The Atlantic Monthly, Volume 13, No. 80, June, 1864

That Mr. Merivale's Cæsarism does not prevent him from doing justice to the opponents of Cæsar is proved by his portrait of Q. Lutatius Catulus, the best leader of the optimates, and whom he pronounces to have been the most moderate and disinterested of all the great men of his day,—"indeed," he adds, "there is perhaps no character in the history of the Commonwealth which commanded more general esteem, or obtained more blameless distinction in political life." Yet Catulus was one of those men with whom Cæsar came earliest in collision, each as the representative of his party on vital points of difference. Our historian's estimate of the life, labors, purposes, and character of Pompeius is singularly correct, when we consider the temptation that he has to underrate the man with whom Cæsar has stood in direct opposition for nineteen centuries. There are few more emphatic passages in the historical literature of our language than the account which is given in Vol. II. ch. 18, of the last days and death of Pompeius, and which is followed by a most judicious summing-up of his history and position as a Roman leader. The historian's mind appears to be strongly affected by the fate of the Pompeian house, as much so as was the imagination of the Romans, which it seems to have haunted. This is in part due, we presume, to the free use which he has made of Lucan's "Pharsalia," a work of great value to those who would understand how the grand contest for supremacy was viewed by the beaten party in after times. That poem is the funeral wail of the Roman aristocracy, and it embodies the ideas and traditions of the vanquished as they existed far down into the Imperial age. It testifies to the original vitality of the aristocratical faction, when we find a youthful contemporary of Nero dedicating his genius to its service more than a century after the contest had been decided on the battlefield. Whether Lucan was a patriot, or a selfish, but disappointed courtier, we may feel certain that he never could have written in the Pompeian spirit, if that spirit was not still dominant in the minds of a large number of those men and women who formed the most cultivated portion of Roman society. To a critical historian, such as Mr. Merivale is, his poem must be very useful, though it would be dangerous authority in unskilful hands.

The leading merit of this history is that it supplies a want, and supplies it effectually. Opening about sixty years before the beginning of the Christian era, it terminates with the death of M. Aurelius Antoninus, the point where Gibbon's work begins. We still need a work beginning with the close of the Second Punic War and ending with the death of Sulla, to connect Merivale with Arnold; but Mr. George Long is about to supply the want, at least in part. The first two volumes, as we have said, end at the date of Cæsar's death. The third and fourth embrace the long period in which Augustus was the principal character, and when the Roman Empire was formed. The fifth and sixth cover the reigns of Tiberius, Caligula, Claudius, Nero, Galba, Otho, and Vitellius, and a portion of the reign of Vespasian. The seventh and last volume is devoted to the first Flavian house,—Vespasian, Titus, and Domitian,—and to those "five good Emperors"—Nerva, Trajan, Hadrian, and the Antonines—whose reigns are renowned in the history of monarchy for their excellence. The materials of the work are, for the most part, ample, and they have been well employed by the historian, a man of extensive scholarship and of critical sagacity. Whether we subscribe to his opinions or not, there can be no doubt of his having presented a brilliant picture of the civilized world during about two and a half eventful centuries. His is the only readable work that we have which affords a continuous narrative of the history of Rome from the appearance of Cæsar to the appearance of Commodus. Had it no other claim upon us, this alone would justify us in recommending it to the closest attention of all who desire to become acquainted with the facts that make up the sum of Roman Imperial history. But it has other claims to the consideration of readers. It makes Roman Imperial history thoroughly intelligible, because events are philosophically treated, and their bearing upon each other is rendered clear. It is written with vivacity, force, and elegance. The style is the style of a gentleman, and the sentiments are those of a Christian scholar. There is not a paragraph in it which we could wish to see omitted, or essentially changed. It has won for its author a place in the list of first-rate English historians, and he is to be ranked with Macaulay, Grote, Hallam, Froude, Kinglake, and others of those great writers who have done so much to illustrate the English name and to advance the cause of humanity. Being familiar with the work from the time that the first and second volumes were published in England, in 1850, we have always desired that it should be placed before the American reading public, confident that here its high merits would secure for it a great and deserved popularity; and it is with a sense of personal gratification that we have seen its publication begun in New York, in a form that pleases the eye and gratifies good taste.

