The Atlantic Monthly, Volume 06, No. 38, December, 1860

In spite of the very imperfect style in which he wrote, and the usually clumsy and often careless construction of his sentences, his works contain now and then noble thoughts expressed with simplicity and force. "Natura est instrumentum Divinae operationis," might be taken as the motto for his whole system of natural science. In speaking of the value of words, he says,–"Sed considerare debemus quod verba habent maximam potestatem, et omnia miracula facta a principio mundi fere facta sunt per verba. Et opus animae rationalis praecipuum est verbum, et in quo maxime delectatur." In the "Opus Tertium," at the point where he begins to give an abstract of his "Opus Majus," he uses words which remind one of the famous "Franciscus de Verulamio sic cogitavit." He says,–"Cogitavi quod intellectus humanus habet magnam debilitationem ex se.... Et ideo volui excludere errorum corde hominis impossible est ipsum videre veritatem." This is strikingly similar to Lord Bacon's "errores qui invaluerunt, quique in aeternum invalituri sunt, alii post alios, si mens sibi permittatur." Such citations of passages remarkable for thought or for expression might be indefinitely extended, but we have space for only one more, in which the Friar attacks the vices of the Roman court with an energy that brings to mind the invectives of the greatest of his contemporaries. "Curia Romana, quae solebat et debet regi sapientia Dei, nunc depravatur.... Laceratur enim illa sedes sacra fraudibus et dolis injustorum. Pent justitia; pax omnis violatur; infinita scandala suscitantur. Mores enim sequuntur ibidem perversissimi; regnat superbia, ardet avaritia, invidia corrodit singulos, luxuria diffamat totam illam curiam, gula in omnibus dominatur." It was not the charge of magic alone that brought Roger Bacon's works into discredit with the Church, and caused a nail to be driven through their covers to keep the dangerous pages closed tightly within.

There is no reason to doubt that Bacon's investigations led him to discoveries of essential value, but which for the most part died with him. His active and piercing intellect, which employed itself on the most difficult subjects, which led him to the formation of a theory of tides, and brought him to see the need and with prophetic anticipation to point out the means of a reformation of the calendar, enabled him to discover many of what were then called the Secrets of Nature. The popular belief that he was the inventor of gunpowder had its origin in two passages in his treatise "On the Secret Works of Art and Nature, and on the Nullity of Magic,"37 in one of which he describes some of its qualities, while in the other he apparently conceals its composition under an enigma.38 He had made experiments with Greek fire and the magnet; he had constructed burning-glasses, and lenses of various power; and had practised with multiplying-mirrors, and with mirrors that magnified and diminished. It was no wonder that a man who knew and employed such wonderful things, who was known, too, to have sought for artificial gold, should gain the reputation of a wizard, and that his books should be looked upon with suspicion. As he himself says,–"Many books are esteemed magic, which are not so, but contain the dignity of knowledge." And he adds,–"For, as it is unworthy and unlawful for a wise man to deal with magic, so it is superfluous and unnecessary."39

