that abroad prompts Russian and Italian wars, and at home discovers California mines,—that realizes gorgeous dreams of hidden gold, and Napoleonic ideas of almost universal sway,—that bridges Niagara, and under-lays the sea with wire, and, forgetful of the Titan fate, essays to penetrate the clouds,—this spirit, so practical that those who choose to look on one side only of the shield can see only perjured monarchs trampling on deceived or decaying peoples, and backwoodsmen hewing forests, and begrimed laborers setting up telegraph-poles or working at printing-presses,—this spirit also so full of imagination,—which has produced an outburst of music (that most intangible and subtile and imaginative of arts) such as the earth never heard before,—which is developing in the splendid, showy life, in the reviving taste for pageantry that some supposed extinct, in the hurried, crowded incidents that will fill up the historic page that treats of the nineteenth century,—this spirit is sure to get expression in art.

The American people, cosmopolitan, concrete, the union, the result rather of a union of so many nationalities, ought surely to do its share towards this expression. The American people surely represents the century,—has much of its spirit: is full of unrest; is eminently practical, but practical only in embodying poetical or lofty ideas; is demonstrative and excitable; resembles the French much and in many things,—the French, who are at the head of modern and European civilization,—who think and feel deeply, but do not keep their feelings hidden. The Americans, too, like expression: when they admire a Kossuth or a Jenny Lind, a patriot exile or a foreign singer, all the world is sure to know of their admiration; when they are delighted at some great achievement in science, like the laying of an Atlantic Cable, they demonstrate their delight. They make their successful generals Presidents; they give dinners to Morphy and banquets to Cyrus Field. They are thoroughly imbued with the spirit of the age. Therefore they are artistic.

How amazed some will be at the proposition,—amazed that the age should be called an artistic one,—amazed that Americans should be considered an artistic nation! Yet art is only the expression in outward and visible form of an inward and spiritual grace,—the sacrament of the imagination. Art is an incarnation in colors or stone or music or words of some subtile essence which requires the embodiment. We all have delicate fancies, lofty imaginings, profound sentiments; the artist expresses them for us. If, then, this age be one that requires expression for its ideas, that is practical, that insists on accomplishing its designs, on creating its children, on producing its results, it is an artistic age. For art works; a poet is a maker, according to the Greeks: and all artists are poets; they all produce; they all do; they all make. They do just what all the practical men of this practical age are doing, what even the Gradgrinds are doing: they embody ideas; they put thoughts into facts. A quiet, contemplative age is not an artistic one; art has ever flourished in stirring times: Grecian wars and Guelphic strife have been its fostering influences. An artist is very far from being an idle dreamer; he works as hard as the merchant or the mechanic,—works, too, physically as well as mentally, with his hand as well as his head.

This is all statement: let us have some facts; let us embody our ideas. Do you not call Meyerbeer, with his years of study and effort and application, a worker? Do you not call Verdi, who has produced thirty operas, a worker? Do you not imagine that Turner labored on his splendid pictures? Do you not know how Crawford toiled and spun away his nerves and brain? Have you not heard of the incessant and tremendous attention that for many months Church bestowed on the canvas that of late attracted the admiration of English critics and their Queen? Was Rachel idle? Have these artists not spent the substance of themselves as truly as any of your politicians or your soldiers or your traders? Can you not trace in them the same energy, the same effort, the same determination as in Louis Napoleon, as in Zachary Taylor, as in Stephen Girard? Are not they also representative?

And their works,—for by these shall ye know them,—do they reflect in nothing this fitful, uneasy, yet splendid intensity of to-day? Can you not read in the colors on Turner's canvas, can you not see in the rush of Church's Niagara, can you not hear in the strains of the Traviata, can you not perceive in the tones and looks of Ristori, just what you find in the successful men in other spheres of life? Rothschild's fortune speaks no more plainly than the Robert le Diable; George Sand's novels and Carlyle's histories tell the same story as Kossuth's eloquence and Garibaldi's deeds. The artists are as alive to-day as any in the the world. For, again and again, art is not an outside thing; its professors, its lovers, are not placed outside the world; they are in it and of it as absolutely as the rest. You who think otherwise, remember that Verdi's name six months ago was the watchword of the Italian revolutionists; remember that certain operas are forbidden now to be played in Naples, lest they should arouse the countrymen of Masaniello; remember, or learn, if you did not know, how in New York, last June, all the singers in town offered their services for a benefit to the Italian cause, and all the habitués, late though the season was, crowded to their places to see an opera whose attractiveness had been worn out and whose novelty was nearly gone. You who think that art is an interest unworthy of men who live in the world, that it is a thing apart, what say you to the French, the most actual, the most practical, the most worldly of peoples, and yet the fondest of art in all its phases,—the French, who remembered the statues in the Tuileries amid the massacres of the First Revolution, and spared the architecture of antiquity when they bombarded the city of the Caesars?