Church Pastorals: Hymns and Tunes for Public and Social Worship. Collected and Arranged by Nehemiah Adams, D. D. Boston: Ticknor & Fields.

The Rev. Dr. Bushnell, in August, 1852, delivered an address upon "Religious Music" before the Beethoven Society of Yale College at the opening of their new organ. In the peroration of this address, after remarking upon the great assistance which Christian feeling receives in the praise of God from "things without life giving sound," he goes on to say,—"Let me suggest, also, in this connection, the very great importance of the cultivation of religious music. Every family should be trained in it; every Sunday or common school should have it as one of its exercises. The Moravians have it as a kind of ordinance of grace for the children: not without reason; for the powers of feeling and imagination, and the sense of spiritual realities, are developed as much by a training of childhood in religious music as by any other means. We complain that choirs and organs take the music to themselves in our churches, and that nothing is left to the people but to hear their undistinguishable piping, which no one else can join or follow or interpret. This must always be the complaint, till the congregations themselves have exercise enough in singing to make the performance theirs. As soon as they are able to throw in masses of sound that are not barbarous, but Christian, and have a right enjoyment of their feeling in it, they will have the tunes and the style of the exercise in their own way,—not before.... The more sorrowful is it, that, in our present defect of culture, there are so many voices which are more incapable of the right distinctions of sound than things without life, and which, when they attempt to sing, contribute more to the feeling of woe than of praise."

These words are as true to-day as when they were uttered twelve years ago. Congregations which do not desire, or cannot afford, to resign the musical portion of their service to professional singers, have something more to do than to complain that the music is bad, or that they do not like paid vocalists to troll out psalmody for them. They must go to work and make their own music,—real music; for in these days unharmonious sounds are almost as much out of place in the worship of God as an uncatholic spirit and an heretical doctrine. The truth of this principle many societies admit, and some, like the Rev. Henry Ward Beecher's, have already put it into practice; the majority, however, wait for help to free themselves from the customs which have kept them listeners when they should be creators of vocal praise. The great obstacle to congregational singing has been that the range of tunes already familiar was very limited, while the providing a whole society with the paraphernalia of music-books involved great expense to small purpose, since a large portion of the tunes contained in these books are unavailable for such use, being prepared with a view to the wants of thoroughly trained singers; besides which, the reference to two books, one for the words and the other for the music, is to many persons perplexing, and to all inconvenient.

"Church Pastorals" is an attempt to overcome this obstacle, and to extend that help which is wanted. Other attempts have been made before, but we regard this as the most successful, and consider that Dr. Adams has prepared the best hymn-and-tune-book that has yet been issued, as we propose briefly to illustrate by a recapitulation of his plan and his manner of executing it.

The hymns, which are nine hundred and eighty-eight in number, are selected from the great mass of hymn-writers; although Watts and the Wesleys furnish the foundation, and the materials of the superstructure are largely drawn from Doddridge, Cowper, Toplady, Montgomery, and others of kindred spirit, yet many beautiful things have been added from the later religious poetry, which are no less fervid in feeling, while less pronounced in doctrinal expression. These hymns are arranged in judicious general divisions, which are again analytically separated into special topics placed in logical sequence. After the hymns follow thirty-eight doxologies, the editor having added to the short list of common ones others which are fine enough to become standard at once.

