LIBRARY OF CONGRESS. ?rrg^ — - Chap.— ... 1 Copyright No.. Shelf^C. 5.H 5" * -JX3^% UNITED STATES OF AMERICA. 3Sp Mantes freeman Clarke, D. 5D. TEN GREAT RELIGIONS. Parti. An Essay in Comparative The- ology. New Popular Edition. Crown 8vo, gilt top, $2.00. TEN GREAT RELIGIONS. Part II. Comparison of all Religions. Crown 8vo, gilt top, $2.00. COMMON SENSE IN RELIGION. Crown 8 vo, $2.00. MEMORIALAND BIOGRAPHICAL SKETCHES. Crown 8vo, $2.00. EVERY-DAY RELIGION. Crown 8vo, $1.50. EVENTS AND EPOCHS IN RELIGIOUS HISTORY. With Maps and Illustrations. Crown 8vo, $2.00. THE IDEAS OF THE APOSTLE PAUL. Translated into their Mod- ern Equivalents. Crown 8vo, $1.50. SELF-CULTURE: Physical, Intellectual, Moral, and Spiritual. Crown 8vo, $1.50. NINETEENTH CENTURY QUESTIONS. Crown 8 vo, $1.50. EXOTICS. Poems translated from the French, German, and Italian, by J. F. C. and L. C. i8mo, $1.00. HOUGHTON, MIFFLIN AND COMPANY, Boston and New York. m I NINETEENTH CENTURY QUESTIONS BY JAMES FREEMAN CLARKE BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY (@bz ifttersitie $re#*, Cambridge TWO COPIES RECEIVED ^ COPYRIGHT, 1897, BY ELIOT C. CLARKE ALL RIGHTS RESERVED fc PREFATORY NOTE Shortly before his death, Dr. Clarke selected the material for this book, and partly prepared it for publication. He wished thus to preserve some of his papers which had excited interest when printed in periodicals or read as lectures. With slight exceptions, the book is issued just as prepared by the author. CONTENTS Page LITERARY STUDIES, Lyric and Dramatic Elements in Literature and Art .3 Dualism in National Life 28 Deo Shakespeare write Bacon's Works? . . 38 The Evolution of a Great Poem : Gray's Elegy 60 RELIGIOUS AND PHILOSOPHICAL. Affinities of Buddhism and Christianity . . 71 Why I am not a Free-Religionist .... 90 Have Animals Souls? 100 Apropos of Tyndall 128 Law and Design in Nature 149 HISTORICAL AND BIOGRAPHICAL. The Two Carlyles, or Carlyle Past and Present . 162 Buckle and his Theory of Averages . . . 196 Voltaire 235 Ralph Waldo Emerson 270 Harriet Martineau 284 The Rise and Fall of the Slave Power in Amer- ica 312 LITERARY STUDIES LYRIC AND DRAMATIC ELEMENTS IN LITERATURE AND ART The German philosophy has made a distinction between the Subjective and the Objective, which has been found so convenient that it has been al- ready naturalized and is almost acclimated in our literature. The distinction is this : in all thought there are two factors, the thinker himself, and that about which he thinks. All thought, say our friends the Germans, results from these two factors : the sub- ject, or the man thinking; and the object, what the man thinks about. All that part of thought which comes from the man himself, the Ego, they call subjective ; all that part which comes from the outside world, the non-Ego, they call ob- jective. I am about to apply this distinction to literature and art ; but instead of the terms Subjective and Objective, I shall use the words Lyric and Dra- matic, For example, when a writer or an artist puts a great deal of himself into his work, I call him a lyric writer or artist. Lyrical, in poetry, is the 4 LYRIC AND DRAMATIC ELEMENTS term applied to that species of poetry which directly expresses the individual emotions of the poet. On the other hand, I call an artist or poet dramatic when his own personality disappears, and is lost in that which he paints or describes. A lyric or subjective writer gives us more of himself than of the outside world ; a dramatic or objective writer gives us more of the outside world than of him- self. Lyric poetry is that which is to be sung ; the lyre accompanies song. Now, song is mainly personal or subjective. It expresses the singer's personal emotions, feelings, desires ; and for these reasons I select this phrase " lyric " to express all subjective or personal utterances in art. The drama, on the other hand, is a photograph of life ; of live men and women acting themselves out freely and individually. The dramatic writer ought to disappear in his drama ; if he does not do so he is not a dramatic writer, but a lyrist in disguise. The dramatic element is the power of losing one's self — opinions, feeling, character — in that which is outside and foreign, and reproducing it just as it is. In perfect dramatic expression the personal equation is wholly eliminated. The writer disap- pears in his characters ; his own hopes and fears, emotions and convictions, do not color his work. But the lyric element works in the opposite way. In song, the singer is prominent more than what LYRIC AND DRAMATIC ELEMENTS 5 he sings. He suffuses his subject with his own thoughts and feelings. If he describes nature, he merely gives us the feelings it awakens in his own mind. If he attempts to write a play, we see the same actor thinly disguised reappearing in all the parts. Now, there is a curious fact connected with this subject. It is that great lyric and dramatic authors or artists are apt to appear in duads or pairs. Whenever we meet with a highly subjec- tive writer, we are apt to find him associated with another as eminently objective. This happens so often that one might imagine that each type of thought attracts its opposite and tends to draw it out and develop it. It may be that genius, when it acts on disciples who are persons of talent, draws out what is like itself, and makes imitators ; when it acts on a disciple who himself possesses genius, it draws out what is opposite to itself and develops another original thinker. Genius, like love, is attracted by its opposite, or counterpart. Love and genius seek to form wholes ; they look for what will complete and fulfill themselves. When, therefore, a great genius has come, fully developed on one side, he exercises an irresistible attraction on the next great genius, in whom the opposite side is latent, and is an important factor in his development. Thus, perhaps, we ob- tain the duads, whose curious concurrence I will now illustrate by a few striking instances. 6 LYBIC AND DRAMATIC ELEMENTS Beginning our survey with English literature, who are the first two great poets whose names occur to us ? Naturally, Chaucer and Spenser. Now, Chaucer is eminently dramatic and objective in his genius ; while Spenser is distinctly a lyrical and subjective poet. Chaucer tells stories ; and story-telling is objec- tive. One of the most renowned collections of stories is the " Arabian Nights ; " but who knows anything about the authors of those entertaining tales ? They are merely pictures of Eastern life, reflected in the minds of some impersonal authors, whose names even are unknown. Homer is another great story-teller ; and Homer is so objective, so little of a personality, that some modern critics suppose there may have been several Homers. Chaucer is a story-teller also ; and in his stories everything belonging to his age appears, except Chaucer himself. His writings are full of pictures of life, sketches of character ; in one word, he is a dramatic or objective writer. He paints things as they are, — gives us a panorama of his period. Knights, squires, yeomen, priests, friars, pass be- fore us, as in Tennyson's poem " The Lady of Shalott." The mind of an objective story-teller, like Chau- cer, is the faithful mirror, which impartially re- flects all that passes before it, but cracks from side to side whenever he lets a personal feeling enter LYRIC AND DRAMATIC ELEMENTS 7 his mind, for then the drama suddenly disappears and a lyric of personal hope or fear, gladness or sadness, takes its place. Spenser is eminently a lyric poet. His own genius suffuses his stories with a summer glow of warm, tender, generous sentiment. In his descrip- tions of nature he does not catalogue details, but suggests impressions, which is the only way of truly describing nature. There are some waiters who can describe scenery, so that the reader feels as if he had seen it himself. The secret of all such description is that it does not count or mea- sure, but suggests. It is not quantitative but quali- tative analysis. It does not apply a foot rule to nature, but gives the impression made on the mind and heart by the scene. I have never been at Frascati nor in Sicily, but I can hardly persuade myself that I have not seen those places. I have distinct impressions of both, simply from reading two of George Sand's stories. I have in my mind a picture of Frascati, with deep ravines, filled with foliage ; with climbing, clustering, straggling vines and trees and bushes ; with overhanging crags, deep masses of shadow below, bright sun- shine on the stone pines above. So I have another picture of Sicilian scenery, wide and open, with immense depths of blue sky, and long reaches of landscape; ever-present Etna, soaring snow-clad into the still air ; an atmosphere of purity, filling the heart with calm content. It may be that 8 LYRIC AND DRAMATIC ELEMENTS Catania and Frascati are not like this ; but I feel as if I had seen them, not as if I had heard them described. It is thus that Spenser describes nature ; by- touching some chord of fancy in the soul. Notice this picture of a boat on the sea : — " So forth they rowed ; and that Ferryman With his stiff oars did brush the sea so strong That the hoar waters from his frigate ran, And the light bubbles danced all along Whiles the salt brine out of the billows sprang ; At last, far off, they many islands spy, On every side, floating the floods among." You notice that you are in the boat yourself, and everything is told as it appears to you there ; you see the bending of the " stiff oars " by your side, and the little bubbles dancing on the water, and the islands, not as they are, rock-anchored, but as they seem to you, floating on the water. This is subjective description, — putting the reader in the place, and letting him see it all from that point of view. So Spenser speaks of the " oars sweeping the watery wilderness ; " and of the gusty winds " filling the sails with fear." Perhaps the highest description ought to include both the lyric and dramatic elements. Here is a specimen of sea description, by an almost unknown American poet, Fenner, perfect in its way. The poem is called " Gulf Weed : " — LYRIC AND DRAMATIC ELEMENTS 9 " A weary weed washed to and fro, Drearily drenched in the ocean brine ; Soaring high, or sinking low, Lashed along without will of mine ; Sport of the spoom of the surging sea, Flung on the foam afar and near ; Mark my manifold mystery, Growth and grace in their place appear. " I bear round berries, gray and red, Rootless and rover though I be ; My spangled leaves, when nicely spread, Arboresce as a trunkless tree ; Corals curious coat me o'er White and hard in apt array ; Mid the wild waves' rude uproar Gracefully grow I, night and day. " Hearts there are on the sounding shore, (Something whispers soft to me,) Restless and roaming for evermore, Like this weary weed of the sea ; Bear they yet on each beating breast The eternal Type of the wondrous whole, Growth unfolding amidst unrest, Grace informing the silent soul." All nature becomes alive in the Spenserian description. Take, for example, the wonderful stanza which describes the music of the " Bower of Bliss:" — " The joyous birds, shrouded in cheerful shade Their notes unto the voice attemper'd sweet ; Th' angelical, soft, trembling voices made To the instruments divine respondence meet ; The silver-sounding instruments did meet 10 LYBIC AND BBAMATIC ELEMENTS With the bass murmur of the water's fall ,* The water's fall, with difference discreet, Now loud, now low, unto the winds did call ; The gentle warbling winds low answered to all." Consider the splendid portrait of Belphcebe : — " In her fair eyes two living lamps did flame, Kindled above at the Heavenly Maker's light ; And darted fiery beams out of the same, So passing piercing, and so wondrous bright, They quite bereaved the rash beholder's sight; In them the blinded god his lustful fire To kindle oft essay'd but had no might, For with dread majesty and awful ire She broke his wanton darts and quenched base desire. " Her ivory forehead, full of bounty brave, Like a broad tablet did itself dispread, For love his lofty triumphs to engrave, And write the battles of his great godhead ; All good and honor might therein be read, For there their dwelling was ; and when she spake, Sweet words, like dropping honey she did shed ; And, twixt the pearls and rubies softly brake A silver Sound, that heavenly music seemed to make." If we examine this picture, we see that it is not a photograph, such as the sun makes, but a lover's description of his mistress. He sees her, not as she is, but as she is to him. He paints her out of his own heart. In her eyes he sees, not only bril- liancy and color, but heavenly light ; he reads in them an untouched purity of soul. Looking at her forehead, he sees, not whiteness and roundness, but goodness and honor. LYRIC AND DRAMATIC ELEMENTS 11 Shakespeare's lovers always describe their mis- tresses in this way, out of their own soul and heart. It is his own feeling that the lover gives, seeing perhaps " Helen's beauty in a brow of Egypt." After Chaucer and Spenser the next great Eng- lish poets whose names naturally occur to us are Shakespeare and Milton. Now, Shakespeare was the most objective dra- matic writer who ever lived ; while Milton was em- inently and wholly a subjective and lyrical writer. It is true that Shakespeare was so great that he is one of the very few men of genius in whom ap- pear both of these elements. In his plays he is so objective that he is wholly lost in his characters, and his personality absolutely disappears; in his sonnets he " unlocks his heart " and is lyrical and subjective ; he there gives us his inmost self, and we seem to know him as we know a friend with whom we have lived in intimate relations for years. Still, he will be best remembered by his plays ; and into them he put the grandeur and universal- ity of his genius ; so we must necessarily consider him as the greatest dramatic genius of all time. But he belonged to a group of dramatic poets of whom he was the greatest : Ben Jonson, Beaumont and Fletcher, Massinger, Ford, Webster, — any one of whom would make the fortune of the stage to-day. It was a great age of dramatic literature, and it came very naturally to meet a demand. The play then was what the novel is to-day. As 12 LYRIC AND DRAMATIC ELEMENTS people to-day have no sooner read a new novel than they want another, so, in Shakespeare's time, they had no sooner seen a new play than they ran to see another. Hence the amazing fertility of the dramatic writers. Thomas Heywood wrote the whole or a part of two hundred and twenty plays. The manager of one of the theatres bought a hun- dred and six new plays for his stage in six years ; and in the next five years a hundred and sixty. The price paid to an author for a play would now be equal to about two or three hundred dollars. The dramatic element, as is natural, abounds in these writings, though in some of them the au- thor's genius is plainly lyrical. Such, for example, is Massinger's, who always reminds me of Schiller. Both wrote plays, but in both writers the faculty of losing themselves in their characters is wanting. The nobleness of Schiller appears in all his works, and constitutes a large part of their charm. So in Massinger all tends to generosity and elevation. His worst villains are ready to be converted and turn saints at the least provocation. Their wick- edness is in a condition of unstable equilibrium ; it topples over, and goodness becomes supreme in a single moment. Massinger could not create really wicked people; their wickedness is like a child's moment of passion or willfulness, ending presently in a flood of tears, and a sweet reconcili- ation with his patient mother. But how different was it with Shakespeare ! Consider his Iago. LYBIC AND DRAMATIC ELEMENTS 13 How deeply rooted was his villainy ! how it was a part of the very texture of his being ! He had conformed to it the whole philosophy of his life. His cynical notions appear in the first scene. Iago believes in meanness, selfishness, everything that is base ; to him all that seems good is either a pre- tense or a weakness. The man who does not seek the gratification of his own desires is a fool. There is to Iago nothing sweet, pure, fair, or true, in this world or the next. He profanes everything he touches. He sneers at the angelic innocence of Desdemona ; he sneers at the generous, impulsive soul of Othello. When some one speaks to him of virtue, he says " Virtue ? a fig ! 't is in ourselves that we are thus or thus. Our bodies are our gar- dens, to which our wills are gardeners." You can plant nettles or lettuce as you please. That is to say, there is no reality in goodness. The virtue of Desdemona will be gone to-morrow, if she takes the whim. The Moor's faith in goodness is folly ; it will cause him to be led by the nose. There is no converting such a man as that ; or only when, by means of terrible disappointments and anguish, he is brought to see the reality of human goodness and divine providence. And that can hardly hap- pen to him in this world. Iago is a murderer of the soul, Macbeth a mur- derer of the body. The wickedness of Macbeth is different from that of Iago ; that of Shylock and of Richard Third different again from either. 14 LYBIC AND DRAMATIC ELEMENTS Macbeth is a half-brute, a man in a low state of development, with little intellect and strong pas- sions. Shylock is a highly intellectual man, not a cynic like Iago, but embittered by ill-treatment, made venomous by cruel wrong and perpetual con- tempt. Oppression has made this wise man mad. Richard Third, originally bad, has been turned into a cruel monster by the egotism born of power. He has the contempt for his race that belongs to the aristocrat, who looks on men in humbler places as animals of a lower order made for his use or amusement. Now, this wonderful power of differ- entiating characters belongs to the essence of the dramatic faculty. Each of these is developed from within, from a personal centre, and is true to that. Every manifestation of this central life is correlated to every other. If one of Shakespeare's characters says but ten words in one scene, and then ten words more in another, we recognize him as the same person. His speech bewTayeth him. So it is in human life. Every man is fatally con- sistent with himself. So, after we have seen a number of pictures by any one of the great masters, we recognize him again, as soon as we enter a gal- lery. We know him by a certain style. Infe- rior artists have a manner ; great artists have a style ; manner is born of imitation ; style of origi- nality. So, there is a special quality in every hu- man being, if he will only allow it to unfold. The dramatic faculty recognizes this. Its knowledge LYRIC AND DRAMATIC ELEMENTS 15 of man is not a philosophy, nor a mere knowledge of human nature, but a perception of individual character. It first integrates men as human be- ings ; then differentiates them as individuals. Play-writers, novelists, and artists who do not pos- sess this dramatic genius cannot grow their char- acters from within, from a personal centre of life ; but build them up from without, according to a plan. In description of nature, however, Shake- speare is, as he ought to be, subjective and lyric ; he touches nature with human feelings. Take his description of a brook : — " The current that with gentle murmur glides Thou know'st, being stopp'd impatiently doth rage ; But when his fair course is not hindered, He makes sweet music with the enamell'd stones, Giving a gentle kiss to every sedge He overtaketh in his pilgrimage, And so by many winding nooks he strays With willing sport to the wild ocean." The brook is gentle ; then it becomes angry ; then it is pacified and begins to sing ; then it stops to kiss the sedge ; then it is a pilgrim; and it walks willingly on to the ocean. So in his sonnet : — " Full many a glorious morning have I seen Flatter the mountain top with sovereign eye ; Kissing with golden face the meadows green, Gilding pale streams with heavenly alchemy ; Anon permit the basest clouds to ride With ugly rack on his celestial face ; And from the forlorn world his visage hide, 16 LYRIC AND DRAMATIC ELEMENTS Stealing unseen to west with his disgrace ; Even so my sun one early morn did shine, With all triumphant splendor on my brow ; But out, alack ! he was but one hour mine ; The region cloud hath masked him from me now ; Yet him, for this, my love no whit disdaineth, Suns of this world may stain, when heaven's sun staineth." From Shakespeare, the marvel of dramatic gen> ius, turn to Milton, and we find the opposite ten- dency unfolded. The "Paradise Lost" is indeed dramatic in form, with different characters and dialogues, in hell, on earth, and in heaven. But in essence it is undramatic. Milton is never for a moment lost in his characters ; his grand and noble soul is always appearing. Every one speaks as Milton would have spoken had Milton been in the same place, and looked at things from the same point of view. Sin and Satan, for example, both talk like John Milton. Sin is very conscientious, and before she will unlock the gate of hell she is obliged to argue herself into a conviction that it is right to do so. Satan, she says, is her father, and children ought to obey their parents ; so, since he tells her to unlock the gate, she ought to do so. Death reproaches Satan, in good set terms, for his treason against the Almighty ; and Satan, as we all know, utters the noblest sentiments, and talks as Milton would have talked, had Milton been in Satan's position. 