There is a passage in this treatise "On the Nullity of Magic" of remarkable character, as exhibiting the achievements, or, if not the actual achievements, the things esteemed possible by the inventors of the thirteenth century. There is in it a seeming mixture of fancy and of fact, of childish credulity with more than mere haphazard prophecy of mechanical and physical results which have been so lately reached in the progress of science as to be among new things even six centuries after Bacon's death. Its positiveness of statement is puzzling, when tested by what is known from other sources of the nature of the discoveries and inventions of that early time; and were there reason to question Bacon's truth, it would seem as if he had mistaken his dreams for facts. As it stands, it is one of the most curious existing illustrations of the state of physical science in the Middle Ages. It runs as follows:–"I will now, in the first place, speak of some of the wonderful works of Art and Nature, that I may afterwards assign the causes and methods of them, in which there is nothing magical, so that it may be seen how inferior and worthless all magic power is, in comparison with these works. And first, according to the fashion and rule of Art alone. Thus, machines can be made for navigation without men to row them; so that ships of the largest size, whether on rivers or the sea, can be carried forward, under the guidance of a single man, at greater speed than if they were full of men [rowers]. In like manner, a car can be made which will move, without the aid of any animal, with incalculable impetus; such as we suppose the scythed chariots to have been which were anciently used in battle. Also, machines for flying can be made, so that a man may sit in the middle of the machine, turning an engine, by which wings artificially disposed are made to beat the air after the manner of a bird in flight. Also, an instrument, small in size, for raising and depressing almost infinite weights, than which nothing on occasion is more useful: for, with an instrument of three fingers in height, and of the same width, and of smaller bulk, a man might deliver himself and his companions from all danger of prison, and could rise or descend. Also, an instrument might be easily made by which one man could draw to himself a thousand men by force and against their will, and in like manner draw other things. Instruments can be made for walking in the sea or in rivers, even at the bottom, without bodily risk: for Alexander the Great made use of this to see the secrets of the sea, as the Ethical Astronomer relates. These things were made in ancient times, and are made in our times, as is certain; except, perhaps, the machine for flying, which I have not seen, nor have I known any one who had seen it, but I know a wise man who thought to accomplish this device. And almost an infinite number of such things can be made; as bridges across rivers without piers or any supports, and machines and unheard-of engines." Bacon goes on to speak of other wonders of Nature and Art, to prove, that, to produce marvellous effects, it is not necessary to aspire to the knowledge of magic, and ends this division of his subject with words becoming a philosopher:–"Yet wise men are now ignorant of many things which the common crowd of students [vulgus studentium] will know in future times."40

It is much to be regretted that Roger Bacon does not appear to have executed the second and more important part of his design, namely, "to assign the causes and methods" of these wonderful works of Art and Nature. Possibly he was unable to do so to his own satisfaction; possibly he may upon further reflection have refrained from doing so, deeming them mysteries not to be communicated to the vulgar;–"for he who divulges mysteries diminishes the majesty of things; wherefore Aristotle says that he should be the breaker of the heavenly seal, were he to divulge the secret things of wisdom."41 However this may have been, we may safely doubt whether the inventions which he reports were in fact the result of sound scientific knowledge, whether they had indeed any real existence, or whether they were only the half-realized and imperfect creations of the prophetic soul of the wide world dreaming of things to come.

The matters of interest in the volume before us are by no means exhausted, but we can proceed no farther in the examination of them, and must refer those readers who desire to know more of its contents to the volume itself. We can assure them that they will find it full of vivid illustrations of the character of Bacon's time,–of the thoughts of men at an epoch of which less is commonly known than of periods more distant, but less connected by intellectual sympathy and moral relations with our own. But the chief interest of Bacon's works lies in their exhibition to us of himself, a man foremost in his own time in all knowledge, endowed by Nature with a genius of peculiar force and clearness of intuition, with a resolute energy that yielded to no obstacles, with a combination so remarkable of the speculative and the practical intellect as to place him in the ranks of the chief philosophers to whom the progress of the world in learning and in thought is due. They show him exposed to the trials which the men who are in advance of their contemporaries are in every age called to meet, and bearing these trials with a noble confidence in the final prevalence of the truth,–using all his powers for the advantage of the world, and regarding all science and learning of value only as they led to acquaintance with the wisdom of God and the establishment of Christian virtue. He himself gives us a picture of a scholar of his times, which we may receive as a not unworthy portrait of himself. "He does not care for discourses and disputes of words, but he pursues the works of wisdom, and in them he finds rest. And what others dim-sighted strive to see, like bats in twilight, he beholds in its full splendor, because he is the master of experiments; and thus he knows natural things, and the truths of medicine and alchemy, and the things of heaven as well as those below. Nay, he is ashamed, if any common man, or old wife, or soldier, or rustic in the country knows anything of which he is ignorant. Wherefore he has searched out all the effects of the fusing of metals, and whatever is effected with gold and silver and other metals and all minerals; and whatever pertains to warfare and arms and the chase he knows; and he has examined all that pertains to agriculture, and the measuring of lands, and the labors of husbandmen; and he has even considered the practices and the fortune-telling of old women, and their songs, and all sorts of magic arts, and also the tricks and devices of jugglers; so that nothing which ought to be known may lie hid from him, and that he may as far as possible know how to reject all that is false and magical. And he, as he is above price, so does he not value himself at his worth. For, if he wished to dwell with kings and princes, easily could he find those who would honor and enrich him; or, if he would display at Paris what he knows through the works of wisdom, the whole world would follow him. But, because in either of these ways he would be impeded in the great pursuits of experimental philosophy, in which he chiefly delights, he neglects all honor and wealth, though he might, when he wished, enrich himself by his knowledge."

