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    OcTftBER 15, I853] -THE lE^BE R. 10©g 11...

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    * '¦£i:: iu : )yy^ ^^tMi^ ¦¦'';'¦ " "" ' •

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    #7"6 Shovilct do cu* utmost to enco-iira...

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    ' '¦ '''¦• '¦ ' : . ' ' ' '¦ ¦ '¦ ¦;. ''...

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  • Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.

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    / Hannay's Naval Js*Etohes. .' ' . ... ....

    to subordinate matter to manner , to think more of the writing than of what is written , anid to allow the seductions of fancy and suggestion to carry away the mind from its direct narrative purpose . It is a very difficult temptation t <) resist , is that of following the thoughts which arise suggestively , collaterally , instead of following the subject ; and hence what Hazlitt . said of a dramatic writermay be applied to all writers : " The first great requisite is fortitude qf'mind . ''It is not , however , many writers "whosedigressionsareso weU worth readm ^ . f > , '

    Octftber 15, I853] -The Le^Be R. 10©G 11...

    OcTftBER 15 , I 853 ] -THE lE ^ BE R . 10 © g 111 ' ¦ . - — —¦—_^_^___ ^^^___^ il . " , i i , ¦¦ ..

    * '¦£I:: Iu : )Yy^ ^^Tmi^ ¦¦'';'¦ " "" ' •

    * ' ¦ £ i :: iu ) yy ^ ^^ tMi ^ ¦¦'';'¦ " " " '

    #7"6 Shovilct Do Cu* Utmost To Enco-Iira...

    # 7 " 6 Shovilct do cu * utmost to enco-iira ^ e-tte Beautiful , forfhe Useful encourages r . ' - ¦ .. '¦ ' ¦¦ . - ¦ ¦ :..- ' : . •¦•¦¦•; / -:- r . - ¦ ¦ ;' " ¦ ¦¦ : itself' —Goethe . ¦ ¦ - ¦ ' ¦ .

    ' '¦ '''¦• '¦ ' : . ' ' ' '¦ ¦ '¦ ¦;. ''...

    ' '¦ '''¦• ' ¦ ' . ' ' ' '¦ ¦ '¦ ¦; . ''"' , ' ' ' ' ¦¦ '¦ . ¦ XIX . ¦ . ¦• • ¦ ' ¦ ¦ -.. ' -, ; '¦ - . -. ¦¦¦ , ¦ ¦ ¦ .. ¦ . - . , . - !' , ' . "' : . " .. ' ¦ .. : ' \ ' , / ' "'¦" > " . ¦ ' ¦ ; ' ¦ ¦ ¦' :. ' ¦ ' .. . ' ¦ : •' .. ' ; , ' . ; , . •> . '¦ SeveirHiJUs , April 29 , 18 $ 3 , , g ^^^ OW impossible it is to convey in writing all the force and life of SBMll that which is said ; for the force and life are made up by so many U ^ B © things that have passed too ; quickly to be retained , and yet haVe 1 )^ 111 ' ' prepared theinind for what is uttered ; aid the voice , the eyes , cj ^*®^ r the gesture ^ have added or qualified so much . True is' it when

    the lover teHs Ms mistress that he cannot set forth , his meaning in words , because vfords liave . not the scope and ! , strength to carry lias ineanjng ; and moire syveeifetrue when ' slie /' t ^^^ hncQL . ^ that ' he heeds not say it , for she ' jtnow 3 . . ^ eaay ^ ..: \ -Yet , ' . if we write we must try to , say these unsayable things , or . let the bare context go-r—the reproach of love without the kiss that makes reproaches so dear ; the monosyllable of simple dignity without the music of the voice which clothed the truth in beauty . How false , then , must be the " moral state" of that country which derives any large proportion- of its impressions from written words !

    I say this , dearest Elena , beeausd you should not suppose that what I write represents what is said in our conclavei > , and the mom we have advanced , the more difficult is it to report , and yet the . more I wish to report , because of niaiiy things in which ' you both would . delight . You , who have bfteii called yourself the sister of our Yseult with the midnight locks , would see a true sister to her in-Margaret ; only that Margaret , strangely , by her ; grftf © and slower movement > her deeper voicpy and sterner thought , seems like the elder sister * You will not agiiin be " jealous" that I speak in this way of Margaret . Of all passions that jealousy most perplexes me . What am I worth that yo \ i should claim , anything in me ? And itis ; the more perplexing to me , since you can never have believed that Margaret "loved" me , in the