1 1 See the argument to prove that it would not be difficult to climb to heaven. LYRIC AND DRAMATIC ELEMENTS 17 Coming down nearer to our own time, we find a duad of great English poets, usually associated in our minds, — Byron and Scott. Scott was almost the last of the dramatic poets of England, using the word dramatic in its large sense. His plays never amounted to much; but his stories in verse and in prose are essentially dra- matic. In neither does he reveal himself. In all his poetry you scarcely find a reference to his per- sonal feelings. In the L'Envoi to the " Lady of the Lake " there is a brief allusion of this sort, touching because so unusual, and almost the only one I now recall. Addressing the " Harp of the North " he says : — * l Much have I owed thy strains through life's long way, Through secret woes the world has never known, When on the weary night dawned wearier day, And bitterer was the grief devoured alone ; That I o'erlive such woes, Enchantress! is thine own." Scott, like Chaucer, brings before us a long suc- cession of characters, from many classes, countries, and times. Scotch barons and freebooters, Eng- lish kings, soldiers, gentlemen, crusaders, Alpine peasants, mediaeval counts, serfs, Jews, Saxons, — brave, cruel, generous, — all sweep past us, in a long succession of pictures ; but of Scott himself nothing appears except the nobleness and purity of the tone which pervades all. He is therefore eminently a dramatic or objective writer. But Byron is the exact opposite. The mighty 18 LYRIC AND DRAMATIC ELEMENTS exuberance of his genius, which captivated his age, and the echoes of which thrill down to ours, in all its vast overflow of passion, imagination, wit, — ever sounded but one strain, — himself. His own woes, his own wrongs are the ever-recurring theme. Though he wrote many dramas, he was more un- dramatic than Milton. Every character in every play is merely a thinly disguised Byron. It was impossible for him to get away from himself. If Tennyson's lovely line tells the truth when he says, — " Love took up the harp of life and smote on all its chords with might ; Smote the chord of self, that, trembling, passed in music out of sight : " then Byron never really loved ; for in his poetry the chord of self never passes out of sight. In his plays the principal characters are Byron undiluted — as Manfred, Sardanapalus, Cain, Werner, Arnold. All the secondary characters are Byron more or less diluted, — Byron and water, may we say ? Never, since the world be- gan, has there been a poet so steeped in egotism, so sick of self-love as he ; and the magnificence of his genius appears in the unfailing interest which he can give to this monotonous theme. But he was the example of a spirit with which the whole age was filled to saturation. Almost all the nineteenth century poets of England are sub- jective, giving us their own experience, sentiments, LYEIC AND DRAMATIC ELEMENTS 19 reflections, philosophies. Wordsworth, Coleridge, Shelley, Keats, revolve in this enchanted and enchanting circle. Keats and Coleridge seem capable of something different. So, in the double star, made up of Wordsworth and Coleridge, the first is absolutely personal and lyric, the second sometimes objective and dramatic. And in that other double star of Shelley and Keats the same difference may be noted. A still more striking instance of the combina- tion of these antagonisms is to be found in our time, in Robert Browning and his wife. Mrs. Browning is wholly lyric, like a bird which sings its own tender song of love and hope and faith till " that wild music burdens every bough ; " and those " mournful hymns " hush the night to listen- ing sympathy. But in her husband we have a genuine renais- sance of the old dramatic power of the English bards. Robert Browning is so dramatic that he forgets himself and his readers too, in his charac- ters and their situations. To study the varieties of men and women is his joy ; to reproduce them unalloyed, his triumph. One curious instance of this self -oblivious immer- sion in the creations of his mind occurs to me. In one of his early poems called " In a Gondola " — as it first appeared — two lovers are happily con- versing, until in a moment, we know not why, the tone becomes one of despair, and they bid each 20 LYRIC AND DRAMATIC ELEMENTS other an eternal farewell. Why this change of tone there is no explanation. In a later edition he condescends to inform us, inserting a note to this effect: "He is surprised and stabbed." This is the opposite extreme to Milton's angels carefully- explaining to each other that they possess a speci- fic levity which enables them to drop upward. If we think of our own poets whose names are usually connected, — Longfellow and Lowell, for instance, — we shall easily see which is dramatic and which lyric. But the only man of truly dramatic faculty whom we have possessed was one in whom the quality never fully ripened, — I mean Edgar Allan Poe. In foreign literature we may trace the same tendency of men of genius to arrange themselves in couplets. Take, for instance, in Italy, Dante and Petrarch ; in France, Voltaire and Eousseau ; in Germany, Goethe and Schiller. Dante is dra- matic, losing himself in his stern subject, his dramatic characters ; his awful pictures of gloomy destiny. Petrarch is lyrical, personal, singing for- ever his own sad and sweet fate. Again, Voltaire is essentially dramatic, — immersed in things, ab- sorbed in life, a man reveling in all human acci- dent and adventure, and aglow with faith in an earthly paradise. The sad Eousseau goes apart, away from men ; standing like Byron, among them, but not of them ; in a cloud of thoughts that are not their thoughts. And, once more, though LYRIC AND DRAMATIC ELEMENTS 21 Goethe resembles Shakespeare in this, that some of his works are subjective, and others objective, — though, in the greatness of his mind he reconciles all the usual antagonisms of thought, — yet the fully developed Goethe, like the fully developed Shakespeare, disappears in his characters and theme. Life to him, in all its forms, was so in- tensely interesting that his own individual and subjective sentiments are left out of sight. But Schiller stands opposed to Goethe, as being a dra- matist devoid of dramatic genius, but full of per- sonal power ; so grand in his nobleness of soul, so majestic in the aspirations of his sentiment, so full of patriotic ardor and devotion to truth and goodness, that he moves all hearts as he walks through his dramas, — the great poet visible in every scene and every line. As his tried and noble friend says of him in an equally undying strain : — " Burned in his cheek, with ever-deepening fire, The spirit's youth, which never passes by ; The courage, which though worlds in hate conspire, Conquers at last their dull hostility ; The lofty faith, which ever, mounting higher, Now presses on, now waiteth patiently ; By which the good tends ever to its goal — By which day lights at last the generous soul." Goethe's characters and stories 'covered the widest range : Faust, made sick with too much thought, and seeking outward joy as a relief; Werther, a self-absorbed sentimentalist ; Tasso, an 22 LYEIC AND DRAMATIC ELEMENTS Italian man of genius, a mixture of imagination, aspiration, sensitive self -distrust ; susceptible to opinion, sympathetic ; Iphigenia, a picture of an- tique calm, simplicity, purity, classic repose, like that of a statue ; Hermann and Dorothea, a sweet idyl of modern life, in a simple-minded German village with an opinionated, honest landlord, a talkative apothecary, a motherly landlady, a sen- sible and good pastor, and the two young lovers. This law of duality, or reaction of genius on genius, will also be found to apply to artists, phi- losophers, historians, orators. These also come in pairs, manifesting the same antagonistic qualities. Some artists are lyric ; putting their own souls into every face, every figure, making even a land- scape alive with their own mood ; adding — " A gleam Of lustre known to neither sea nor land But borrowed from the poet-painter's dream.' ' In every landscape of Claude we find the soul of Claude ; in every rugged rock-defile of Salvator we read his mood. These artists are lyric ; but there are also great dramatic painters, who give you, not themselves, but men and women ; so real, so differ- entiated, characters so full of the variety and antagonism of nature, that the whole life of a period springs into being at their touch. Take for instance two names, which always go together, standing side by side at the summit of Italian art, — Michael Angelo and Raphael. LYRIC AND DRAMATIC ELEMENTS 23 Though Raphael was a genius of boundless exu- berance, and poured on the wall and canvas a flood of forms, creating as nature creates, without pause or self-repetition, yet there is a tone in all which irresistibly speaks of the artist's own soul. He created a world of Raphaels. Grace, sweetness, and tenderness went into all his work. Every line has the same characteristic qualities. Turn to the frescoes by Michael Angelo in the Sistine Chapel. As we look up at those mighty forms — prophets, sibyls, seers, with multitudes of subordinate figures — we gradually trace in each prophet, king, or bard an individual character. Each one is himself. How fully each face and attitude is differentiated by some inward life. How each — David, Isaiah, Ezekiel, the Persian and the Libyan sibyl — stands out, distinct, filled with a power or a tenderness all his own. Mi- chael Angelo himself is not there, except as a foun- tain of creative life, from whose genius all these majestic persons come forth as living realities. Hanging on my walls are the well-known en- gravings of Guido's Aurora and Leonardo da Vinci's Last Supper. One of these is purely lyri- cal ; the other as clearly dramatic. The Aurora is so exquisitely lovely, the forms so full of grace, the movement of all the figures so rapid yet so firm, that I can never pass it without stopping to enjoy its charms. But variety is ab- sent. The hours are lovely sisters, as Ovid de- scribes sisters : — 24 LYRIC AND DRAMATIC ELEMENTS " Faeies non omnibus una, Nee diversa tamen, qualis decet esse sororum." But when we turn to the Last Supper, we see the dramatic artist at his best. The subject is such as almost to compel a monotonous treatment, but there is a wonderful variety in the attitudes and grouping. Each apostle shows by his atti- tude, gesture, expression, that he is affected dif- ferently from all the others. Even the feet under the table speak. Stand before the picture ; put yourself into the attitude of each apostle, and you will immediately understand his state of mind. 1 The mediaeval religious artists were subjective, sentimental, lyrical. In a scene like the cruci- fixion, all the characters, whether apostles, Roman soldiers, or Jewish Pharisees, hang their heads like bulrushes. But see how Rubens, that great dramatic painter, 1 Simon Peter's attitude expresses astonishment and perplexity. He holds out both hands, and seems to say, " It cannot be ! " In Thaddeus we see suspicion, doubt, distrust. " I always sus- pected him." Matthew is speaking* to Peter and Thomas, his hand held out toward Jesus : " But I heard him say so." Thomas : " What can it mean ? What will be the end ? " James: (Hands spread wide apart in astonished perplexity:) " Is it possible ? " Philip has laid both hands on his breast, and leaning toward Jesus says, "Lord, is it I ? " At the other end, one is leaning forward, his hands resting on the table, to catch the next words ; one starting back,' confused and confounded. LYBIC AND DRAMATIC ELEMENTS 25 represents the scene. The Magdalen, wild with grief, with disheveled hair, has thrown herself at the foot of the cross, clasping and kissing the feet of Jesus. On the other faces are terror, dismay, doubt, unbelief, mockery, curiosity, triumph, de- spair, — according to each person's character and attitude toward the event. Meantime the Roman centurion, seated on his splendid horse, is deliber- ately and carefully striking his spear into the side of the sufferer. His face expresses only that he has a duty to perform and means to fulfill, it per- fectly. As Rubens is greatly dramatic, his pupil and follower, Vandyke, is a great lyrical artist, whose noble aspiration and generous sentiment shows itself in all his work. The school of Venice, with Titian and Tinto- retto at its head, is grandly dramatic and objec- tive. The school of Florence, with Guido and Domenichino at its head, eminently lyrical and subjective. If we had time, we might show that the two masters of Greek philosophy, Plato and Aristotle, are, the one lyrical, and intensely subjective, plato- nizing the universe ; and the other as evidently objective, immersed in the study of things ; re- joicing in their variety, their individuality, their persistence of type. The two masters of Greek history, Herodotus and Thucydides, stand opposed to each other in the 26 LYBIC AND DRAMATIC ELEMENTS same way. Herodotus is the story-teller, the dra- matic raconteur, whose charming tales are as enter- taining as the " Arabian Nights." Thucydides is the personal historian who puts himself into his story, and determines its meaning and moral ac- cording to his own theories and convictions. We have another example in Livy and Tacitus. The two great American orators most fre- quently mentioned together are Webster and Clay. Though you would smile if I were to call either of them a lyric or a dramatic speaker, yet the essen- tial distinction we have been considering may be clearly seen in them. Clay's inspiration was per- sonal, his influence, personal influence. His theme was nothing ; his treatment of it everything. But Webster rose or fell with the magnitude and im- portance of the occasion and argument. When on the wrong side, he failed, for his intellect would not work well except in the service of reality and truth. But Clay was perhaps greatest when arguing against all facts and all reason. Then he summoned all his powers, — wit, illus- tration, analogy, syllogisms, appeals to feeling, prejudice, and passion ; and so swept along his confused and blinded audience to his conclusions. I think that subjective writers are loved more than dramatic. We admire the one and we love the other. We admire Shakespeare and love Mil- ton ; we admire Chaucer and love Spenser ; we admire Dante and love Petrarch ; we admire \. LYRIC AND DRAMATIC ELEMENTS 27 Goethe and love Schiller ; and if Byron had not been so selfish a man, we should have loved him too. We admire Michael Angelo and love Raphael ; we admire Rubens and love Vandyke; we admire Robert Browning and love Mrs. Browning. In short, we care more for the man who gives us himself than for the man who gives us the whole outside world. I have been able to give you only a few hints of this curious distinction in art and literature. But if we carry it in our mind, we shall find it a key by which many doors may be unlocked. It will enable us to classify authors, and under- stand them better. DUALISM IN NATIONAL LIFE The science of comparative ethnology is one which has been greatly developed during the last twenty-five years. The persistence of race ten- dencies, as in the Semitic tribes, Jews and Arabs, or in the Teutonic and Celtic branches of the great Aryan stock, has been generally admitted. Though few would now say, with the ethnologist Knox, " Race is everything," none would wholly dispense with this factor, as Buckle did, in writing a history of civilization. Racial varieties have existed from prehistoric times. Their origin is lost in the remote past. As far as history goes back, we find them the same that they are now. When and how the primitive stock differentiated itself into the great varieties which we call Aryan, Semitic, and Turanian, no one can tell. But there are well-established vari- eties of which we can trace the rise and develop- ment ; I mean national varieties. The character of an Englishman or a Frenchman is as distinctly marked as that of a Greek or Roman. There is a general resemblance among all Englishmen ; and the same kind of resemblance among all French- men, Spaniards, Swedes, Poles. But this crystal- DUALISM IN NATIONAL LIFE 29 lization into national types of character has taken place in a comparatively short period. We look back to a time when there were no Englishmen in Great Britain ; but only Danes, 4 Saxons, Normans, and Celts ; no Frenchmen in France ; but Gauls, Franks, and Romans. Gradually a distinct quality emerges, and we have Frenchmen, Italians, Eng- lishmen. The type, once arrived at, persists, and becomes more marked. It is marked by personal looks and manners, by a common temperament, a common style of thinking, feeling, acting ; the samfe kind of morals and manners. This type was formed by the action and reaction of the divers races brought side by side — Normans and Saxons mutually influencing each other in England, and being influenced again by climate, conditions of life, forms of government, national customs. So, at last, we have the well-developed national charac- ter, — a mysterious but very certain element, from which no individual can wholly escape. All drink of that one spirit. Thus far I have been stating what we all know. But now I would call your attention to a curious fact, which, so far as I am aware, has not before been noticed. It is this, — that when two nations, during their forming period, have been in relation to each other, there will be a peculiar character developed in each. That is to say, they will differ from each other according to certain well-defined lines, and these differences will repeat themselves 30 DUALISM IN NATIONAL LIFE again and again in history, in curious parallelisms, or dualisms. To take the most familiar illustration of this : consider the national qualities of the French and English. The English and French, during several centuries, have been acting and