Popular Music of the Olden Time. A Collection of Ancient Songs, Ballads, and Dance-Tunes, Illustrative of the National Music of England. With Short Introductions to the Different Reigns, and Notices of the Airs from Writers of the Sixteenth and Seventeenth Centuries. Also, a Short Account of the Minstrels. By W. Chappel, F.S.A. The whole of the Airs harmonized by G. A. McFarren. 2 vols. pp. 384, 439. London: Cramer, Beale, & Chappell. New York: Webb & Allen.

In tracing the history of the English nation, no line of investigation is more interesting, or shows more clearly the progress of civilization, than the study of its early poetry and music. Sung alike in the royal palaces and in the cottages and highways of the nation, the ballads and songs reflect most accurately the manners and customs, and not a little of the history of the people; while, as indicating the progress of intellectual culture, the successive changes in language, and the steady advance of the science of music, and of its handmaid, poetry, they possess a value peculiarly their own.

The industry and learning of Percy, Warton, and Ritson have rendered a thorough acquaintance with early English poetry comparatively easy; while in the work whose comprehensive title heads this article the research of Chappell presents to us all that is valuable of the "Popular Music of the Olden Time," enriched by interesting incidents and historical facts which render the volumes equally interesting to the general reader and to the student in music. Chappell published his collection of "National English Airs" about twenty years ago. Since that time, he tells us in his preface, the increase of material has been so great, that it has been advisable to rewrite the entire work, and to change the title, so that the present edition has all the freshness of a new publication, and contains more than one hundred and fifty additional airs.

The opening chapters are devoted to a concise historical account of English minstrelsy, from the earliest Saxon times to its gradual extinction in the reigns of Edward IV. and Queen Elizabeth; and while presenting in a condensed form all that is valuable in Percy and others, the author has interwoven in the narrative much curious and interesting matter derived from his own careful studies. Much of romantic interest clusters around the history of the minstrels of England. They are generally supposed to have been the successors of the ancient bards, who from the earliest times were held in the highest veneration by nearly all the people of Europe, whether of Celtic or Gothic origin. According to Percy, "Their skill was considered as something divine; their persons were deemed sacred; their attendance was solicited by kings; and they were everywhere loaded with honors and rewards." Our Anglo-Saxon ancestors, on their migration into Britain, retained their veneration for poetry and song, and minstrels continued in high repute, until their hold upon the people gradually yielded to the steady advance of civilization, the influence of the printing-press, and the consequent diffusion of knowledge. It is to be borne in mind that the name, minstrel, was applied equally to those who sang, and accompanied their voices with the harp, or some other instrument, and to those who were skilled in instrumental music only. The harp was the favorite and indeed the national instrument of the Britons, and its use has been traced as far back as the first invasion of the country by the Saxons. By the laws of Wales, no one could pretend to the character of a freeman or gentleman, who did not possess or could not play upon a harp. Its use was forbidden to slaves; and a harp could not be seized for debt, as the simple fact of a person's being without one would reduce him to an equality with a slave. Other instruments, however, were in use by the early Anglo-Saxons, such as the Psaltery, the Fiddle, and the Pipe. The minstrels, clad in a costume of their own, and singing to their quaint tunes the exploits of past heroes or the simple love-songs of the times, were the favorites of royalty, and often, and perhaps usually, some of the better class held stations at court; and under the reigns of Henry I. and II., Richard I., and John, minstrelsy flourished greatly, and the services of the minstrels were often rated higher than those of the clergy. These musicians seem to have had easy access to all places and persons, and often received valuable grants from the king, until, in the reign of Edward II., (1315,) such privileges were claimed by them, that a royal edict became necessary to prevent impositions and abuses.