    sense especially given to the Word at times ; ' Indeed , the whole of this matter perplexes me ; for women who have the most absolute truth , independence , » ad trust in . themselves-T-who ; would / hate the Very suspicion of double meaning in themselves , are ready to suspect it in others . Why is this ? You would , I , believe , remorselessly consign to flames any witless wretch . who could , for . a second suspect that you had a thought to draw you away fr 6 m our dear aiid supreme Giorgio ; and , in the perfect singleness of your heart , you Vouchsafe to me— " -whom you have so served in ways dearer to me than , if they had been for my otdn advantage , by serving our Yseult , ~ ry ; o u vouchsafe tome the unreserved love which the dearest of sisters can give ; andyet Iepuldnot tell you how Margaret had done the

    like , out of the directness and bounty of : her nature , but you must shame Vftlperduta and yourself by telling me you arelealous . And why P " For Yseulfc ! " And yet ^¦¦¦ - '•' ¦ jBui Ianrsure thatU-iorgib ,. with hisfltoutvoice , has cleared away that mist from your mind ; And when Stanhope brings Margaret , to Yalperduta , you will only tell me , as you have done of others , thatr i cannot love her , enough ^ F or with all your ; clinging to those foolish habits . of . the . outer world , iMena sweet , you know in both head and heart , what friendship is possible between man and woman , not " although , " but because they fiiight love in another' sense , if every thing had fallen out otherwise than it had . I do not wonder at this perpetual readiness to suspect * ' love , " in those whose sense has been perverted and perplexed by the perverted condition , and therefore perverted expression and depraved sense of poor " society , " but I do wonder at any remains of the idle

    suspicion in the women of Valperduta . I am reproaching you instead of recounting . Our great object was to make Margaret speak . Tho pfreat grocer no doubt know why ; for ho , as little , as we , expected her to repeat to him what ho know by heart in the school books . Wlien ho called upon her ; however , she turned to the physiologist and sajd , " Edward luis givpn us a principle , but he has not told us how to apply it . "' , " The principle suggests its ' own application , " ho replied . ' * ' To those who aro masters of it , she rojoiried . f * Study the laws of nature , " he said , " and apply your knowledge . " But

    " how , Edward ? > That ia the wholo question . Grivo us a rule . " _ . " , There , } n nono , i Ma . marct .: ; The rule , must vary with the knowledge . Teach the child facts And natural lawn as ho becomes capable of tinderfitanduig them , i \ . i \ d as you find thoni out—for that munt \ w < lono first , of course . Teach him hp \ v . to . know the stars , to name the beasts ¦ of the flold , / tho plantB , i and the birds , and to know their ufibs ; iioaohhimtoknow how man live ? , by ibodr ^ muat dig tp grow , ft , miiHt cat by the moaHure of iiealtlvy | apposite , ai > ^ l not boyond--imiat digesi ; , and thoreforo bo hottUhy , ; jvow ho must lovo . tjmt ( ho iriay be mated , and bping mated , must sottlo to tlio ntia't and provide for those that cojmo after j and . how if ho docs those things he Bhall livo liiippy over after . *' And if tho mafcefl langlo P" said Con way : ' ;

    'Orwandcrfi ' MHaidMarkham . ^ Or how if the nest be broken in upon by violcuco awl rapn ^ ; . how at you dcstjvU w a beau ideal , ( Edwardes , oiidi a beau ideal resting on prcsumptivp necessities . Wo two not now talking