reacting on each other, both in war and peace. Now, what are the typical characteristics of these two nations ? Stated in a broad way they might be described something as follows : — The English mind is more practical than ideal ; its movement is slow but persistent ; its progress is by gradual development ; it excels in the indus- trial arts ; it reverences power ; it loves liberty more than equality, not objecting to an aristocracy. It tends to individualism. Its conquests have been due to the power of order, and adherence to law. The French mind is more ideal than practical ; versatile, rather than persistent; its movements rapid, its progress by crises and revolution, rather than by development ; it excels in whatever is tasteful and artistic ; it admires glory rather than power ; loves equality more than liberty ; objects to an aristocracy, but is ready to yield individual rights at the bidding of the community ; renoun- cing individualism for the sake of communism ; and its successes have been due to enthusiasm rather than to organization. Next, look at the Greeks and Romans. These peoples were in intimate relations during the form-^ DUALISM IN NATIONAL LIFE 31 ing period of national life ; and we find in them much the same contrasts of character that we do in the English and the French. The Romans were deficient in imagination, rather prosaic, fond of rule and fixed methods, conservative of ancient customs. The Greeks were quick and versatile ; artistic to a high degree ; producing masterpieces of architecture, painting, statuary, and creating every form of literature ; inventing the drama, the epic poem, oratory, odes, history, philosophy. The Romans borrowed from them their art and their literature, but were themselves the creators of law, the organizers of force. The Greeks and Romans were the English and French of antiquity ; and you will notice that they occupy geographically the same relative positions, — the Greeks and French on the east ; the Romans and English on the west. But now observe another curious fact. The Roman Empire and the Greek republics came to an end ; and in Greece no important nationality took the place of those wonderful commonwealths. But in Italy, by the union of the old inhabitants with the Teutonic northern invaders, modern Italy was slowly formed into a new national life. No longer deriving any important influence from Greece (which had ceased to be a living and inde- pendent force), Italy, during the Middle Ages, came into relations with Spain and the Spaniards. In Spain, as in Italy, a new national life was in process of formation by the union of the Gothic 32 DUALISM IN NATIONAL LIFE tribes, the Mohammedan invaders, and the ancient inhabitants. The Spaniards occupied Sicily in 1282, and Naples fell later into their hands, about 1420, and in 1526 took possession of Milan. Thus Italy and Spain were entangled in complex rela- tions during their forming period. What was the final result ? Modern Italians became the very opposite of the ancient Romans. The Spaniards on the west are now the Romans, and the Italians, the Greeks. The Spaniards are slow, strong, con- servative ; the Italians, quick-witted, full of feel- ing and sentiment, versatile. The Spaniards trust to organization, the Italians to enthusiasm. The Spaniards are practical, the Italians ideal. In fine, the Spaniards, on the west, are like the Eng- lish and the ancient Romans ; the Italians, on the east, like the French and the Greeks. The Eng- lish pride, the Roman pride, the Spanish pride, we have all heard of ; but the French, the Greeks, and the Italians are not so much inclined to pride and the love of power, as to vanity and the love of fame. England, Rome, and Spain, united by law and the love of organization, gradually became solidi- fied into empires ; Greece, Italy, and France were always divided into independent states, provinces, or republics. Now, let us go east and consider two empires that have grown up, side by side, with constant mutual relations : Japan and China. The people of Japan, on the east, are described by all travelers DUALISM IN NATIONAL LIFE 33 in language that might be applied to the ancient Greeks or the modern French. They are said to be quick-witted, lively, volatile, ready of apprehen- sion, with a keen sense of honor, which prefers death to disgrace ; eminently a social and pleasure- seeking people, fond of feasts, dancing, music, and frolics. Men and women are pleasing, polite, affable. On the other hand, the Chinese are de- scribed as more given to reason than to sentiment, prosaic, slow to acquire, but tenacious of all that is gained, very conservative, great lovers of law and order ; with little taste for art, but much national pride. They are the English of Asia ; the Japan- ese, the French. Go back to earlier times, when the two oldest branches of the great Aryan stock diverged on the table-lands of central Asia ; the Vedic race de- scending into India, and the Zend people passing west, into Persia. The same duplex development took place that we have seen in other instances. The people on the Indus became what they still are, — a people of sentiment and feeling. Like the French, they are polite, and cultivate civility and courtesy. The same tendency to local admin- istration which we see in France is found in India ; the commune being, in both, the germ-cell of na- tional life. The village communities in India are little republics, almost independent of anything outside. Dynasties change, new rulers and kings arrive; Hindoo, Mohammedan, English; but the 34 DUALISM IN NATIONAL LIFE village community remains the same. Like the Japanese, the French, the Italians, the inhabitants of India are skillful manufacturers of ornamental articles. Their religion ■ tends to sentiment more than to morality, — to feeling, rather than to ac- tion. This is the development which India took when these races inhabited the Punjaub. But the ancient Persians were different. Their religion included a morality which placed its essence in right thinking and right action. A sentimental religion, like that of India and of Italy, tends to the adoration of saints and holy images and to multiplied ceremonies. A moral religion, like that of Persia, of Judea, and of the Teutonic races, tends to the adoration and service of the unseen. The Hindoos had innumerable gods, temples, idols. The Persians worshiped the sacred fire, without temple, priest, altar, sacrifice, or ritual. The an- cient Persians, wholly unlike the modern Persians, were a people of action, energy, enterprise. But when the old Persian empire fell, the character of the people changed. Just as in Italy the old Roman type disappeared, and was replaced by the opposite in the modern Italian, so modern Persia has swung round to the opposite pole of national character. The Persians and Turks, both profess- ing the Mohammedan religion, belong to different sects of that faith. The Turks are proud, tenacious of old customs, grave in their demeanor, generally just in their dealings, keeping their word. The DUALISM IN NATIONAL LIFE 35 Persians, as they appear in the works of Malcolm and Monier, are changeable, kindly, polite, given to ceremonies, fond of poetry, with taste for fine art and decoration, — a mobile people. The Turk is silent, the Persian talkative. The Turk is proud and cold, the Persian affable and full of sentiment. In short, the Persian is the Frenchman, and the Turk the Englishman. And here again, as in the other cases, the French type of nationality unfolds itself on the east, and the English on the west. These national doubles have not been exhausted. We have other instances of twin nations, born of much the same confluence of race elements, of whom, as of Esau and Jacob, it might be predicted to the mother race, " Two nations shall be born of thee ; two kinds of people shall go forth from thee ; and the one shall be stronger than the other." Thus there are the twin races which in- habit Sweden and Norway ; the Swedes, on the east, are more intelligent, quick-witted, and ver- satile ; the Norwegians, on the west, slow, persist- ent, and disposed to foreign conquest and adven- ture, as shown in the sea-kings, who discovered Ice- land, Greenland, and Vinland ; and the modern emigrants who reap the vast wheatfields of Min- nesota. So, too, we might speak of the Poles and Germans. The Polish nation, on the east, resem- bling the French; the German, on the west, the English. But time will not allow me to carry out these 36 DUALISM IN NATIONAL LIFE parallels into details. The question is, are these mere coincidences, or do they belong to the homo- logons of history, where the same law of progress repeats itself under different conditions, as the skel- eton of the mammal is found in the whale. Such curious homologons we find in national events, and they can hardly be explained as accidental coin- cidences. For instance, the English and French revolutions proceeded by six identical steps. First, an insurrection of the people. Secondly, the de- thronement and execution of the king. Thirdly, a military usurper. Fourthly, the old line restored. Fifthly, after the death of the restored king, his brother succeeds to the throne. Sixthly, a second revolution drives the brother into exile, and a con- stitutional king of a collateral branch takes his place. But if these doubles which I have described come by some mysterious law of polar force, as in the magnet, where the two kinds of electricity are repelled to opposite poles, and yet attract each other, how account for the regularity of the geo- graphical position ? Why is the French, Greek, Hindoo, Persian, Italian, Polish, Swedish type al- ways at the east, and the English, Roman, Iranic, Ottoman, Spanish, German, Norwegian type always at the west ? Are nations, like tides, affected by the diurnal revolution of the globe? This, I con- fess, I am unable to explain; and I leave it to DUALISM IN NATIONAL LIFE 37 others to consider whether what I have described is pure coincidence, or if it belongs in some way to the philosophy of history and comes under uni- versal law. DID SHAKESPEARE WRITE BACON'S WORKS 1 The greatest of English poets is Shakespeare. The greatest prose writer in English literature is probably Bacon. Each of these writers, alone, is a marvel of intellectual grandeur. It is hard to understand how one man, in a few years, could have written all the masterpieces of Shakespeare, — thirty-six dramas, each a work of genius such as the world will never let die. It is a marvel that from one mind could proceed the tender charm of such poems as "Romeo and Juliet," " As You Like It," or " The Winter's Tale ; " the wild romance of " The Tempest," or of " A Midsummer Night's Dream ; " the awful tragedies of " Lear," " Macbeth," and " Othello ; " the pro- found philosophy of " Hamlet ; " the perfect fun of " Twelfth Night," and " The Merry Wives of Windsor ; " and the reproductions of Roman and English history. It is another marvel that a man like Bacon, immersed nearly all his life in busi- ness, a successful lawyer, an ambitious statesman, a courtier cultivating the society of the sovereign and the favorites of the sovereign, should also be 1 The North American Beview, February, 1881. BIB SHAKESPEARE WRITE BACON'S WORKS 39 the founder of a new system of philosophy, which has been the source of many inventions and new sciences down to the present day ; should have crit- ically surveyed the whole domain of knowledge, and become a master of English literary style. Each of these phenomena is a marvel ; but put them together, and assume that one man did it all, and you have, not a marvel, but a miracle. Yet, this is the result which the monistic tendency of modern thought has reached. Several critics of our time have attempted to show that Bacon, besides writing all the works usually attributed to him, was also the author of all of Shakespeare's plays and poems. This theory was first publicly maintained by Miss Delia Bacon in 1857. It had been, before, in 1856, asserted by an Englishman, William Henry Smith, but only in a small volume printed for private circulation. This book made a distin- guished convert in the person of Lord Palmerston, who openly declared his conviction that Bacon was the author of Shakespeare's plays. Two papers by Appleton Morgan, written in the same sense, appeared last year in " Appletons' Journal." But far the most elaborate and masterly work in sup- port of this attempt to dethrone Shakespeare, and to give his seat on the summit of Parnassus to Lord Bacon, is the book by Judge Holmes, pub- lished in 1866. He has shown much ability, and brought forward every argument which has any plausibility connected with it. 40 DIB SHAKESPEARE WRITE BACON'S WOEES Judge Holmes was, of course, obliged to admit the extreme antecedent improbability of his posi- tion. Certainly it is very difficult to believe that the author of such immortal works should have been willing, for any reason, permanently to con- ceal his authorship ; or, if he could hide that fact, should have been willing to give the authorship to another ; or, if willing, should have been able so effectually to conceal the substitution as to blind the eyes of all mankind down to the days of Miss Delia Bacon and Judge Holmes. What, then, are the arguments used by Judge Holmes ? The proofs he adduces are mainly these : (1st) That there are many coincidences and paral- lelisms of thought and expression between the works of Bacon and Shakespeare ; (2d) that there is an amount of knowledge and learning in the plays, which Lord Bacon possessed, but which Shakespeare could hardly have had. Besides these principal proofs, there are many other reasons given which are of inferior weight, — a phrase in a letter of Sir Tobie Matthew ; another sentence of Bacon himself, which might be possibly taken as an admission that he was the author of " Bich- ard II. ; " the fact that some plays which Shake- speare certainly did not write were first published with his name or his initials. But his chief argu- ment is that Shakespeare had neither the learn- ing nor the time to write the plays, both of which Lord Bacon possessed ; and that there are curious BID SHAKESPEARE WRITE BACON'S WORKS 41 coincidences between the plays and the prose works. These arguments have all been answered, and the world still believes in Shakespeare as before. But I have thought it might be interesting to show how easily another argument could be made of an exactly opposite kind, — how easily all these proofs might be reversed. I am inclined to think that if we are to believe that one man was the author both of the plays and of the philosophy, it is much more probable that Shakespeare wrote the works of Bacon than that Bacon w 7 rote the works of Shake- speare. For there is no evidence that Bacon was a poet as well as a philosopher ; but there is ample evidence that Shakespeare was a philosopher as well as a poet. This, no doubt, assumes that Shakespeare actually wrote the plays ; but this we have a right to assume, in the outset of the discus- sion, in order to stand on an equal ground with our opponents. The Bacon vis. Shakespeare argument runs thus : " Assuming that Lord Bacon wrote the works commonly attributed to him, there is reason to believe that he also w^rote the plays and poems commonly attributed to Shakespeare." The counter argument would then be : " As- suming that Shakespeare wrote the plays and poems commonly attributed to him, there is reason to believe that he also wrote the works commonly attributed to Bacon." 42 BIB SHAKESPEARE WRITE BACON'S WORKS This is clearly the fair basis of the discussion. What is assumed on the one side on behalf of Bacon we have a right to assume on the other on behalf of Shakespeare. But before proceeding on this basis, I must reply to the only argument of Judge Holmes which has much apparent weight. He contends that it was impossible for Shake- speare, with the opportunities he possessed, to acquire the knowledge which we find in the plays. Genius, however great, cannot give the knowledge of medical and legal terms, nor of the ancient languages. Now, it has been shown that the plays afford evidence of a great knowledge of law and medicine ; and of works in Latin and Greek, French and Italian. How could such information have been obtained by a boy who had no ad- vantages of study except at a country grammar school, which he left at the age of fourteen, who went to London at twenty-three and became an actor, and who spent most of his life as actor, theatrical proprietor, and man of business ? This objection presents difficulties to us, and for our time, when boys sometimes spend years in the study of Latin grammar. We cannot understand the rapidity with which all sorts of knowledge were imbibed in the period of the Renaissance. Then every one studied everything. Then Greek and Latin books were read by prince and peasant, by queens and generals. Then all sciences and arts were learned by men and women, by young BIB SHAKESPEARE WRITE BACON'S WORKS 43 and old. Thus speaks Robert Burton — who was forty years old when Shakespeare died : " What a world of books offers itself, in all subjects, arts and sciences, to the sweet content and capacity of the reader ! In arithmetic, geometry, perspective, opticks, astronomy, architecture, sculptura, pic- tura, of which so many and elaborate treatises have lately been written ; in mechanics and their mysteries, military matters, navigation, riding of horses, fencing, swimming, gardening, planting, great tomes of husbandry, cookery, faulconry, hunting, fishing, fowling; with exquisite pictures of all sports and games. . . . What vast tomes are extant in law, physic, and divinity, for profit, pleasure, practice. . . . Some take an infinite de- light to study the very languages in which these books were written : Hebrew, Greek, Syriac, Chal- dee, Arabick, and the like." This was the fashion of that day, to study all languages, all subjects, all authors. A mind like that of Shakespeare could not have failed to share this universal desire for knowledge. After leaving the grammar school, he had nine years for such studies before he went to London. As soon as he began to write plays, he had new motives for study; for the subjects of the drama in vogue were often taken from classic story. But Shakespeare had access to another source of knowledge besides the study of books. When he reached London, five or six play-houses were in 44 DID SHAKESPEABE WRITE BACON'S WOBKS full activity, and new plays were produced every year in vast numbers. New plays were then in constant demand, just as the new novel and new daily or weekly paper are called for now. The drama was the periodical literature of the time. Dramatic authors wrote with wonderful rapidity, borrowing their subjects from plays already on the stage, and from classic or recent history. Mar- lowe, Greene, Lyly, Peele, Kyd, Lodge, Nash, Chettle, Munday, Wilson, were all dramatic writers before Shakespeare. Philip Henslowe, a manager or proprietor of the theatres, bought two hundred and seventy plays in about ten years. Thomas Heywood wrote a part or the whole of two hun- dred and twenty plays during his dramatic career. Each acted play furnished material for some other. They were the property of the play-houses, not of the writers. One writer after another has accused Shakespeare of indifference to his reputation, be- cause he did not publish a complete and revised edition of his works during his life. How could he do this, since they did not belong to him, but to the theatre ? Yet every writer was at full liberty to make use of all he could remember of other plays, as he saw them acted ; and Shakespeare was not slow to use this opportunity. No doubt he gained knowledge in this way, which he after- ward employed much better