But it is less as a hymn- than as a tune-book that "Church Pastorals" merits the notice of societies and individuals who are truly interested in religious music, and we pass at once to our remarks upon this portion of the work. The compiler, although holding himself personally responsible for every selection, has availed himself of the advice and assistance of persons professionally eminent in sacred music, one of whom placed at his disposal a library which is unique in this country, containing works of which few Americans have owned or seen duplicates, such as rare "Choral-Bücher" of German cathedrals, and curious collections of English ecclesiastical compositions, a partial list of which is included in the volume, for the benefit of those who are curious in such matters, or wish to know how far Dr. Adams's researches have led him. To ascertain how many new melodies of the purest devotional character have been derived from these rich sources a careful examination is necessary, as also to comprehend with what skill the harmony has been preserved or adapted, in order to secure the two desirable results,—absolute freshness and beauty of treatment, and practicability for ordinary use; but a casual inspection will give sufficient indication of the spirit in which the work was undertaken, and of the faithfulness with which it has been completed.

While originality has been properly sought, the old, familiar elements have not been neglected, and those simple songs which were upon the lips of our parents and grandparents, and are yet dear to us from association and intrinsic worth, are set in among the newer strains. The first lines only are given of such as need merely to be recalled to the memory of any who ever sing; but of others, equally prized, but less likely to be remembered, the full score is given.

The doxologies are for the most part set to noble chorals of such strong, straightforward character that they cannot fail to become friends and intimates at once. In them, as in all the tunes, the compass of ordinary voices has been considered; and although nothing has been left undone which could give beauty to melody or scholarly variousness to harmony, the whole has been brought within the range of all singers.

A novel and peculiar feature of the book is its "Stanzas to be sung impromptu." Occasions often arise at social meetings or special services, when it becomes desirable to sing a portion, or even the whole, of some homely, hearty hymn, but, while "the spirit moves," the opportunity is lost in the search for the words or the fit air, or in an attempt to "set the tune." To meet this want, Dr. Adams has brought together a variety of such stanzas, suited to all times and places, and, coupled with each, the first line of a familiar melody, that the propitious moment may be enjoyed and improved.

It will of course be understood that the tune appointed for each hymn is printed directly above it, all four parts being given at length, the two trebles printed in a not unusual way upon one staff, the tenor and bass having each separate lines. Therefore no difficulty in singing the hymns can be felt even by the inexperienced, especially as one stanza is printed with the notes to show the exact adaptation.

In fine, "Church Pastorals" is a work worthy of an extended circulation and capable of great usefulness. It can serve every purpose of public worship, for it embraces all services of the Sabbath congregation or the week-day gathering, and it touches upon all thoughts and feelings of religious assemblies; it is not above the tastes and abilities of an earnest congregation, nor beneath the notice and use of the independent choir. More than this, it has a particular value for the home and the fireside. Every household knows some quiet hour when the family-voices seek to join in the happy harmony of some unpretending hymn, and when the only limit to such grateful music is the failure of memory or the meagreness of the library, which furnishes only the hymns, or, giving the tunes, supplies only a part of the words,—for few families possess both sorts of books in plenty for their convenient use. This volume offers all,—the hymn, solemn, hopeful, sad, or jubilant, and united to it a tune, perhaps remembered from recollection's earliest days, perhaps unknown and untried, but suiting well the spirit of the words, and ready at an instant's desire to express the sentiment or emotion that rises for utterance. If "Church Pastorals" had no other merit, this alone would make it worth possessing by all who love and ever practise sacred music.

A thorough and elaborate index includes in one ingenious list all references, whether to hymns, tunes, or metres; and the inaccuracies which will creep into even as handsome typography as this are unimportant, and rectified as quickly as observed. The size is convenient, and the shape comely.

Illustrations of Progress: A Series of Discussions by Herbert Spencer. With a Notice of Spencer's "New System of Philosophy." New York: D. Appleton & Co.

Mr. Herbert Spencer is already a power in the world. Yet it is not the vulgar apprehension of power which is associated with notoriety that we claim for him. He holds no position of civil authority, neither do his works compete with Miss Braddon's poorest novel in the circulating-libraries. But he has already influenced the silent life of a few thinking men whose belief marks the point to which the civilization of the age must struggle to rise. In America, we may even now confess our obligations to the writings of Mr. Spencer, for here sooner than elsewhere the mass feel as utility what a few recognize as truth. The reader acquainted with the admirable papers upon Education, which have been republished and extensively circulated in this country, has recognized their author's fresh and vigorous spirit, his power of separating the essential from the accidental, as well as his success in grasping the main features of a subject divested of frivolous and subordinate details. That he possesses a thinking faculty of rare comprehensiveness, as well as acuteness, will be allowed by all who will study his other works now in course of republication in New York.