Consider, too, the growing love for art in practical America; remark the crowds of newly rich who deck their houses with pictures and busts, even though they cannot always appreciate them; remember that nearly every prominent town in the country has its theatre; that the opera, the most refined luxury of European civilization, considered for long an affectation beyond every other, is relished here as decidedly as in Italy or France. In New York, Boston, Cincinnati, Philadelphia, and New Orleans, there are buildings exclusively appropriated to this new form of art, this exotic, expensive amusement. These opera-houses, too, illustrate most aptly the progress of other arts. They are adorned with painting and gilding and carving; they are as sumptuous in accommodation as the palaces of European potentates; they are lighted with a brilliancy that Aladdin's garden never rivalled; they are thronged, with crowds as gayly dressed as those that fill the saloons of Parisian belles; and the singers and actors who interpret the thoughts of mighty foreign masters are the same who delight the Emperor of the French when he pays a visit to the Queen of Great Britain and Ireland. Orchestras of many instruments discourse most eloquent music, and involuted strains are criticized in learned style, in capitals thousands of miles from the seashore. And there is no appreciation of art in all this! there is no embodiment of the love of the age for material magnificence, there is no poetry incarnated into form, in this combination of splendors rivalling the opium-eater's visions! The Americans are a dull, stupid people, immersed in business; art has no effect upon them; it is despised among them; it can never prosper here!

The stage, indeed, in its various forms, seems more fully to manifest and illustrate the artistic influence among Americans than any other art. It often addresses those whom more refined solicitations might never reach. Those who would turn from Church's or Page's pictures with indifference are frequently attracted by the representations in a theatre. The pictures there are more alive, more real, more intense, and fascinate many unable to appreciate the recondite charms of the canvas. The grace of attitude, the splendid expression, the intellectual art of Ristori or Rachel may impress those who fail to discover the same merits in colder stone, in Crawford's marble or the statues of Palmer; and they may sometimes learn to relish even the delicate beauties of Shakspeare's text, from hearing it fitly declaimed, who would never spell out its meaning by themselves. The drama is certainly superior to other arts while its reign lasts, because of its veriness, its actuality. He must be dull of imagination, indeed, who cannot give himself up for a while to its illusions; he must be stupid who cannot open his senses to its delights or waken his intellect to receive its influences.

Neither can a taste for the stage be declared one which only the ignorant or vulgar share. Though away in the wilds of California a theatre was often erected next after a hotel, the second building in a town, and the strolling player would summon the miners by his trumpet when not one was in sight, and instantly a swarm peeped forth from the earth, like the armed men who sprang from the furrows that Cadmus ploughed,—though the wildest and rudest of Western cities and the wildest and rudest inhabitants of Western towns are quick to acknowledge the charms of the stage,—yet also the most highly cultured and the most intellectual Americans pay the same tribute to this art. We have all seen, within a few years, one of the most profound scholars and most prominent divines in the country proclaiming his approbation of the drama. We may find, to-day, in any Eastern city, members of the liberal clergy at an opera, and sometimes at a play. The scholars and writers and artists and thinkers, as well as the people of leisure and of fashion, frequent places of amusement, not only for amusement, but to cultivate their tastes, to exercise their intellects, ay, and oftentimes to refine their hearts. The splendid homage paid in England not long ago to the drama, when the highest nobility and the first statesmen in the land were present at a banquet in honor of Charles Kean, is evidence enough that no puerile or uncultivated taste is this which relishes the theatre. Goethe presiding over the playhouse at Weimar, Euripides and Sophocles writing tragedies, the greatest genius of the English language acting in his own productions at the Globe Theatre, people like Siddons and Kean and Cushman and Macready illustrating this art with the resources of their fine intellects and great attainments,—surely these need scarcely be mentioned, to relieve the drama from the reproach that some would put upon it, of puerility.

New York is, perhaps, more of a representative city than any other in the land. It is an aggregation from all the other portions of the country; it is the result, the precipitate, of the whole. It has no distinctive, individual character of its own; it is a condensation of all the rest, a focus. Thither all the country goes at times. Restless, fitful, changing, yet still the same in its change; like the waves of the sea, that toss and roll and move away, and still the mighty mass is ever there. New York, in its various phases and developments, its crowded and cosmopolitan population, its out-door kaleidoscopic splendor, is indeed a representative of the entire country. It has not the purely literary life of Boston, nor so distinctive an intellectual character; it is not so stamped by the impress of olden times as Philadelphia; but it has an outside garb significant of the inward nature. It is like the face of a great actor, splendid in expression, full of character, changing with a thousand changing emotions, but betraying a great soul beneath them all. New York is artistic just as America is artistic, just as the age is artistic: not, perhaps, in the loftiest or most refined sense, but in the sense that art is an expression, in tangible form, of ideas. New York is a great thought uttered. It is like those fruits or seeds which germinate by turning themselves inside out; the soul is on the outside, crusted all over it, but none the less soul for all that.

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