than did the authors from whom he took it. The first plays printed under Shakespeare's BIB SHAKESPEARE WRITE BACON'S WORKS 45 name did not appear till he had been connected with the stage eleven years. This gives time enough for him to have acquired all the knowledge to be found in his books. That he had read Latin and Greek books we are told by Ben Jonson ; though that great scholar undervalued, as was natural, Shakespeare's attainments in those lan- guages. But Ben Jonson himself furnishes the best re- ply to those who think that Shakespeare could not have gained much knowledge of science or litera- ture because he did not go to Oxford or Cam- bridge. What opportunities had Ben Jonson? A bricklayer by trade, called back immediately from his studies to use the trowel ; then running away and enlisting as a common soldier ; fighting in the Low Countries ; coming home at nineteen, and going on the stage ; sent to prison for fighting a duel — what opportunities for study had he ? He was of a strong animal nature, combative, in perpetual quarrels, fond of drink, in pecuniary troubles, married at tw;enty, with a wife and chil- dren to support. Yet Jonson was celebrated for his learning. He was master of Greek and Latin literature. He took his characters from Athenseus, Libanius, Philostratus. Somehow he had found time for all this study. " Greek and Latin thought," says Taine, " were incorporated with his own, and made a part of it. He knew alchemy, and was as familiar with alembics, retorts, crucibles, etc., as if 46 BIB SHAKESPEARE WRITE BACON'S WORKS he had passed his life in seeking the philosopher's stone. He seems to have had a specialty in every branch of knowledge. He had all the methods of Latin art, — possessed the brilliant conciseness of Seneca and Lucan." If Ben Jonson — a brick- layer, a soldier, a fighter, a drinker — could yet find time to acquire this vast knowledge, is there any reason why Shakespeare, with much more leisure, might not have done the like ? He did not possess as much Greek and Latin lore as Ben Jonson, who, probably, had Shakespeare in his mind when he wrote the following passage in his " Poetaster : " " His learning" savors not the school-like gloss That most consists in echoing words and terms, And soonest wins a man an empty name ; Nor any long or far-fetched circumstance Wrapt in the curious generalties of art — But a direct and analytic sum Of all the worth and first effects of art. And for his poesy, 't is so rammed with life, That it shall gather strength of life with being, And live hereafter more admired than now." The only other serious proof offered in support of the proposition that Bacon wrote the immortal Shakespearean drama is that certain coincidences of thought and language are found in the works of the two writers. When we examine them, how- ever, they seem very insignificant. Take, as an example, two or three, on which Judge Holmes relies, and which he thinks very striking. Holmes says (page 48) that Bacon quotes Aris- DIB SHAKESPEARE WEITE BACON'S WORKS 47 totle, who said that " young men were no fit hear- ers of moral philosophy," and Shakespeare says (" Troilus and Cressida ") : — " Unlike young men whom Aristotle thought Unfit to hear moral philosophy." But since Bacon's remark was published in 1605, and " Troilus and Cressida " did not appear until 1609, Shakespeare might have seen it there, and introduced it into his play from his recollection of the passage in the "Advancement of Learning." Another coincidence mentioned by Holmes is that both writers use the word " thrust : " Bacon saying that a ship " thrust into Weymouth ; " and Shakespeare, that " Milan was thrust from Milan." He also thinks it cannot be an accident that both frequently use the word " wilderness," though in very different ways. Both also compare Queen Elizabeth to a " star." Bacon makes Atlantis an island in mid-ocean ; and the island of Prospero is also in mid-ocean. Both have a good deal to say about " mirrors," and " props," and like phrases. Such reasoning as this has very little weight. You cannot prove two contemporaneous writings to have proceeded from one author by the same words and phrases being found in both ; for these are in the vocabulary of the time, and are the com- mon property of all who read and write. My position is that if either of these writers wrote the works attributed to the other, it is much 48 DID SHAKESPEARE WRITE BACON'S WORKS more likely that Shakespeare wrote the philosophi- cal works of Bacon than that Bacon wrote the poetical works of Shakespeare. Assuming then, as we have a right to do in this argument, that Shakespeare wrote the plays, what reasons are there for believing that he also wrote the philosophy? First, this assumption will explain at once that hitherto insoluble problem of the contradiction between Bacon's character and conduct and his works. How could he have been, at the same time, what Pope calls him, — " The wisest, brightest, meanest of mankind " ? He was, in his philosophy, the leader of his age, the reformer of old abuses, the friend of progress. In his conduct, he was, as Macaulay has shown, " far behind his age, — far behind Sir Edward Coke ; clinging to exploded abuses, withstanding the progress of improvement, struggling to push back the human mind." In his writings, he was calm, dignified, noble. In his life, he was an office-seeker through long years, seeking place by cringing subservience to men in power, made wretched to the last degree when office was denied him, addressing servile supplications to noblemen and to the sovereign. To gain and keep office he would desert his friends, attack his benefactors, and make abject apologies for any manly word he might have incautiously uttered. His philosophy rose far above earth and time, and sailed supreme BID SHAKESPEARE WRITE BACON'S WORKS 49 in the air of universal reason. But " his desires were set on things below. Wealth, precedence, titles, patronage, the mace, the seals, the coronet, large houses, fair gardens, rich manors, massy ser- vices of plate, gay hangings," were " objects for which he stooped to everything and endured every^ thing." These words of Macaulay have been thought too severe. But we defy any admirer of Bacon to read his life, by Spedding, without admit- ting their essential truth. How was it possible for a man to spend half of his life in the meanest of pursuits, and the other half in the noblest ? This difficulty is removed if we suppose that Bacon, the courtier and lawyer, with his other ambitions, was desirous of the fame of a great phi- losopher ; and that he induced Shakespeare, then in the prime of his powers, to help him write the prose essays and treatises which are his chief works. He has himself admitted that he did actu- ally ask the aid of the dramatists of his time in writing his books. This remarkable fact is stated by Bacon in a letter to Tobie Matthew, written in June, 1623, in which he says that he is devoting himself to making his writings more perfect — instancing the " Essays " and the " Advancement of Learning " — " by the help of some good pens, which forsake me not." One of these pens was that of Ben Jonson, the other might easily have been that of Shakespeare. Certainly there was no better pen in England at that time than his. 50 BIB SHAKESPEARE WRITE BACON'S WORKS When Shakespeare's plays were being produced, Lord Bacon was fully occupied in his law practice, his parliamentary duties, and his office-seeking. The largest part of the Shakespeare drama was put on the stage, as modern research renders probable, in the ten or twelve years beginning with 1590. In 1597 Shakespeare was rich enough to buy the new place at Stratford-on-Avon, and was also lending money. In 1604 he was part owner of the Globe Theatre, so that the majority of the plays which gained for him this fortune must have been pro- duced before that time. Now, these were just the busiest years of Bacon's life. In 1584 he was elected to Parliament. About the same time, he wrote his famous letter to Queen Elizabeth. In 1585 he was already seeking office from Walsing- ham and Burleigh. In 1586 he sat in Parliament for Taunton, and was active in debate and on com- mittees. He became a bencher in the same year, and began to plead in the courts of Westminster. In 1589 he became queen's counsel, and member of Parliament for Liverpool. After this he con- tinued active, both in Parliament and at the bar. He sought, by the help of Essex, to become Attor- ney-General. From that period, as crown lawyer, his whole time and thought were required to trace and frustrate the conspiracies with which the king- dom was full. It was evident that during these years he had no time to compose fifteen or twenty of the greatest works in any literature. DIB SHAKESPEARE WRITE BACON'S WORKS 51 But how was Shakespeare occupied when Bacon's philosophy appeared ? The " Advancement of Learning " was published in 1605, after most of the plays had been written, as we learn from the fact of Shakespeare's purchase of houses and lands. The " Novum Organum " was published in 1620, after Shakespeare's death. But it had been written years before ; revised, altered, and copied again and again — it is said twelve times. Bacon had been engaged upon it during thirty years, and it was at last published incomplete and in frag- ments. If Shakespeare assisted in the composi- tion of this work, his death in 1616 would account, at once, for its being left unfinished. And Shake- speare would have had ample time to furnish the ideas of the " Organum " in the last years of his life, when he had left the theatre. In 1613 he bought a house in Black Friars, where Ben Jonson also lived. Might not this have been that they might more conveniently cooperate in assisting Bacon to write the " Novum Organum " ? When we ask whether it would have been easier for the author of the philosophy to have composed the drama, or the dramatic poet to have written the philosophy, the answer will depend on which is the greater work of the two. The greater in- cludes the less, but the less cannot include the greater. Now, the universal testimony of modern criticism in England, Germany, and France de- clares that no larger, deeper, or ampler intellect 52 BID SHAKESPEARE WRITE BACON'S WORKS has ever appeared than that which produced the Shakespeare drama. This " myriad-minded " poet was also philosopher, man of the world, acquainted with practical affairs, one of those who saw the present and foresaw the future. All the ideas of the Baconian philosophy might easily have had their home in this vast intelligence. Great as are the thoughts of the " Novum Organum," they are far inferior to that world of thought which is in the drama. We can easily conceive that Shake- speare, having produced in his prime the wonders and glories of the plays, should in his after leisure have developed the leading ideas of the Baconian philosophy. But it is difficult to imagine that Bacon, while devoting his main strength to poli- tics, to law, and to philosophy, should as a mere pastime for his leisure, have produced in his idle moments the greatest intellectual work ever done on earth. If the greater includes the less, the mind of Shakespeare includes that of Bacon, and not vice versa. This will appear more plainly if we con- sider the quality of intellect displayed respectively in the dramas and the philosophy. The one is synthetic, creative ; the other analytic, critical. The one puts together, the other takes apart and examines. Now, the genius which can put to- gether can also take apart ; but it by no means follows that the power of taking apart implies that of putting together. A watch-maker, who can put BIB SHAKESPEARE WRITE BACON'S WORKS 53 a watch together, can easily take it to pieces ; but many a child who has taken his watch to pieces has found it impossible to put it together again. When we compare the Shakespeare plays and the Baconian philosophy, it is curious to see how the one is throughout a display of the synthetic intellect, and the other of the analytic. The plays are pure creation, the production of living wholes. They people our thought with a race of beings who are living persons, and not pale abstractions. These airy nothings take flesh and form, and have a name and local habitation forever on the earth. Hamlet, Desdemona, Othello, Miranda, are as real people as Queen Elizabeth or Mary of Scotland. But when we turn to the Baconian philosophy, this faculty is absent. We have entered the laboratory of a great chemist, and are surrounded by retorts and crucibles, tests and re-agents, where the work done is a careful analysis of all existing things, to find what are their constituents and their qualities. Poetry creates, philosophy takes to pieces and ex- amines. It is, I think, a historic fact, that while those authors whose primary quality is poetic genius have often been also, on a lower plane, eminent as philosophers, there is, perhaps, not a single instance of one whose primary distinction was, philosophic analysis, who has also been, on a lower plane, eminent as a poet. Milton, Petrarch, Goethe, Lucretius, Voltaire, Coleridge, were pri- 54 BIB SHAKESPEARE WRITE BACON'S WORKS marily and eminently poets ; but all excelled, too, in a less degree, as logicians, metaphysicians, men of science, and philosophers. But what instance have we of any man like Bacon, chiefly eminent as lawyer, statesman, and philosopher, who was also distinguished, though in a less degree, as a poet ? Among great lawyers, is there one eminent also as a dramatic or lyric author ? Cicero tried it, but his verses are only doggerel. In Lord Campbell's list of the lord chancellors and chief justices of England no such instance appears. If Bacon wrote the Shakespeare drama, he is the one exception to an otherwise universal rule. But if Shakespeare cooperated in the production of the Baconian philosophy, he belongs to a class of poets who have done the same. Coleridge was one of the most imaginative of poets. His " Christabel " and " Ancient Mariner " are pure creations. But in later life he originated a new system of philoso- phy in England, the influence of which has not ceased to be felt to our day. The case would be exactly similar if we suppose that Shakespeare, having ranged the realm of imaginative poetry in his youth, had in his later days of leisure coop- erated with Bacon and Ben Jonson in producing the " Advancement of Learning " and the " No- vum Organum." We can easily think of them as meeting, sometimes at the house of Ben Jonson, sometimes at that of Shakespeare in Black Friars, and sometimes guests at that private house built BIB SHAKESPEARE WHITE BACON'S WORKS 55 by Lord Bacon for purposes of study, near his splendid palace of Gorhambury. " A most in- geniously contrived house," says Basil Montagu, "where, in the society of his philosophical friends, he devoted himself to study and meditation." Aubrey tells us that he had the aid of Hobbes in writing down his thoughts. Lord Bacon appears to have possessed the happy gift of using other men's faculties in his service. Ben Jonson, who had been a thorough student of chemistry, alchemy, and science in all the forms then known, aided Bacon in his observations of nature. Hobbes aided him in giving clearness to his thoughts and his language. And from Shakespeare he may have derived the radical and central ideas of his philosophy. He used the help of Dr. Playfer to translate his philosophy into Latin. Tobie Mat- thew gives him the last argument of Galileo for the Copernican system. He sends his works to others, begging them to correct the thoughts and the style. It is evident, then, that he would have been glad of the concurrence of Shakespeare, and that could easily be had, through their common friend, Ben Jonson. If Bacon wrote the plays of Shakespeare, it is difficult to give any satisfactory reason for his con- cealment of that authorship. He had much pride, not to say vanity, in being known as an author. He had his name attached to all his other works, and sent them as presents to the universities, and 56 DID SHAKESPEARE WRITE BACON'S WORKS to individuals, with letters calling their attention to these books. Would he have been willing per- manently to conceal the fact of his being the author of the best poetry of his time ? The reasons as- signed by Judge Holmes for this are not satisfac- tory. They are : his desire to rise in the profession of the law, the low reputation of a play-writer, his wish to write more freely under an incognito, and his wish to rest his reputation on his philosophical works. But if he were reluctant to be regarded as the author of " Lear " and " Hamlet," he was willing to be known as the writer of " Masques," and a play about " Arthur," exhibited by the stu- dents of Gray's Inn. It is an error to say that the reputation of a play-writer was low. Judge Holmes, himself, tells us that there was nothing remarkable in a barrister of the inns of court writ- ing for the stage. Ford and Beaumont were both lawyers as well as eminent play-writers. Lord Backhurst, Lord Brooke, Sir Henry Wotton, all wrote plays. And we find nothing in the Shake- speare dramas which Bacon need have feared to say under his own name. It would have been ruin to Sir Philip Francis to have avowed himself the author of " Junius." But the Shakespeare plays satirized no one, and made no enemies. If there were any reasons for concealment, they cer- tainly do not apply to the year 1628, when the first folio appeared, which was after the death of Shakespeare and the fall of Bacon. The ac- DIB SHAKESPEABE WRITE BACON'S WOBKS 57 knowledgment of their authorship at that time could no longer interfere with Bacon's rise. And it would be very little to the credit of his intelli- gence to assume that he was not then aware of the value of such works, or that he did not desire the reputation of being their author. It would have been contrary to his very nature not to have wished for the credit of that authorship. On the other hand, there would be nothing surprising in the fact of Shakespeare's laying no claim to credit for having assisted in the composi- tion of the " Advancement of Learning." Shake- speare was by nature as reticent and modest as Bacon was egotistical and ostentatious. What a veil is drawn over the poet's personality in his sonnets ! We read in them his inmost sentiments, but they tell us absolutely nothing of the events of his life, or the facts of his position. And if, as we assume, he was one among several who helped Lord Bacon, though he might have done the most, there was no special reason why he should proclaim that fact. Gervinus has shown, in three striking pages, the fundamental harmony between the ideas and men- tal tendencies of Shakespeare and Bacon. Their philosophy of man and of life was the same. If, then, Bacon needed to be helped in thinking out his system, there was no one alive who would have given him such stimulus and encouragement as Shakespeare. This also may explain his not men- 58 BIB SHAEESPEABE WRITE BACON'S WOBKS tioning the name of Shakespeare in his works ; for that might have called too much attention to the source from which he received this important aid. Nevertheless, I regard the monistic theory as in the last degree improbable. We have two great authors, and not one only. But if we are com- pelled to accept the view which ascribes a common source to the Shakespeare drama and the Baconian philosophy, I think there are good reasons for preferring Shakespeare to Bacon as the author of both. When the plays appeared, Bacon was absorbed in pursuits and ambitions foreign to such work ; his accepted writings show no sign of such creative power ; he was the last man in the world not to take the credit of such a success, and had no motive to conceal his authorship. On the