Mr. Spencer is at present engaged in an heroic attempt to construct a sufficing system of philosophy, which shall include Biology, Psychology, Sociology, and Morality. The great interest to mankind of the discussion proposed, as well as Mr. Spencer's claims to be intrusted with it, are set forth with singular clearness and felicity in the essay which introduces the present volume. Whatever success the latest discoveries in science render possible to solid intellectual force assisted by the keenest instruments of logic will doubtless be attained. As far as the frontiers of knowledge where the intellect may go, there is no living man whose guidance may more safely be trusted. Mr. Spencer represents the scientific spirit of the age. He makes note of all that comes within the range of sensuous experience, and declares whatever may be derived therefrom by a careful induction. As a philosopher he does not go farther. Yet beyond this the heart of humanity must ever penetrate. Let it be true, as it doubtless is, that, when the understanding by process of logic seeks to demonstrate the Cause of All, it finds a barren abstraction destitute of personality. It is no less true that God reveals Himself to the human feeling without intermediate agency. For the religious sentiment Mr. Spencer finds an indestructible foundation. While maintaining that man can grasp and know only the finite, he yet holds that science does not fill the whole region of mental activity. Man may realize in consciousness what he may not grasp in thought.

Of the other doctrines of Mr. Spencer we attempt no exposition. His attitude towards theology is to us more satisfactory than that of any recent thinker of the first class. But whatever his conclusions, every true man will respect and encourage that rectitude of mind which follows the issues of its reasoning at any cost. It was not the philosopher in his brain, but the fool in his heart, who said, "There is no God." It is of little matter what inappropriate name narrow people may have chosen for Mr. Spencer. Here is a conscientious investigator who finds duty everywhere, who labors to give men truths which shall elevate and reform their lives; but he believes that the hope of humanity was potentially shut in an egg, and never in an ark. And there is the "reader upon the sofa,"—church-member he may be,—who tosses aside "Vanity Fair" with the reflection that a gossiping of London snobs is human life, and that the best thing to be done is to pay pew-rates and lie still and gird at it. Which of these two, think you, is the modern representative of King David's "fool"?

We would not be charged with the superfluity of commending to scholars the writings of Mr. Spencer. They have long ago found them out. It is to the mass of working men and women who make time for a solid book or two in the course of the year that we submit their claims. While those who have the leisure and training to realize Mr. Spencer's system as a developed unity must necessarily be few, no reader of tolerable intelligence can fail to find much of interest and suggestion in its several parts. With a common allowance for the abstruse nature of the subjects of which he treats, Mr. Spencer may be called a popular writer. His philosophical terminology will not be found troublesome in those of his writings which will first attract the reader. The "Social Statics," the "Essays," and the treatise on "Education" are very clearly, as well as most gracefully, written. And after these have been mastered, most readers will not be repelled by the less easy reading of the "Principles of Psychology," and the "New System of Philosophy." All these works are rich in materials for forming intelligent opinions, even where we are unable to agree with those put forward by the author. Much may be learnt from them in departments in which our common educational system is very deficient. The active citizen may derive from them accurate, systematized information concerning his highest duties to society, and the principles on which they are based. He may gain clearer notions of the value and bearing of evidence, and be better able to distinguish between facts and inferences. He may find common things suggestive of wiser thought—nay, we will venture to say, of truer emotion—than before. For Mr. Spencer is not of that school of "philosophy" which teaches the hopelessness of human effort, and, by implication, the abandonment of moral dignity. From profound generalizations upon society, he rises to make the duty of the individual most solemn and imperative. Above all, he has this best prerogative of really great thinkers,—he is able to change sentiments to convictions.