    empirically j and yet ryou , a scientific man , are presuming the a priori wisdom of # ungs as they are—presuming success where there ^ failure . After all , what do we know about man ' s ' mating ? ' ¦ . We have traditions , and we have supposititious usages ; but we have polygamy ^^ in the East , and in the West something worse , a § London streets can testify . " " All because we depart from the laws of nature , and do not observe . " "By Jove , man , you . talk as if we had found out the laws of nature , while we are only heginmiig to study them . Suxely you do not think EouSseau or an imaginary Huron had discovered the obvious arcanum . " " What is an arcanum , Mr . Markham ? " asked Julie . "A secret . ' . ' . ¦¦ "¦ '' ¦ ' , ' , ' ¦ ' " ¦¦' . ¦ ¦ . ¦ . ' ' ¦ ; " "Well , then , I wishjrou ^ would say secret ; because you talk excellent sense when , you talk Eng % h— -sometimes . Chiefly , I think , when you object to each other ' s philosophy ; because I notice that when each man gets upon his own philosophy , ne talks about as wisely as a schoolboy dictating what Napoleon ought to have done to win the battle of Waterloo . You men make the laws—and a precious mess you make of it . " "Why , then , " cried Markham , "do not you teach us how to make them ?" "Why do not canary birds teach how to make brass wire cages ?" "I do not know . I know that I for one , " he continued , with earnest in . his banter , " only await the gracious instructions of one intelligent canary , both as to a cage out here , and one also in any quarter of the British ^ metropolis ., " " Mark ! do you not know that it is bad taste to make these vilain : proposals in metaphor ? I wish somebody would talk a little sense , if it were only for a change !" " Ask Margaret , then . " But Margaret ; would not . She said she had no sense , and no language to disguise her want of sense . No , she would not— -not then . Nor could we induce Ber that day . But yesterday , in Walter ' s study—and Markham has fitted him up one fit for a Raphael , with a magnificent forte p iano , oii . which Margaret bases her own exercises—yesterday her thought flowed naturally out of the conversation ; or , rather , Walter led up to ifc , unintentionally / I believe . Nobody had invited thei painter to philosophizewhy I know not ; for he has seen much , and . knows much . But , perhaps , ¦ we all felt , how much the true artist ; subdues his mind to deal with impressions rather than causes . And his remark showed how much his has yielded to . that process . It is a noble room , with a skylight , and a high window opening to the south ; for Walter , like Titian , will have the sun in his room , and the air . A few pictures are on the wall ; a few masterpieces of sculpture stand forth , bright and pure , against the coloured background ; robes , and weapons , and pieces of armour lie about . On the easel is the finished sketch for a picture of Pietro Candiano , the proud Doge , coming forth with his infant son to cut his-way ' through the murderous crowd : a rough subject , which tells liow passion survives all that resist it , and sacrifices everytking ^ rpoAver , life , n ' , a country . And wliile Walter stands before the canvas , with , his intent eyes , his bearded lips thrust out , his unsupported arm firmly planting ' . free strokes of power , the loud voice of Margaret fills the room until the very walls thrill—sustaining his halfconscious , absorbed mind ' with ' ' atmosphere of strength and beauty . So well can tvto atmospheres like music arid painting , like air and light , like goodness and beauty , fill one space . We had broken in to drag Walter away from his work : in vain ; for lie continued in silent pertinacity ; . and , . waiting , for him , while avo watched liia pencil with the painted life growing under it , Margai'ct was shaking forth the notea of " Non piu rapsta , " . which sparkled against tho sombre painting like a sunny shower falling upon the last of a . battle . " Yes ! " cried ho , suddenly breaking forth in tho- true artist fashion , with a boast , and tho abrupt birth of a thought , " if you want a true rule of life that is it . " " WhatP' asked Conway . " That ! " pointing to the figure of Pietro . " If you want to know how to live , live so aa to # row even like that . " !' Walter is the Pigraaleon of dragoons I" cried Julie . "How insane painters always are . about their own . works !" " Giber ! " cried Stanjiopo , threatening to thrust his brush Against her pretty cheek , which defied him to pollute it with coarse counterfeits of its own inimitable tender delicacy . " t > oyou not know , Julio , that the artist always seea what ho never can paint P But if you won ' t have my Work , take that , or that , " pointing to Titian ' s Young Man with a Glove , in tho Louvre , copied by himself , and then to the group sometimes called Sleep and Death , or Castor and Pollux . " Grow men like that . But then to do so you rrhist give them parents—not ancestral shopkeepers , but lovei-H who bring life to life , and live again in tlrcir oflnpr iug ; . you . must give them free play for thoir life— -they must fear and hopc / jina conquer fear ; they must have arms like tl « i , t , mado ho by wroatling , aud by Htriking , not in child's play , hut with a will ; they must love , not . by regintrar ' s liconco And at sot tiiucfl , but as the will lints them ; ( lay « ni » t command and obey , . and contend , andi conquer ; they must fa <; e crowds like that , and death like that , and come through- if they enn ; and then you will neo that deep intent in tho oyo , tljat air of ' command , . that absolute repose of conscious strength , that supple gra . ee-, that full burst of love winch , can iilono know life in . its . full , and is worth a thousand . doafchs .. Tl » a ( . tiH U » o riilc of tifo , ' llldvvardcs , ' aiid you cannot beat it with all tlio drugs on , yov , u * And he set to work again with tho dogged in ten tiioss of a paiutor wlioso fiuen < j | 8 ittvo waiting for him . " But your own model , refntea you , Stanhope , " emid 73 d \ varde « , *« for you desire , ljfo ,, 2 | nd you preach death . To irmkc your rule perfect yoii must improve iipon it . Let . Peter Oundiiuio dovoto His enorgies to useful purposes ; lot Gnu tor Hubdu , c . thu peaceful vi < 5 torio » over natural nj atorialH mj ^ nd . uHfcryj aud you will attain tlio samo ends without defeating- thoineolvefl ' . " . ¦ ¦ ¦ . ' ¦ ' ¦• '¦ • ' ¦ :: . . ' .. " " You can't , my boy , you can't have it so ; you •—•—/ ' Staiihopo did

• Citation
  • Leader (1850-1860), Oct. 15, 1853, page 19, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/cld_15101853/page/19/