other hand, there was a period in Shakespeare's life when he had abundant leisure to cooperate in the literary plans of Bacon ; his ample intellect was full of the ideas which took form in those works ; and he was just the person neither to claim nor to desi/e any credit for lending such assistance. There is, certainly, every reason to believe that, among his other ambitions, Bacon desired that of striking out a new path of discovery, and initiat- ing a better method in the study of nature. But we know that, in doing this, he sought aid in all quarters, and especially among Shakespeare's friends and companions. It is highly probable, BIB SHAKESPEARE WEITE BACON'S WORKS 59 therefore, that lie became acquainted with the great dramatist, and that Shakespeare knew of Bacon's designs and became interested in them. And if so, who could offer better suggestions than he ; and who would more willingly accept them than the overworked statesman and lawyer, who wished to be also a philosopher ? Finally, we may refer those who believe that the shape of the brow and head indicates the quality of mental power to the portraits of the two men. The head of Shakespeare, according to all the busts and pictures which remain to us, belongs to the type which antiquity has transmitted to us in the portraits of Homer and Plato. In this vast dome of thought there was room for everything. The head of Bacon is also a grand one, but less ample, less complete — less * ' Teres, totus atque rotundus." These portraits therefore agree with all we know of the writings, in showing us which, and which only, of the two minds was capable of containing the other. THE EVOLUTION OF A GREAT POEM 1 There are at least three existing manuscripts of Gray's "Elegy," in the author's autograph. The earliest, containing the largest number of variations and the most curious, is that now in the possession of Sir William Eraser in London, and for which he paid the large sum of £230, in 1875. By the kindness of Sir William Fraser, I examined this manuscript at his rooms in London, in 1882. A facsimile copy of this valuable autograph, pho- tographed from the original in 1862, is now before me. A second copy in the handwriting of Gray, called the Pembroke manuscript, is in the library of Pembroke Hall, Cambridge. A facsimile of this autograph appears in Matthias's edition of Mason's "Gray," published in 1814. A third copy, in the poet's handwriting, copied by him for his friend, Dr. Wharton, is in the British Museum. I examined this, also, in 1882, and had an ac- curate copy made for me by one of the assistants in the museum/ This was written after the other two, as is evident from the fact that it approaches most nearly to the form which the " Elegy " finally assumed when printed. There are only nine or 1 The Independent, 1882. THE EVOLUTION OF A GREAT POEM 61 ten expressions in this manuscript which differ from the poem as published by Gray. Most of these are unimportant. " Or " he changed, in three places, into " and." " And in our ashes " he changed into " Even in our ashes," which was a clear improvement. It was not until after this third copy was written that the improvement was made which changed into "Forgive, ye Proud, the involuntary Fault, If Memory to These no Trophies raise," " Nor you, ye proud, impute to these the fault, If Memory o'er their tomb no trophies raise." Another important alteration of a single word was also made after this third manuscript was written. This was the change, in the forty-fifth stanza, of " Eeins of Empire " into " Rod of Empire." " The Elegy in a Country Churchyard " became at once one of the most popular poems in the language, and has remained so to this time. It has. been equally a favorite with common readers, with literary men, and with poets. Its place will always be in the highest rank of English poetry. The fact, however, is — and it is a very curious fact — that this first-class poem was the work of a third-class poet. For Thomas Gray certainly does not stand in the first class with Shakespeare, Spenser, and Milton. Nor can he fairly be put in the second class with Dryden, Pope, Burns, Words- worth, and Byron. He belongs to the third, with 62 THE EVOLUTION OF A GBEAT POEM Cowley, Cowper, Shelley, and Keats. There may be a doubt concerning some of whom I have named, but there can be no doubt that Gray will never stand higher than those who may be placed by critics in the third class. Yet it is equally certain that he has produced a first-class poem. How is this paradox to be explained ? What is the charm of Gray's " Elegy " ? The thoughts are sufficiently commonplace. That all men must die, that the most humble may have had in them some power which, under other circum- stances, might have made them famous, — these are somewhat trite statements ; but the fascination of the verses consists in the tone, solemn but serene, which pervades them ; in the pictures of coming night, of breaking day, of cheerful rural life, of happy homes ; and lastly, in the perfect finish of the verse and the curious felicity of the diction. In short, the poem is a work of high art. It was not inspired, but it was carefully elabo- rated. And this appears plainly when we com- pare it, as it stands in the Fraser manuscript, with its final form. This poem was .a work of eight years. Its head- ing in the Fraser manuscript is " Stanzas Wrote in a Country Churchyard." It was, however, be- gun at Stoke in 1742, continued at Cambridge, and had its last touches added at Stoke-Pogis, June 12, 1750. In a letter to Horace Walpole of that date, Gray says, " Having put an end to a THE EVOLUTION OF A GREAT POEM 63 thing whose beginning you saw long ago, I im- mediately send it to you." The corrections made by Gray during this period were many, and were probably all improve- ments. Many poets when they try to improve their verses only injure them. But Gray's correc- tions were invariably for the better. We may even say that, if it had been published as it was first written, and as it now stands in the Fraser manuscript, it would have ranked only with the best poetry of Shenstone or Cowper. Let me indicate some of the most important changes. In line seventeen, the fine epithet of " incense- breathing " was an addition. " The breezy call of incense-breathing morn," for the Fraser manuscript reads — " Forever sleep. The breezy call of morn." Nineteenth line, Fraser manuscript has — il Or chanticleer so shrill, or echoing horn," corrected to " The cock's shrill clarion, or the echoing horn." Twenty-fourth — " Coming kiss " was corrected to " envied kiss." Forty -third — "Awake the silent dust" was corrected to " provoke the silent dust." Forty-seventh — The correction of " Reins of Empire " to " Rod of Empire " first appears in the margin of the Pembroke manuscript. 64 THE EVOLUTION OF A GREAT POEM Fifty - seventh — In the Eraser manuscript it reads — " Some village Cato, who with dauntless breast, Some mute, inglorious Tully here may rest ; Some Caesar," etc. In the Pembroke manuscript, these classical per- sonages have disappeared, and the great improve- ment was made of substituting Hampden, Milton, and Cromwell, and thus maintaining the English coloring of the poem. Fifty-first — This verse, beginning, " But Know- ledge," etc., was placed, in the Fraser manuscript, after the one beginning, " Some village Cato," but with a note in the margin to transfer it to where it now stands. The third line of the stanza was first written, " Chill Penury had damped." This was first corrected to " depressed," and afterward to " repressed." Fifty-fifth — "Their fate forbade," changed to "Their lot forbade." Sixty-sixth — " Their struggling virtues " was improved to " Their growing virtues." Seventy-first — " Crown the shrine " was altered to " heap the shrine," and in the next line " In- cense hallowed by the muse's flame " was wisely changed to " Incense kindled by the muse's flame." After the seventy-second line stand, in the Fraser manuscript, the following stanzas, which Gray, with admirable taste, afterward omitted. But, before he decided to leave them out alto- THE EVOLUTION OF A GREAT POEM 65 gether, he drew a black line down the margin, indicating that he would transfer them to another place. These stanzas were originally intended to close the poem. Afterward the thought occurred to him of " the hoary-headed swain " and the " Epitaph." " The thoughtless World to Majesty may bow, Exalt the Brave and idolize Success, But more to Innocence their safety owe Than Power and Genius e'er conspire to bless. " And thou, who, mindful of the unhonored Dead, Dost, in these Notes, their artless Tale relate, By Night and lonely Contemplation led To linger in the gloomy Walks of Fate ; "Hark, how the sacred Calm that broods around Bids every fierce, tumultuous Passion cease, In still, small Accents whispering from the Ground A grateful Earnest of eternal Peace. " No more with Reason and thyself at Strife, Give anxious Cares and useless Wishes room ; But through the cool, sequestered Vale of Life Pursue the silent Tenor of thy Doom." After these stanzas, according to the Fraser manuscript, were to follow these lines, which I do not remember to have seen elsewhere : — " If chance that e'er some pensive Spirit more, By sympathetic Musings here delayed, With vain though kind Enquiry shall explore Thy once-loved Haunt, thy long-neglected Shade, "Haply," etc. But Gray soon dispensed with this feeble stanza, 66 THE EVOLUTION OF A GBEAT POEM and made a new one by changing it into the one beginning : — " For thee, who mindful." The ninety-ninth and one hundredth lines stand in the Fraser manuscript — " With hasty footsteps brush the dews away On the high brow of yonder hanging* lawn." The following stanza is noticeable for the in- versions so frequent in Gray, and which he had, perhaps, unconsciously adopted from his familiarity with the classics. He afterward omitted it : — " Him have we seen the greenwood side along, While o'er the heath we hied, our labors done. Oft as the wood-lark piped her farewell song, With wistful eyes pursue the setting sun." In the manuscript the word is spelled " whistf ul." In line 101, " hoary beech " is corrected to " spread- ing beech," and afterward to " nodding beech." Line 113 — " Dirges meet " was changed to " dirges dire ; " and after 116 came the beautiful stanza, afterward omitted by Gray as being de trop in this place : — " There, scattered oft, the earliest of the year, By hands unseen, are showers of violets found ; The redbreast loves to build and warble there, And little footsteps lightly print the ground.'' Even in this verse there were two corrections. " Eobin " was altered in the Fraser manuscript into " redbreast," and " frequent violets " into " showers of violets." THE EVOLUTION OF A GBEAT POEM 67 One of the most curious accidents to which this famous poem has been subjected was an erroneous change made in the early editions, which has been propagated almost to our time. In the stanza be- ginning — " The boast of Heraldry, the pomp of Power," Gray wrote " Awaits alike the inevitable Hour." And so it stands in all three manuscripts, and in the printed edition which he himself superintended. His meaning was, " The inevitable Hour awaits everything. It stands there, waiting the boast of Heraldry," etc. But his editors, misled by his inverted style, supposed that it was the gifts of Heraldry, Power, Beauty, etc., that were* waiting, and therefore corrected what they thought Gray's bad grammar, and printed the word " await." But so they destroyed the meaning. These things were not waiting at all for the dread hour ; they were enjoying themselves, careless of its approach. But " the hour " was waiting for them. Gray's original reading has been restored in the last editions. In tracing the development of this fine poem, we see it gradually improving under his careful touch, till it becomes a work of high art. In some poets — Wordsworth, for example — inspiration is at its maximum, and art at its minimum. In Gray, I think, inspiration was at its minimum, and art at its maximum. EELIGIOUS AND PHILOSOPH- ICAL AFFINITIES OF BUDDHISM AND CHRIS- TIANITY x It has long been known that many analogies exist between Buddhism and Christianity. The ceremonies, ritual, and rites of the Buddhists strik- ingly resemble those of the Roman Catholic Church. The Buddhist priests are monks. They take the same three vows of poverty, chastity, and obedience which are binding on those of the Roman Church. They are mendicants, like the mendicant orders of St. Francis and St. Dominic. They are tonsured ; use strings of beads, like the rosary, with which to count their prayers ; have incense and candles in their worship ; use fasts, processions, litanies, and holy water. They have something akin to the adoration of saints ; repeat prayers in an unknown tongue; have a chanted psalmody with a double choir ; and suspend the censer from five chains. In China, some Buddhists worship the image of a virgin, called the Queen of Heaven, having an infant in her arms, and holding a cross. In Thibet the Grand Lamas wear a mitre, dalmatica, and cope, and pronounce a benediction on the laity by extending the right hand over their heads. The 1 The North American Beview, May, 1883. 72 BUDDHISM AND CHRISTIANITY Dalai-Lama resembles the Pope, and is regarded as the head of the Church. The worship of relics is very ancient among the Buddhists, and so are pilgrimages to sacred places. Besides these resemblances in outward ceremo- nies, more important ones appear in the inner life and history of the two religions. Both belong to those systems which derive their character from a human founder, and not from a national tendency ; to the class which contains the religions of Moses, Zoroaster, Confucius, and Mohammed, and not to that in which the Brahmanical, Egyptian, Scandi- navian, Greek, and Roman religions are found. Both Buddhism and Christianity are catholic, and not ethnic ; that is, not confined to a single race or nation, but by their missionary spirit passing beyond these boundaries, and making converts among many races. Christianity began among the Jews as a Semitic religion, but, being rejected by the Jewish nation, established itself among the Aryan races of Europe. In the same way Bud- dhism, beginning among an Aryan people — the Hindoos — was expelled from Hindostan, and es- tablished itself among the Mongol races of Eastern Asia. Besides its resemblances to the Roman Catholic side of Christendom, Buddhism has still closer analogies with the Protestant Church. Like Protestantism, it is a reform, which rejects a hie- rarchal system and does away with a priestly caste. Like Protestantism, it has emphasized the purely BUDDHISM AND CHRISTIANITY 73 humane side of life, and is a religion of humanity rather than of piety. Both the Christian and Bud- dhist churches teach a divine incarnation, and both worship a God-man. Are these remarkable analogies only casual re- semblances, or are they real affinities ? By affinity we here mean genetic relationship. Are Buddhism and Christianity related as mother and child, one being derived from the other ; or are they related by both being derived from some common ancestor ? Is either derived from the other, as Christianity from Judaism, or Protestantism from the Papal Church ? That there can be no such affinity as this seems evident from history. History shows no trace of the contact which would be required for such influ- ence. If Christianity had taken its customs from Buddhism, or Buddhism from Christianity, there must have been ample historic evidence of the fact. But, instead of this, history shows that each has grown up by its own natural development, and has unfolded its qualities separately and alone. The law of evolution also teaches that such great systems do not come from imitation, but as growths from a primal germ. Nor does history give the least evidence of a com- mon ancestry from which both took their common traits. We know that Buddhism was derived from Brahmanism, and that Christianity was derived from Judaism. Now, Judaism and Brahmanism have few analogies ; they could not, therefore, have 74 BUDDHISM AND CHRISTIANITY transmitted to their offspring what they did not themselves possess. Brahmanism came from an Aryan stock, in Central Asia ; Judaism from a Semitic stem, thousands of miles to the west. If Buddhism and Christianity came from a common source, that source must have antedated both the Mosaic and Brahmanical systems. Even then it would be a case of atavism in which the original type disappeared in the children, to reappear in the later descendants. Are, then, these striking resemblances, and oth- ers which are still to be mentioned, only accidental analogies ? This does not necessarily follow ; for there is a third alternative. They may be what are called in science homologies ; that is, the same law working out similar results under the same conditions, though under different circumstances. The whale lives under different circumstances from other mammalia; but being a mammal, he has a like osseous structure. What seems to be a fin, being dissected, turns out to be an arm, with hand and fingers. There are like homologies in history. Take the instance of the English and French re- volutions. In each case the legitimate king was tried, condemned, and executed. A republic fol- lowed. The republic gave way before a strong- handed usurper. Then the original race of kings was restored ; but, having learned nothing and for- gotten nothing, they were displaced a second time, and a constitutional monarch placed on the throne, BUDDHISM AND CHRISTIANITY 75 who, though not the legitimate king, still belonged to the same race. Here the same laws of human nature have worked out similar results ; for no one would suggest that France had copied its revolu- tions from England. And, in religion, human na- ture reproduces similar customs and ceremonies under like conditions. When, for instance, you have a mechanical system of prayer, in which the number of prayers is of chief importance, there must be some way of counting them, and so the rosary has been invented independently in differ- ent religions. We have no room to point out how this law has worked in other instances ; but it is enough to refer to the principle. Besides these resemblances between Buddhism and Christianity, there are also some equally re- markable differences, which should be noticed. The first of these is the striking fact that Bud- dhism has been unable to recognize the existence of the Infinite Being. It has been called atheism by the majority of the best authorities. Even Arthur Lillie, who defends this system from the charge of agnosticism, says : 1 " An agnostic school of Bud- dhism without doubt exists. It professes plain athe- ism, and holds that every mortal, when he escapes from re-births, and the causation of Karma by the awakenment of the Bodhi or gnosis, will be anni- hilated. This Buddhism, by Eugene Burnouf, Saint-Hilaire, Max Muller, Csoma de Koros, and, 1 Buddha and Early Buddhism. Trubner & Co., 1881. 