If we have not particularized the claims of the single volume whose title is at the head of our notice, it is because all that Mr. Spencer has written moves towards one end and is equally worthy of attention. The essays here given are selected from two series, the first published in 1857, the second in 1863. The present arrangement has been chosen by the author as more suitable to develop the general purpose which governs his work. While the doctrine of Evolution is more or less illustrated in each of these papers, the variety of subjects discussed must touch at some point the taste and pursuit of any reader. From "Manners and Fashion" to "The Nebular Hypothesis" is a sweep bold enough to include most prominent topics with which we are concerned. Indeed, we can recall no modern volume of the same size which so thoroughly credits its author with that faculty of looking about him which Pope thought it was man's business to exercise. There are the current phrases, "seeing life," and "knowing the world," which generally used to signify groping in the dirtiest corners of the one and fattening lazily upon the other; but if it were possible to rescue such expressions from their vulgar associations, we think that a candid reader would apply the best conceptions they suggested to the writer of the discussions here collected. The world as it is to-day is seen by Mr. Spencer as by few living men. The sciences, which taken singly too often seem only good to expel the false, have been summoned together to declare the true. Not Nature alone, but Humanity, which is greater than Nature, must be interrogated for answers that shall satisfy the ripest reason of the age. By the rare gifts of comparison which turn to account his wide observations, Mr. Spencer has already established principles which, however compelled for a time to compromise with prejudices and vested interests, will become the recognized basis of an improved society.

Our only interest in recommending this author to our countrymen comes from the conviction that he is peculiarly capable of impressing for good the present condition of our national character. By giving us fuller realizations of liberty and justice his writings will tend to increase our self-reliance in the great emergency of civilization to which we have been summoned. "Our Progressive Independence," so brilliantly illustrated by Dr. Holmes, emancipating us from foreign fine-writing, leaves us free to welcome the true manhood and mature wisdom of Europe. In the time of our old prosperity, amusing a leisure evening over Kingsley or Ruskin, we were tempted to exclaim, with Sir Peter Teazle, "There's nothing half so noble as a man of sentiment!" But in these latter days we have seen "Mr. Gradgrind" step from Dickens's wretched caricature to bring his "facts" to the great cause of humanity, while "Joseph Surface" reserved his "sentiments" for the bloody business by which Slavery sought to subject all things to herself. We have seen the belles-lettres literature of England more deeply disgraced than when it smirked before the harlots of the second Charles, or chanted a blasphemous benediction over George IV. But the thought and science of the Old World it is still our privilege to recognize. And it can hardly be necessary to say that the sympathies of Mr. Spencer, like those of Mill and Cochin, have been with the government and loyal people of the United States. And so we take especial pleasure in mentioning that a considerable interest in the American copyright of his writings has been secured to the author, and also, despite the facilities of reading-clubs and circulating-libraries, that they are emphatically books to own.

Poems. By Frederick Goddard Tuckerman. Boston: Ticknor and Fields.

These poems show by internal evidence that they are the productions of a man of refined organization and delicate sensibility to beauty, who has lived much in solitude and tasted of the cup of sorrow. Of decided originality in intellectual construction it cannot be said that they give emphatic proof: the poet, as Schiller has said, is the child of his age, and Mr. Tuckerman's poetry not unfrequently shows that he has been a diligent student of those masters in his art who have best caught and reproduced the spirit of the times in which we dwell. It has one quality to a high degree,—and that is, a minute knowledge of the peculiarities of the natural world as it appears in New England. In his long woodland walks, he has kept open an eye of observation as practised as that of the naturalist. The trees, the shrubs, the flowers of New England are known to him as they are to few. He is tempted to draw too largely upon this source of interest: in other words, there is too much of description in his volume. Life is hardly long enough for such elaborate painting. We may admire the skill of the delineation, but we cannot pause sufficiently before the canvas to do full justice to the painter. Those poems in which Mr. Tuckerman expresses the emotions of bereavement and sorrow are those which have the highest merit in point of thought and expression. They are full of tenderness and sensibility; but the poet should bear in mind that strings which vibrate such music should be sparingly struck.