In the fourteenth century music was an almost universal accomplishment, and we learn from Chaucer, in whose poetry much can be learned of the music of his time, that country-squires could sing and play the lute, and even "songes make and well indite." From the same source it appears that then, as now, one of the favorite accomplishments of a young lady was to sing well, and that her prospects for marriage were in proportion to her proficiency in this art. In those days the bass-viol (viol-de-gamba) was a popular instrument, and was played upon by ladies,–a practice which in these modern times would be considered a violation of female propriety, and even then some thought it "an unmannerly instrument for a woman." In Elizabeth's time vocal music was held in the highest estimation, and to sing well was a necessary accomplishment for ladies and gentlemen. A writer of 1602 says to the ladies, "It shall be your first and finest praise to sing the note of every new fashion at first sight." That some of the fair sex may have carried their musical practice too far, like many who have lived since then, is perhaps indicated in some verses of that date which run in the following strain:–

"This is all that women do:Sit and answer them that woo;Deck themselves in new attire,To entangle fresh desire;After dinner sing and play,Or, dancing, pass the time away."

To many readers one of the most interesting features of Chappell's work will be the presentation of the original airs to which were sung the ballads familiar to us from childhood, learned from our English and Scotch ancestors, or later in life from Percy's "Reliques" and other sources; and the musician will detect, in even the earliest compositions, a character and substance, a beauty of cadence and rhythmic ideality, which render in comparison much of our modern song-music tamer, if possible, than it now seems. Here are found the original airs of "Agincourt," "All in the Downs," "Barbara Allen," "The Barley-Mow," "Cease, rude Boreas," "Derry Down," "Frog he would a-wooing go," "One Friday morn when we set sail," "Chanson Roland," "Chevy Chace," and scores of others which have rung in our ears from nursery-days.

The ballad-mongers took a wide range in their writings, and almost every subject seems to have called for their rhymes. There is a curious little song, dating back to 1601, entitled "O mother, a Hoop," in which the value of hoop-skirts is set forth by a fair damsel in terms that would delight a modern belle. It commences thus:–

"What a fine thing have I seen to-day!O mother, a Hoop!I must have one; you cannot say Nay;O mother, a Hoop!"

Another stanza shows the practical usefulness of the hoop:–

"Pray, hear me, dear mother, what I have been taught:Nine men and nine women o'erset in a boat;The men were all drowned, but the women did float,And by help of their hoops they all safely got out."

The fashion for hoops was revived in 1711, in which year was published in England "A Panegyrick upon the Late, but most Admirable Invention of the Hoop-Pettycoat." A few years later, (1726,) in New England, a three-penny pamphlet was issued with the title, "Hoop Petticoats Arraigned and Condemned by the Light of Nature and Law of God," by which it would seem that our worthy ancestors did not approve of the fashion. In 1728 we find hoop-skirts and negro girls and other "chattels" advertised for sale in the same shop!

The celebrated song, "Tobacco is an Indian weed," is traced to George Withers, of the time of James I. Perhaps no song has been more frequently "reset"; but the original version, as is generally the case, is the best.

One of the most satisfactory features of Chappell's work is the thoroughness with which he traces the origin of tunes, and his acute discrimination and candid judgment. As an instance of this may be mentioned his article on "God save the Queen"; and wherever we turn, we find the same evidence of honest investigation. So far as is possible, he has arranged his airs and his topics chronologically, and presented a complete picture of the condition of poetry and music during the reigns of the successive monarchs of England. The musician will find these volumes invaluable in the pursuit of his studies, the general reader will be interested in the well-drawn descriptions of men, manners, and customs, and the antiquary will pore over the pages with a keen delight.