76 BUDDHISM AND CHRISTIANITY I believe, almost every writer of note, is pro- nounced the original Buddhism, — the Buddhism of the South." Almost every writer of note, therefore, who has studied Buddhism in the Pali, Singhalese, Chinese, and other languages, and has had direct access to its original sources, has pro- nounced it a system of atheism. But this opinion is opposed to the fact that Buddhists have every- where worshiped unseen and superhuman powers, erected magnificent temples, maintained an elabo- rate ritual, and adored Buddha as the supreme ruler of the worlds. How shall we explain this paradox ? All depends on the definition we give to the word "atheism." If a system is atheistic which sees only the temporal, and not the eternal ; which knows no God as the author, creator, and ruler of Nature ; which ascribes the origin of the universe to natural causes, to which only the finite is knowable, and the infinite unknowable — -then Buddhism is atheism. But, in that case, much of the polytheism of the world must be regarded as atheism ; for polytheism has largely worshiped finite gods. The whole race of Olympian deities were finite beings. Above them ruled the ever- lasting necessity of things. But who calls the Greek worshipers atheists ? The Buddha, to most Buddhists, is a finite being, one who has passed through numerous births, has reached Nirvana, and will one day be superseded by another Buddha. Yet, for the time, he is the Supreme Being, Ruler BUDDHISM AND CHRISTIANITY 77 of all the Worlds. He is the object of worship, and really divine, if in a subordinate sense. I would not, therefore, call this religion atheism. No, religion which worships superhuman powers can justly be called atheistic on account of its meagre metaphysics. How many Christians there are who do not fully realize the infinite and eternal nature of the Deity ! To many He is no more than the Buddha is to his worshipers, — a supreme be- ing, a mighty ruler, governing all things by his will. How few see God everywhere in nature, as Jesus saw Him, letting his sun shine on the evil and good, and sending his rain on the just and unjust. How few see Him in all of life, so that not a spar- row dies, or a single hair of the head falls, without the Father. Most Christians recognize the Deity only as occasionally interfering by special provi- dences, particular judgments, and the like. But in Christianity this ignorance of the eternal nature of God is the exception, while in Buddhism it is the rule. In the reaction against Brahman- ism, the Brahmanic faith in the infinite was lost. In the fully developed system of the ancient Hin- doo religion the infinite overpowered the finite, the temporal world was regarded as an illusion, and only the eternal was real. The reaction from this extreme was so complete as to carry the Buddhists to the exact opposite. If to the Brahman all the finite visible world was only may a — illusion, to the Buddhists all the infinite unseen world was un- knowable, and practically nothing. 78 BUDDHISM AXD CHE IS TI AX IT Y Perhaps the most original feature of Christian- ity is the fact that it has combined in a living syn- thesis that which in other systems was divided. Jesus regarded love to God and love to man as identical, — positing a harmonious whole of time and eternity, piety and humanity, faith and works, — and thus laid the foundation of a larger system than either Brahmanism or Buddhism. He did not invent piety, nor discover humanity. Long before he came the Brahmanic literature had sounded the deepest depths of spiritual life, and the Buddhist missionaries had preached universal benevolence to mankind. But the angelic hymn which foretold the new religion as bringing at once " Glory to God in the highest, and on earth peace, good will to men " indicated the essence of the faith which was at the same time a heavenly love and an earthly blessing. This difference of result in the two systems came probably from the differ- ent methods of their authors. With Jesus life was the source of knowledge ; the life was the light of men. AVith the Buddha, reflection, meditation, thought was the source of knowledge. In this, however, he included intuition no less than reflec- tion. Sakya-rnuni understood perfectly that a mere intellectual judgment possessed little motive power ; therefore he was not satisfied till he had obtained an intuitive perception of truth. That alone gave at once rest and power. But as the pure intel- lect, even in its highest act, is unable to grasp BUDDHISM AND CHRISTIANITY 79 the infinite, the Buddha was an agnostic on this side of his creed by the very success of his method. Who, by searching, can find out God ? The infi- nite can only be known by the process of living experience. This was the method of Jesus, and has been that of his religion. For what is faith but that receptive state of mind which waits on the Lord to receive the illumination which it can- not create by its own processes? However this may be, it is probable that the fatal defect in Buddhism which has neutralized its generous phi- lanthropy and its noble humanities has been the absence of the inspiration which comes from the belief in an eternal world. Man is too great to be satisfied with time alone, or eternity alone : he needs to live from and for both. Hence, Bud- dhism is an arrested religion, while Christianity is progressive. Christianity has shown the capacity of outgrowing its own defects and correcting its own mistakes. For example, it has largely out- grown its habit of persecuting infidels and here- tics. No one is now put to death for heresy. It has also passed out of the stage in which religion is considered to consist in leaving the world and entering a monastery. The anchorites of the early centuries are no longer to be found in Christen- dom. Even in Catholic countries the purpose of monastic life is no longer to save the soul. by as- cetic tortures, but to attain some practical end. The Protestant Reformation, which broke the yoke 80 BUDDHISM AND CHRISTIANITY of priestly power and set free the mind of Europe, was a movement originating in Christianity itself, like other developments of a similar kind. No such signs of progress exist in the system of Bud- dhism. It has lost the missionary ardor of its early years ; it has ceased from creating a vast literature such as grew up in its younger days ; it no longer produces any wonders of architecture. It even lags behind the active life of the countries where it has its greatest power. It is a curious analogy between the two systems that, while neither the Christ nor the Buddha prac- ticed or taught asceticism, their followers soon made the essence of religion to consist in some form of monastic life. Both Jesus and Sakya- muni went about doing good. Both sent their fol- lowers into the world to preach a gospel. Jesus, after thirty years of a retired life, came among men " eating and drinking," and associating with " publicans and sinners." Sakya-muni, after spending some years as an anchorite, deliberately renounced that mode of religion as unsatisfactory, and associated with all men, as Jesus afterward did. Within a few centuries after their death, their followers relapsed into ascetic and monastic practices ; but with this difference, that while in Christendom there has always been both a regu- lar and a secular clergy, in the Buddhist countries the whole priesthood live in monasteries. They have no parish priests, unless as an exception. BUDDHISM AND CHRISTIANITY 81 While in Christian countries the clergy has be- come more and more a practical body, in sympathy with the common life, in Buddhist lands they live apart and exercise little influence on the civil con- dition of the people. Nor must we pass by the important fact that the word Christendom is synonymous with a progres- sive civilization, while Buddhism is everywhere connected with one which is arrested and station- ary. The boundaries of the Christian religion are exactly coextensive with the advance of science, art, literature ; and with the continued accumula- tion of knowledge, power, wealth, and the comforts of human life. According to Kuenen, 1 one of the most recent students of these questions, this differ- ence is due to the principle of hope which exists in Christianity, but is absent in Buddhism. The one has always believed in a kingdom of God here and a blessed immortality hereafter. Buddhism has not this hope ; and this, says Kuenen, " is a blank which nothing can fill." So large a thinker as Albert Reville has expressed his belief that even the intolerance of Christianity indicated a passion- ate love of truth which has created modern science. He says that " if Europe had not passed through those ages of intolerance, it is doubtful whether the science of our day would ever have arrived." 2 It is only within the boundaries of nations professing 1 Hibbert Lectures, 1882, page 291. 2 A. Ke*ville : Prolegomenes de VHistoire des Religions. 82 BUDDHISM AND CHRISTIANITY the Christian faith that we must go to-day to learn the latest discoveries in science, the best works of art, the most flourishing literature. Only within the same circle of Christian states is there a gov- ernment by law, and not by will. Only within these boundaries have the rights of the individual been secured, while the power of the state has been increased. Government by law, joined with per- sonal freedom, is only to be found where the faith exists which teaches that God not only supports the universal order of natural things, but is also the friend of the individual soul ; and in just that circle of states in which the doctrine is taught that there is no individual soul for God to love and no Divine presence in the order of nature, human life has sub- sided into apathy, progress has ceased, and it has been found impossible to construct national unity. Saint-Hilaire affirms 1 that " in politics and legisla- tion the dogma of Buddhism has remained inferior even to that of Brahmanism," and " has been able to do nothing to constitute states or to govern them by equitable rules." These Buddhist nations are really six : Siam, Burma, Nepaul, Thibet, Tartary, and Ceylon. The activity and social progress in China and Japan are no exceptions to this rule; for in neither country has Buddhism any appre- ciable influence on the character of the people. To those who deny that the theology of a people 1 Le Bouddha et sa Religion, page 149, par J. Barthelemy Saint-Hilaire, Paris. BUDDHISM AND CHRISTIANITY 83 influences its character, it may be instructive to see how exactly the good and evil influences of Buddhism correspond to the positive and negative traits of its doctrine. Its merits, says Saint- Hilaire, are its practical character, its abnegation of vulgar gratifications, its benevolence, mildness, sentiment of human equality, austerity of manners, dislike of falsehood, and respect for the family. Its defects are want of social power, egotistical aims, ignorance of the ideal good, of the sense of human right and human freedom, skepticism, in- curable despair, contempt of life. All its human qualities correspond to its doctrinal teaching from the beginning. It has always taught benevolence, patience, self-denial, charity, and toleration. Its defects arise inevitably from its negative aim, — to get rid of sorrow and evil by sinking into apathy, instead of seeking for the triumph of good and the coming of a reign of God here on the earth. As regards the Buddha himself, modern students differ widely. Some, of course, deny his very existence, and reduce him to a solar myth. M. Emile Senart, as quoted by Oldenberg, 1 following the Lalita Vistara as his authority, makes of him a solar hero, born of the morning cloud, contend- ing by the power of light with the demons of dark- ness, rising in triumph to the zenith of heavenly glory, then passing into the night of Nirvana and disappearing from the scene. 1 Senart : Essai sur la Legende du Buddha. Paris, 1875. 84 BUDDHISM AND CHRISTIANITY The difficulty about this solar myth theory is that it proves too much ; it is too powerful a sol- vent; it would dissolve all history. How easy it would be, in a few centuries, to turn General Washington and the American Revolution into a solar myth ! Great Britain, a region of clouds and rain, represents the Kingdom of Darkness ; America, with more sunshine, is the Day. Great Britain, as Darkness, wishes to devour the Young Day, or dawn of light, which America is about to diffuse over the earth. But Washington, the solar hero, arrives. He is from Virginia, that is, born of a virgin. He was born in February, in the sign of Aquarius and the Fishes, — plainly referring to the birth of the sun from the ocean. As the sun surveys the earth, so Washington was said to be a surveyor of many regions. The story of the fruitless attempts of the Indians to shoot him at Braddock's defeat is evidently legendary; and, in fact, this battle itself must be a myth, for how can we suppose two English and French armies to have crossed the Atlantic, and then gone into a wilderness west of the mountains, to fight a battle ? So easy is it to turn history into a solar myth. The character of Sakya-muni must be learned from his religion and from authentic tradition. In many respects his character and influence resembled that of Jesus. He opposed priestly assumptions, taught the equality and brotherhood BUDDHISM AND CHRISTIANITY 85 of man, sent out disciples to teach his doctrine, was a reformer who relied on the power of truth and love. Many of his reported sayings resemble those of Jesus. He was opposed by the Brahmans as Jesus by the Pharisees. He compared the Brahmans who followed their traditions to a chain of blind men, who move on, not seeing where they go. 1 Like Jesus, he taught that mercy was better than sacrifices. Like Jesus, he taught orally, and left no writing. Jesus did not teach in Hebrew, but in the Aramaic, which was the popular dialect, and so the Buddha did not speak to the people in Sanskrit, but in their own tongue, which was Pali. Like Jesus, he seems to have instructed his hear- ers by parables or stories. He was one of the greatest reformers the world has ever seen; and his influence, after that of the Christ, has probably exceeded that of any one who ever lived. But, beside such real resemblances between these two masters, we are told of others still more striking, which would certainly be hard to explain unless one of the systems had borrowed from the other. These are said to be the preexistence of Buddha in heaven ; his birth of a virgin ; saluta- tion by angels ; presentation in the temple ; bap- tism by fire and water ; dispute with the doctors ; temptation in the wilderness; transfiguration; 1 Oldenberg : Buddha, sein Leben, seine Lehre, seine Gemeinde. Berlin, 1881. This is one of the latest and best books on our subject. 86 BUDDHISM AND CHBISTIANITY descent into hell; ascension into heaven. 1 If these legends could be traced back to the time before Christ, then it might be argued that the Gospels have borrowed from Buddhism. Such, however, is not the fact. These stories are taken from the Lalita Vistara, which, according to Rhys Davids, 2 was probably composed between six hun- dred and a thousand years after the time of Bud- dha, by some Buddhist poet in Nepaul. Rhys Davids, one of our best authorities, says of this poem : " As evidence of what early Buddhism ac- tually was, it is of about the same value as some mediaeval poem would be of the real facts of the gospel history." 3 M. Ernest de Bunsen, in his work on the " Angel Messiah," has given a very exhaustive statement, says Mr. Davids, of all the possible channels through which Christians can be supposed to have borrowed from the Buddhists. But Mr. Davids's conclusion is that he finds no evidence of any such communications of ideas from the East to the West. 3 The difference between the wild stories of the Lalita Vistara and the sober narratives of the Gospels is quite apparent. Another writer, Professor Seydel, 4 thinks, after a full and careful examination, that only five facts in 1 Three Lectures on Buddhism : " Romantic Legend of Buddha," by Samuel Beal. London, 1875. Eitel. 2 Hibbert Lectures: "Origin and Growth of Buddhism," by T. W. Rhys Davids. 1881. 3 Ibid., page 143. 4 Buddhistisch-Christliche Harmonie. BUDDHISM AND CHRISTIANITY 87 the Gospels may have been borrowed from Bud- dhism. These are : (1) The fast of Jesus before his work ; (2) The question in regard to the blind man — " Who did sin, this man, or his parents "? (3) The preexistence of Christ ; (4) The presen- tation in the Temple ; (5) Nathanael sitting under a fig-tree, compared with Buddha under a Bo-tree. But Kuenen has examined these parallels, and con- siders them merely accidental coincidences. And, in truth, it is very hard to conceive of one religion borrowing its facts or legends from another, if that other stands in no historic relation to it. That Buddhism should have taken much from Brahmanism is natural ; for Brahmanism was its mother. That Christianity should have borrowed many of its methods from Judaism is equally natu- ral ; for Judaism was its cradle. Modern travelers in Burma and Tartary have found that the Bud- dhists hold a kind of camp-meeting in the open air, where they pray and sing. Suppose that some critic, noticing this, should assert that, when Wes- ley and his followers established similar customs, they must have borrowed them from the Buddhists. The absurdity would be evident. New religions grow, they are not imitations. It has been thought, however, that Christianity was derived from the Essenes, because of certain resemblances, and ifc is argued that the Essenes must have obtained their monastic habits from the Therapeutse in Egypt, and that the Therapeutae 88 BUDDHISM AND CHRISTIANITY received them from the Buddhists, because they could not have found them elsewhere. This the- ory, however, has been dismissed from the scene by the young German scholar, 1 who has proved that the essay on the Therapeutae ascribed to Philo was really written by a Christian anchorite in the third or fourth century. The result, then, of our investigation, is this : There is no probability that the analogies between Christianity and Buddhism have been derived the one from the other. They have come from the common and universal needs and nature of man, which repeat themselves again and again in like positions and like circumstances. That Jesus and Buddha should both have retired into the wilder- ness before undertaking their great work is prob- able, for it has been the habit of other reformers to let a period of meditation precede their coming before the world. That both should have been tempted to renounce their enterprise is also in accordance with human nature. That, in after times, the simple narratives should be overlaid with additions, and a whole mass of supernatural wonders added, — as we find in the Apocryphal Gospels and the Lalita Vistara, — is also in accord- ance with the working of the human mind. Laying aside all such unsatisfactory resem- blances, we must regard the Buddha as having 1 P. E. Lucius : Die Therapeuten und ihre Stellung, &c. Strass- burg, 1880. BUDDHISM AND CHRISTIANITY 89 been one of the noblest of men, and one whom Jesus would have readily welcomed as a fellow worker and a friend. He opposed a dominant priesthood, maintained the equal religious rights of all mankind, overthrew caste, encouraged woman to take her place as man's equal, forbade all bloody- sacrifices, and preached a religion of peace and good will, seeking to triumph only in the fair con- flict of reason with reason. If he was defective in the loftiest instincts of the soul ; if he knew no- thing of the infinite and eternal; if he saw nothing permanent in the soul of man ; if his highest pur- pose was negative, — to escape from pain, sorrow, anxiety, toil, — let us still be grateful for the in- fluence which has done so much to tame the savage Mongols, and to introduce hospitality and humanity into the homes of Lassa and Siam. If Edwin Arnold, a poet, idealizes him too highly, it is the better fault, and should be easily forgiven. Hero- worshipers are becoming scarce in our time ; let us make the most of those we have. WHY I AM NOT A FREE-RELIGIONIST 1 What is meant by " Free Religion " ? I under- stand by it, individualism in religion. It is the religious belief which has made itself independ- ent of historic and traditional influences, so far as it is in the power of any one to attain such independence. In Christian lands it means a re- ligion which has cut loose from the Bible and the Christian Church, and which is as ready to ques- tion the teaching of Jesus as that of Socrates or Buddha. It is, what Emerson called himself, an endless seeker, with no past behind it. It is entire trust in the private reason as the sole authority in matters of religion. Free Religion may be regarded as Protestantism carried to its ultimate results. A Protestant Christian accepts the leadership of Jesus, and keeps himself in the Christian communion ; but he uses his own private judgment to discover what Jesus taught, and what Christianity really is. The Free Religionist goes a step farther, and decides by his own private judgment what is true and what false, no matter whether taught by Jesus or not. 1 The North American Review, October, 1887. WHY I AM NOT A FBEE-BELIGIONIST 91 Free Religion, as thus understood, seems to me opposed to the law of evolution, and incompatible with it. Evolution educes the present from the past by a continuous process. Free Religion cuts itself loose from the past, and makes every man the founder of his own religion. According to the law of evolution, confirmed by history, every advance in religion is the development from some- thing going before. Jewish monotheism grew out of polytheism ; Christianity and Mohammedanism out of Judaism ; Buddhism out of Brahmanism ; Protestant Christianity out of the Roman Catholic Church. Jesus himself said, " Think not that I am come to destroy the Law or the Prophets : I am not come to destroy, but to fulfil." The higher religions are not made ; they grow. Of each it may be said, as of the poet : " Nascitur, non fit." Therefore, if there is to arrive some- thing higher than our existing Christianity, it must not be a system which forsakes the Christian belief, but something developed from it. According to the principle of evolution, every growing and productive religion obeys the laws of heredity and of variation. It has an inherited common life, and a tendency to modification by individual activity. Omit or depress either factor, and the religion loses its power of growth. With- out a common life, the principle of development is arrested. He who leaves the great current which comes from the past loses headway. This current, 92 WHY I AM NOT A FREE-RELIGIONIST in the Christian communion, is the inherited spirit of Jesus. It is his life, continued in his Church ; his central convictions of love to God and to man ; of fatherhood and brotherhood ; of the power of truth to conquer error, of good to overcome evil ; of a Kingdom of Heaven to come to us here. It is the faith of Jesus in things unseen ; his hope of the triumph of right over wrong; his love going down to the lowliest child of God. These vital convictions in the soul of Jesus are commimicated by contact from genera- tion to generation. They are propagated, as he suggested, like leaven hidden in the dotigh. By a different figure, Plato, in his dialogue of Ion, shows that inspiration is transmitted like the mag- netic influence, which causes iron rings to adhere and hang together in a chain. Thoughts and opinions are communicated by argument, reason- ing, speech, and writing ; but faith and inspiration by the influence of life on life. The life of Jesus is thus continued in his Church, and those who stand outside of it lose much of this transmitted and sympathetic influence. Common life in a religious body furnishes the motive force which carries it forward, while individual freedom gives the power of improvement. The two principles of heredity and variation must be united in order to combine union and freedom, and to secure pro- gress. Where freedom of thought ceases, religion becomes rigid. It is incapable of development. WHY I AM NOT A FREE-RELIGIONIST 93 Such, for instance, is the condition of Buddhism, which, at first full of intellectual activity, has now hardened into a monkish ritual. Free Keligion sacrifices the motive power de- rived from association and religious sympathy for the sake of a larger intellectual freedom. The result is individualism. It founds no churches, but spends much force in criticising the Christian community, its belief, and its methods. These are, no doubt, open to criticism, which would do good if administered sympathetically and from within, but produce little result when delivered in the spirit of antagonism. Imperfect as the Christian Church is, it ought to be remembered that in it are to be found the chief strength and help of the charities, philanthropies, and moral reforms of our time. Every one who has at heart a movement for the benefit of humanity appeals instinctively for aid to the Christian churches. It is in these that such movements usually originate, and are carried on. Even when, as in the anti- slavery movement, a part of the churches refuse to sympathize with a new moral or social move- ment, the reproaches made against them show that in the mind of the community an interest in all humane endeavor is considered to be a part of their work. The common life and convictions of these bodies enable them to accomplish what individualism does not venture to undertake. In- dividualism is incapable of organized and sustained 94 WHY I AM XOT A FREE-BELIGIOXIST work of this sort, though it can. and often does, cooperate earnestly with it. The teaching of Jesus is founded on the syn- thesis of Truth and Love. Jesus declares himself to have been born " to bear witness to the truth," and he also makes love, divine and human, the substance of Ins gospel. The love element pro- duces union, the truth element, freedom. Union without freedom stiffens into a rigid conservatism. Freedom without union breaks up into an intel- lectual atomism. The Christian churches have gone into both extremes, but never permanently ; for Christianity, as long as it adheres to its founder and his ideas, has the power of self-recovery. Its diseases are self-limited. It has had many such periods, but has recovered from them. It passed through an age in which it ran to ascetic self-denial, and made saints of self-torturing anchorites. It afterward became a speculative system, and tended to metaphysical creeds and doctrinal distinctions. It became a persecuting church, burning heretics and Jews, and torturing infidels as an act of faith. It was tormented by dark superstitions, believing in witch- craft and magic. But it has left all these evils behind. Xo one is now put to death for heresy or witchcraft. The monastic orders in the Church are preachers and teachers, or given to charity. Xo one could be burned to-day as a heretic. Xo one to-day believes in witchcraft. The old creeds WHY I AM NOT A FREE-RELIGIONIST 95 which once held the Church in irons are now slowly disintegrating. But reform, as I have said, must come from within, by the gradual elimination of those inherited beliefs which interfere with the unity of the Church and the leadership of Christ himself. The Platonic and Egyptian Trinity re- maining as dogma, repeated but not understood, — the Manichaean division of the human race into children of God and children of the Devil, — the scholastic doctrine of the Atonement, by which the blood of Jesus expiates human guilt, — are being gradually explained in accordance with rea- son and the teaching of Jesus. Some beliefs, once thought to be of vital impor- tance, are now seen by many to be unessential, or are looked at in a different light. Instead of mak- ing Jesus an exceptional person, we are coming to regard him as a representative man, the realized ideal of what man was meant to be, and will one day become. Instead of considering his sinless- ness as setting him apart from his race, we look on it as showing that sin is not the natural, but unnatural, condition of mankind. His miracles are regarded not as violations of the laws of nature, but anticipations of laws which one day will be universally known, and which are bound- less as the universe. Nor will they in future be regarded as evidence of the mission of Jesus, since he himself was grieved when they were so looked upon, and he made his truth and his character the 96 WHY I AM NOT A FREE-RELIGIONIST true evidence that he came from God. The old distinction between " natural " and " supernatural " will disappear when it is seen that Jesus had a supernatural work and character, the same in kind as ours, though higher in degree. The supreme gifts which make him the providential leader of the race do not set him apart from his brethren if we see that it is a law of humanity that gifts differ, and that men endowed with superior powers become leaders in science, art, literature, politics ; as Jesus has become the chief great spiritual leader of mankind. Men are now searching the Scriptures, not under the bondage of an infallible letter, but seeking for the central ideas of Jesus and the spirit of his gospel. They begin to accept the maxim of Goethe : " No matter how much the gospels con- tradict each other, provided the Gospel does not contradict itself." The profound convictions of Christ, which pervade all his teaching, give the clue by which to explain the divergences in the narrative. We interpret the letter by the light of the spirit. We see how Jesus emphasized the law of human happiness, — that it comes from within, not from without ; that the pure in heart see God, and that it is more blessed to give than to receive. We comprehend the stress he lays on the laws of progress, — that he who humbleth him- self shall be exalted. We recognize his profound conviction that all God's children are dear to him, WHY I AM NOT A FREE-RELIGIONIST 97 that his sun shines on the evil and the good, and that he will seek the one lost sheep till he find it. We see his trust in the coming of the Kingdom of God in this world, the triumph of good over evil, and the approaching time when the know- ledge of God shall fill the earth as the waters cover the sea. And we find his profound faith in the immortal life which abides in us, so that whoever shares that faith with him can never die. The more firmly these central ideas of Jesus are understood and held, the less importance belongs to any criticism of the letter. This or that saying, attributed to Jesus in the record, may be subjected to attack ; but it is the main current of his teach- ing which has made him the leader of civilized man for eighteen centuries. That majestic stream will sweep on undisturbed, though there may be eddies here or stagnant pools there, which induce hasty observers to suppose that it has ceased to flow. " Rusticus expectat dum defluit amnis, at ille Volvitur et volvetur, in omne volubilis sevium." I sometimes read attacks on special sayings of the record, which argue, to the critic's mind, that Jesus was in error here, or mistaken there. But I would recommend to such writers to ponder the suggestive rule of Coleridge : " Until I can under- stand the ignorance of Plato, I shall consider myself ignorant of his understanding ; " or the remark of Emerson to the youth who brought him 98 WHY I AM NOT A FREE-RELIGIONIST a paper in which he thought he had refuted Plato : " If you attack the king, be sure that you kill him." When the Christian world really takes Jesus himself as its leader, instead of building its faith on opinions about him, we may anticipate the arrival of that union which he foresaw and fore- told — " As thou, father, art in me, and I in thee, that they also may be one in us, that the world may believe that thou hast sent me." Then Christians, ceasing from party strife and sectarian dissension, will unite in one mighty effort to cure the evils of humanity and redress its wrongs. Before a united Christendom, what miseries could remain unre- lieved ? War, that criminal absurdity, that mon- strous anachronism, must at last be abolished. Pauperism, vice, and crime, though continuing in sporadic forms, would cease to exist as a part of the permanent institutions of civilization. A truly Catholic Church, united under the Master, would lead all humanity up to a higher plane. The im- mense forces developed by modern science, and the magnificent discoveries in the realm of nature, help- less now to cure the wrongs of suffering man, would become instruments of potent use under the guid- ance of moral forces. According to the law of evolution, this is what we have a right to expect. If we follow the lines of historic development, not being led into ex- treme individualism ; if we maintain the continuity WHY I AM NOT A FREE-RELIGIONIST 99 of human progress, this vast result must finally arrive. For such reasons I prefer to remain in the communion of the Christian body, doing what I may to assist its upward movement. For such reasons I am not a Free Religionist. HAVE ANIMALS SOULS 1 To answer this question, we must first inquire what we mean by a soul. If we mean a human soul, it is certain that animals do not possess it, — at least not in a fully developed condition. If we mean, " Do they possess an immortal soul? " that is, perhaps, a question difficult to answer either in the affirmative or the negative. But if we mean by the soul an immaterial principle of life, which coordinates the bodily organization to a unity ; which is the ground of growth, activity, percep- tion, volition ; which is intelligent, affectionate, and to a certain extent free ; then we must admit that animals have souls. The same arguments which induce us to believe that there is a soul in man apply to animals. The world has generally believed that in man, beside the body, there is also soul. Why have people believed it ? The reason probably is, that, beside all that can be accounted for as the result of the juxtaposition of material particles, there remains a very important element unaccounted for. Me- chanical and physical agency may explain much, but the most essential characteristic of vital phe- 1 The Atlantic Monthly, October, 1874. HAVE ANIMALS SOULS 101 nomena they do not explain. They do not account for the unity in variety, permanence in change, growth from within by continuous processes, com- ing from the vital functions in an organized body. Every such body has a unity peculiar to itself, which cannot be considered the result of the collo- cation of material molecules. It is a unity which controls these molecules, arranges and rearranges them, maintains a steady activity, carries the body through the phenomena of growth, and causes the various organs to cooperate for the purposes of the whole. The vital power is not merely the result of material phenomena, but it reacts on these as a cause. Add to this that strange phenomenon of human consciousness, the sense of personality, — which is the clear perception of selfhood as a distinct unchanging unit, residing in a body all of whose parts are in perpetual flux, — and we see w r hy the opinion of a soul has arisen. It has been assumed by the common sense of mankind that in every living body the cause of the mode of exist- ence of each part is contained in the whole. As soon as death intervenes each part is left free to pass through changes peculiar to itself alone. Life is a power which acts from the whole upon the parts, causing them to resist chemical laws, which begin to act as soon as life departs. The unity of a living body does not result from an in- genious juxtaposition of parts, like that of a watch, for example. For the unity of a living body im- 102 HAVE ANIMALS SOULS plies that which is called " the vital vortex," or perpetual exchange of particles. A watch or clock is the nearest approach which has been made by man to the creation of a living being. A watch, for instance, contains the prin- ciple of its action in itself, and is not moved from without ; in that it resembles a living creature. We can easily conceive of a watch which might be made to go seventy years, without being wound up. It might need to be oiled occasionally, but not as often as an animal needs to be fed. A watch is also like a living creature in having a unity as a whole not belonging to the separate parts, and to which all parts conspire, — namely, that of marking the progress of time. Why, then, say that a man has a soul, and that a watch has not ? The dif- ference is this. The higher principle of unity in the watch, that is, its power of marking time, is wholly an effect, and never a cause. It is purely and only the result of the arrangement of wheels and springs ; in other words, of material conditions. But in man, the principle of unity is also a cause. Life reacts upon body. The laws of matter are modified by the power of life, chemical action is suspended, living muscles are able to endure with- out laceration the application of forces which would destroy the dead fibre. So the thought, the love, the will of a living creature react on the physi- cal frame. A sight, a sound, a few spoken words, a message seen in a letter, cause an immense revul- HAVE ANIMALS SOULS 103 sion in the physical condition. Something is sud- denly told us, and we faint away, or even die, from the effect of the message. Here mind acts upon matter, showing that in man mind is not merely a result, but also a cause. Hence men have gener- ally believed in the existence of a soul in man. They have not been taught it by metaphysicians, it is one of the spontaneous inductions of common sense from universal experience. But this argument applies equally to prove a soul in animals. The same reaction of soul on body is constantly apparent. Every time that you whistle to your dog, and he comes bounding toward you, his mind has acted on his body. His will has obeyed his thought, his muscles have obeyed his will. The cause of his motion was mental, not physical. This is too evident to require any fur- ther illustration. Therefore, regarding the soul as a principle of life, connected with the body but not its result, or, in other words, as an immaterial principle of activity, there is the same reason for believing in the soul of animals that there is for believing in the soul of man. But when we ask as to the nature of the animal soul, and how far it is analogous to that of man, we meet with certain difficulties. Let us see then how many of the human qualities of the soul are to be found in animals, and so discover if there is any remainder not possessed by them, peculiar to our- selves. 