The work is illustrated with several specimens of the early style of writing music, the first being an illuminated engraving and fac-simile of the song, "Sumer is icumen in,"–the earliest secular composition, in parts, known to exist in any country, its origin being traced back to 1250. It should have been mentioned before this that the very difficult task of reducing the old songs to modern characters and requirements, and harmonizing them, has been most admirably done by McFarren, who has thus made intelligible and available what would otherwise be valuable only as curiosities.

1. Folk-Songs. Selected and edited by John Williamson Palmer, M.D. Illustrated with Original Designs. New York: Charles Scribner. 1861. Small folio. pp. xxiii., 466.

2. Loves and Heroines of the Poets. Edited by Richard Henry Stoddard. New York: Derby & Jackson. 1861. Quarto, pp. xviii., 480.

3. A Forest Hymn. By William Cullen Bryant. With Illustrations of John A. Hows. New York: W. A. Townsend & Co. 1861. Small quarto, pp. 32.

We have no great liking for illustrated books. Poems, to be sure, often lend themselves readily to the pencil; but, in proportion as they stand in need of pictures, they fall short of being poetry. We have never yet seen any attempts to help Shakspeare in this way that were not as crutches to an Indian runner. To illustrate poetry truly great in itself is like illuminating to show off a torchlight-procession. We doubt if even Michel Angelo's copy of Dante was so great a loss as has sometimes been thought. We have seen missals and other manuscripts that were truly illuminated,–

"laughing leavesThat Franco of Bologna's pencil limned ";

but the line of those artists ended with Frà Angelico, whose works are only larger illuminations in fresco and on panel. In those days some precious volume became the Laura of a poor monk, who lavished on it all the poetry of his nature, all the unsatisfied longing of a lifetime. Shut out from the world, his single poem or book of saintly legends was the window through which he looked back on real life, and he stained its panes with every brightest hue of fancy and tender half-tint of reverie. There was, indeed, a chance of success, when the artist worked for the love of it, gave his whole manhood to a single volume, and mixed his life with his pigments. But to please yourself is a different thing from pleasing Tom, Dick, and Harry, which is the problem to be worked out by whoever makes illustrations to be multiplied and sold by thousands. In Dr. Palmer's "Folk-Songs," if we understand his preface rightly, the artists have done their work for love, and it is accordingly much better done than usual. The engravings make a part of the page, and the designs, with few exceptions, are happy. Numerous fac-similes of handwriting are added for the lovers of autographs; and in point of printing, it is beyond a question the handsomest and most tasteful volume ever produced in America. The Riverside Press may fairly take rank now with the classic names in the history of the art. But it is for the judgment shown in the choice of the poems that the book deserves its chief commendation. Our readers do not need to be told who Dr. Palmer is, or that one who knows how to write so well himself is likely to know what good writing is in others. We have never seen so good and choice a florilegium. The width of its range and its catholicity may be estimated by its including William Blake and Dibdin, Bishop King and Dr. Maginn. It would be hard to find the person who would not meet here a favorite poem. We can speak from our own knowledge of the length of labor and the loving care that have been devoted to it, and the result is a gift-book unique in its way and suited to all seasons and all tastes. Nor has the binding (an art in which America is far behind-hand) been forgotten. The same taste makes itself felt here, and Matthews of New York has seconded it with his admirable workmanship.

In Mr. Stoddard's volume we have a poet selecting such poems as illustrate the loves of the poets. It is a happy thought happily realized. With the exception of Dante, Petrarch, and Tasso, the choice is made from English poets, and comes down to our own time. It is a book for lovers, and he must be exacting who cannot find his mistress somewhere between the covers. The selection from the poets of the Elizabethan and Jacobian periods is particularly full; and this is as it should be; for at no time was our language more equally removed from conventionalism and commonplace, or so fitted to refine strength of passion with recondite thought and airy courtliness of phrase. The book is one likely to teach as well as to please; for, though everybody knows how to fall in love, few know how to love. It is a mirror of womanly loveliness and manly devotion. Mr. Stoddard has done his work with the instinct of a poet, and we cordially commend his truly precious volume both to those