104 HAVE ANIMALS SOULS That the vital soul, or principle of life, belongs equally to plants, animals, and men, is evident. This is so apparent as to be granted even by Des- cartes, who regards animals as mere machines, or automata, destitute of a thinking soul, but not of life or feeling. They are automata, but living and feeling automata. Descartes denies them a soul, because he defines the soul as the thinking and knowing power. But Locke (with whom Leibnitz fully agreed on this point) ascribes to animals thought as well as feeling, and makes their differ- ence from man to consist in their not possessing abstract ideas. "We shall presently see the truth of this most sagacious remark. Plants, animals, and men are alike in possessing the vital principle, which produces growth, which causes them to pass through regular phases of de- velopment, which enables them to digest and assim- ilate food taken from without, and which carries on a steady circulation within. To this are added, in the animal, the function of voluntary locomotion, perception through the senses of an outward world, the power of feeling pleasure and pain, some wonderful instincts, and some degree of reflective thought. Animals also possess memory, imagina- tion, playfulness, industry, the sense of shame, and many other very human qualities. Take, for example, Buffon's fine description of the dog ("Histoire du Chien") : — "By nature fiery, irritable, ferocious, and san- HAVE ANIMALS SOULS 105 guinary, the dog in his savage state is a terror to other animals. But domesticated he becomes gentle, attached, and desirous to please. He has- tens to lay at the feet of his master his courage, his strength, and all his abilities. He listens for his master's orders, inquires his will, consults his opinion, begs his permission, understands the in- dications of his wishes. Without possessing the power of human thought, he has all the warmth of human sentiment. He has more than human fidel- ity, he is constant in his attachments. He is made up of zeal, ardor, and obedience. He remembers kindness longer than wrong. He endures bad treatment and forgets it — disarming it by patience and submission." No one who has ever had a dog for a friend will think this description exaggerated. If any should so consider it, we will cite for their benefit what Mr. Jesse, one of the latest students of the canine race, asserts concerning it, in his " Researches into the History of the British Dog" (London, 1866). He says that remarkable instances of the following virtues, feelings, and powers of mind are well au- thenticated : — " The dog risks his life to give help ; goes for assistance ; saves life from drowning, fire, other animals, and men ; assists distress ; guards pro- perty ; knows boundaries ; resents injuries ; repays benefits ; communicates ideas ; combines with other dogs for several purposes ; understands language ; 106 HAVE ANIMALS SOULS knows when he is about to die ; knows death in a human being ; devotes his whole life to the object of his love ; dies of grief and of joy ; dies in his master's defense ; commits suicide ; remains by the dead ; solicits, and gives alarm ; knows the charac- ters of men ; recognizes a portrait, and men after long absence ; is fond of praise and sensible to ridi- cule ; feels shame, and is sensible of a fault ; is playful ; is incorruptible ; finds his way back from distant countries ; is magnanimous to smaller ani- mals ; is jealous ; has dreams ; and takes a last farewell when dying." Much of this, it may be said, is instinctive. We must therefore distinguish between Instinct and Intelligence ; or, rather, between instinctive intelli- gence and reflective intelligence. Many writers on the subject of animals have not carefully distin- guished these very different activities of the soul. Even M. Leroy, one of the first in modern times who brought careful observation to the study of the nature of animals, has not always kept in view this distinction — as has been noticed by a subse- quent French writer of very considerable ability, M. Flourens. 1 The following marks, according to M. Flourens, distinguish instinct from intelli- gence : — 1 The Intelligence and Perfectibility of Animals, by C. G. Leroy. Translated into English in 1870. Be V Instinct et V Intelligence des Animaux, par P. Flourens. Paris, 1864. HAVE ANIMALS SOULS 107 INSTINCT INTELLIGENCE Is spontaneous, Is deliberate, " necessary, u conditional, " invariable, " modifiable, " innate, comes from observation and experience, " fatal, is free, " particular. " general. Thus the building faculty of the beaver is an in- stinct, for it acts spontaneously, and always in the same way. It is not a general faculty of building in all places and ways, but a special power of building houses of sticks, mud, and other materials, with the entrance under water and a dry place within. When beavers build on a running stream, they begin by making a dam across it, which pre- serves them from losing the water in a drought ; but this also is a spontaneous and invariable act. The old stories of their driving piles, using their tails for trowels, and having well-planned houses with many chambers, have been found to be ficti- tious. That the beaver builds by instinct, though intelligence comes in to modify the instinct, appears from his wishing to build his house or his dam when it is not needed. Mr. Broderip, the English naturalist, had a pet beaver that manifested his building instinct by dragging together warming- pans, sweeping-brushes, boots, and sticks, which he would lay crosswise. He then would fill in his wall with clothes, bits of coal, turf, laying it very 108 HAVE ANIMALS SOULS even. Finally, he made a nest for himself behind his wall with clothes, hay, and cotton. As this creature had been brought from America very young, all this procedure must have been instinc- tive. But his intelligence showed itself in his adapting his mode of building to his new circum- stances. His instinct led him to build his wall, and to lay his sticks crosswise, and to fill in with what he could find, according to the universal and spontaneous procedure of all beavers. But his making use of a chest of drawers for one side of his wall, and taking brushes and boots instead of cutting down trees, were no doubt acts of intelli- gence. A large part of the wonderful procedure of bees is purely instinctive. Bees, from the beginning of the world, and in all countries of the earth, have lived in similar communities ; have had their queen, to lay eggs for them : if their queen is lost, have developed a new one in the same way, by altering the conditions of existence in one of their larvae ; have constructed their hexagonal cells by the same mathematical law, so as to secure the most strength with the least outlay of material. All this is instinct — for it is spontaneous and not deliberate ; it is universal and constant. But when the bee deflects his comb in order to avoid a stick thrust across the inside of the hive, and begins the variation before he reaches the stick, this can only be regarded as an act of intelligence. HAVE ANIMALS SOULS 109 Animals, then, have both instincts and intelli- gence ; and so has man. A large part of human life proceeds from tendencies as purely, if not as vigorously, instinctive as those of animals. Man has social instincts, which create human society. Children play- from an instinct. The maternal instinct in a human mother is, till modified by reflection, as spontaneous, universal, and necessary as the same instinct in animals. But in man the instincts are reduced to a minimum, and are soon modified by observation, experience, and reflection. In animals they are at their maximum, and are modified in a much less degree. It is sometimes said that animals do not reason, but man does. But animals are quite capable of at least two modes of reasoning, that of compari- son and that of inference. They compare two modes of action, or two substances, and judge the one to be preferable to the other, and accordingly select it. Sir Emerson Tennent tells us that ele- phants, employed to build stone walls in Ceylon, will lay each stone in its place, then stand off and look to see if it is plumb, and, if not, will move it with their trunk, till it lies perfectly straight. This is a pure act of reflective judgment. He narrates an adventure which befell himself in Cey- lon while riding on a narrow road through the forest. He heard a rumbling sound approaching, and directly there came to meet him an elephant, bearing on his tusks a large log of wood, which he 110 HAVE ANIMALS SOULS had been directed to carry to the place where it was needed. Sir Emerson Tennent's horse, unused to these monsters, was alarmed, and refused to go forward. The sagacious elephant, perceiving this, evidently decided that he must himself go out of the way. But to do this, he was obliged first to take the log from his tusks with his trunk, and lay it on the ground, which he did, and then backed out of the road between the trees till only his head was visible. But the horse was still too timid to go by, whereupon the judicious pachyderm pushed himself farther back, till all of his body, except the end of his trunk, had disappeared. Then Sir Emerson succeeded in getting his horse by, but stopped to witness the result. The ele- phant came out, took the log up again, laid it across his tusks, and went on his way. This story, told by an unimpeachable witness, shows several successive acts of reasoning. The log-bearer in- ferred from the horse's terror that it would not pass ; he again inferred that in that case he must himself get out of the way ; that, to do this, he must lay down his log ; that he must go farther back; and accompanying this was his sense of duty, making him faithful to his task ; and, most of all, his consideration of what was due to this human traveler, which kept him from driving the horse and man before him as he went on. There is another well-authenticated anecdote of an elephant ; he was following an ammunition HAVE ANIMALS SOULS 111 wagon, and saw the man who was seated on it fall off just before the wheel. The man would have been crushed had not the animal instantly run forward, and, without an order, lifted the wheel with his trunk, and held it suspended in the air, till the wagon had passed over the man without hurting him. Here were combined presence of mind, good will, knowledge of the danger to the man, and a rapid calculation of how he could be saved. Perhaps I may properly introduce here an ac- count of the manifestations of mind in the animals I have had the most opportunity of observing. I have a horse, who was named Rubezahl, after the mountain spirit of the Harz made famous in the stories of Musaeus. We have contracted his name to Ruby for convenience. Now I have rea- son to believe that Ruby can distinguish Sunday from other days. On Sunday I have been in the habit of driving to Boston to church ; but on other days, I drive to the neighboring village, where are the post-office, shops of mechanics, and other stores. To go to Boston, I usually turn to the right when I leave my driveway ; to go to the village, I turn to the left. Now, on Sunday, if I leave the reins loose, so that the horse may do as he pleases, he invariably turns to the right, and goes to Boston. On other days, he as invariably turns to the left, and goes to the village. He does this so constantly and regularly, that none of the 112 HAVE ANIMALS SOULS family have any doubt of the fact that he knows that it is Sunday ; how he knows it we are unable to discover. I have left my house at the same hour on Sunday and on Monday, in the same carriage, with the same number of persons in it ; and yet on Sunday he always turns to the right, and on Monday to the left. He is fed at the same time on Sunday as on other days, but the man comes back to harness him a little later on Sunday than at other times, and that is possibly his method of knowing that it is the day for going to Boston. But see how much of observation, memory, and thought is implied in all this. Again, Ruby has shown a very distinct feeling of the supernatural. Driving one day up a hill near my house, we met a horse-car coming down toward us, running without horses, simply by the force of gravity. My horse became so frightened that he ran into the gutter, and nearly overturned me ; and I got him past with the greatest difficulty. Now he had met the cars coming down that hill, drawn by horses, a hundred times, and had never been alarmed. Moreover, only a day or two after, in going up the same hill, we saw a car moving uphill, before us, where the horses were entirely invisible, being concealed by the car itself, which was between us and the horses. But this did not frighten Ruby at all. He evidently said to him- self, " The horses are there, though I do not see them." But in the other case it seemed to HAVE ANIMALS SOULS 113 him an effect without a cause — something plainly supernatural. There was nothing in the aspect of the car itself to alarm him ; he had seen that often enough. He was simply terrified by seeing it move without any adequate cause — just as we should be, if we saw our chairs begin to walk about the room. Our Newfoundland dog's name is Donatello ; which, again, is shortened to Don in common par- lance. He has all the affectionate and excellent qualities of his race. He is the most good-natured creature I ever saw. Nothing provokes him. Little dogs may yelp at him, the cat or kittens may snarl and spit at him : he pays no attention to them. A little dog climbs on his back, and lies down there ; one of the cats will lie between his legs. But at night, when he is on guard, no one can ap- proach the house unchallenged. But his affection for the family is very great. To be allowed to come into the house and lie down near us is his chief happiness. He was very fond of my son E , who played with him a good deal, and when the young man went away, during the war, with a three months' regiment, Don was much depressed by his absence. He walked down regularly to the station, and stood there till a train of cars came in ; and when his friend did not arrive in it, he went back, with a melancholy air, to the house. But at last the young man returned. It was in the evening, and Don was lying on the 114 HAVE ANIMALS SOULS piazza. As soon as lie saw his friend, his exulta- tion knew no bounds. He leaped upon him, and ran round him, barking and showing th^ wildest signs of delight. All at once he turned and ran up into the garden, and came back bringing an apple, which he laid down at the feet of his young master. It was the only thing he could think of to do for him — and this sign of his affection was quite pathetic. The reason why Don thought of the apple was probably this : we had taught him to go and get an apple for the horse, when so directed. We would say, " Go, Don, get an apple for poor Ruby ; " then he would run up into the garden, and bring an apple, and hold it up to the horse ; and perhaps when the horse tried to take it he would pull it away. After doing this a few times, he would finally lie down on his back under the horse's nose, and allow the latter to take the apple from his mouth. He would also kiss the horse, on being told to do so. When we said, " Don, kiss poor Ruby," he leaped up and kissed the horse's nose. But he afterwards hit upon a more conven- ient method of doing it. He got his paw over the rein and pulled down the horse's head, so that he could continue the osculatory process more at his ease, sitting comfortably on the ground. Animals know when they have done wrong ; so far, at least, as that means disobeying our will or command. The only great fault which Don HAVE ANIMALS SOULS 115 ever committed was stealing a piece of meat from our neighbor's kitchen. I do not think he was punished or even scolded for it ; for we did not find it out till later, when it would have done no good to punish him. But a week or two after that, the gentleman whose kitchen had been robbed was standing on my lawn, talking with me, and he referred, laughingly, to what Don had done. He did not even look at the dog, much less change his tones to those of rebuke. But the moment Don heard bis name mentioned, he turned and walked away, and hid himself under the low branches of a Norway spruce near by. He was evidently pro- foundly ashamed of himself. Was this the result of conscience, or of the love of approbation ? In either case, it was very human. That the love of approbation is common to many animals we all know. Dogs and horses certainly can be influenced by praise and blame, as easily as men. Many years ago we had occasion to draw a load of gravel, and we put Ruby into a tip-cart to do the work. He was profoundly depressed, and evidently felt it as a degradation. He hung his head, and showed such marks of humiliation that we have never done it since. But on the other hand, when he goes out, under the saddle, by the side of a young horse, this veteran animal tries as hard to appear young as any old bachelor of sixty years who is still ambitious of social triumphs. He dances along, and goes sideways, 116 HAVE ANIMALS SOULS and has all the airs and graces of a young colt. All this, too, is very human. At one time my dog was fond of going to the railway station to see the people, and I always ordered him to go home, fearing he should be hurt by the cars. He easily understood that if he went there, it was contrary to my wishes. Nevertheless, he often went ; and I do not know but this fond- ness for forbidden fruit was rather human, too. So, whenever he was near the station, if he saw me coming, he would look the other way, and pre- tend not to know me. If he met me anywhere else, he always bounded to meet me with great delight. But at the station it was quite different. He would pay no attention to my whistle or my call. He even pretended to be another dog, and would look me right in the face without appar- ently recognizing me. He gave me the cut direct, in the most impertinent manner; the reason evi- dently being that he knew he was doing what was wrong, and did not like to be found out. Possibly he may have relied a little on my near-sightedness, in this manoeuvre. That animals have acute observation, memory, imagination, the sense of approbation, strong af- fections, and the power of reasoning is therefore very evident. Lord Bacon also speaks of a dog's reverence for his master as partaking of a religious element. " Mark," says he, " what a generosity and courage a dog will put on, when he finds him- HAVE ANIMALS SOULS 117 self maintained by a man, who to him is instead of a God — which courage he could not attain, without that confidence in a better nature than his own." Who that has seen the mute admiration and trust in a dog's eye, as he looks up at his master, but can see in it something of a religious reverence, the germ and first principle of religion ? What, then, is the difference between the human soul and that of the animal in its highest develop- ment ? That there is a very marked difference between man and the highest animal is evident. The hu- man being, weaker in proportion than all other animals, has subjected them all to himself. He has subdued the earth by his inventions. Physi- cally too feeble to dig a hole in the ground like a rabbit, or to fell a tree like a beaver ; unable to live in the water like a fish, or to move through the air like a bird ; he yet, by his inventive power and his machinery, can compel the forces of nature to work for him. They are the true genii, slaves of his lamp. Air, fire, water, electricity, and mag- netism build his cities and his stately ships, run his errands, carry him from land to land, and ac- cept him as their master. Whence does man obtain this power? Some say it is the human hand which has made man supreme. It is, no doubt, a wonderful machine ; a box of tools in itself. The size and strength of the thumb, and the power of opposing it to the 118 HAVE ANIMALS SOULS extremities of the fingers, distinguishes, according to most anatomists, the human hand from that of the quadrumanous animals. In those monkeys which are nearest to man, the thumb is so short and weak, and the fingers so long and slender, that their tips can scarcely be brought in opposition. Excellent for climbing, they are not good for tak- ing up small objects or supporting large ones. But the hand of man could accomplish little with- out the mind behind it. It was therefore a good remark of Galen, that " man is not the wisest of animals because he has a hand ; but God has given him a hand because he is the wisest of animals." The size of the human brain, relatively greater than that of almost any other animal ; man's struc- ture, adapting him to stand erect ; his ability to exist in all climates ; his power of subsisting on varied food : all these facts of his physical nature are associated with his superior mental power, but do not produce it. The question recurs, What enables him to stand at the head of the animal creation ? Perhaps the chief apparent distinctions between man and other animals are these : — 1. The lowest races of men use tools ; other animals do not. 2. The lowest human beings possess a verbal language ; other animals have none. 3. Man has the capacity of self-culture, as an individual ; other animals have not. HAVE ANIMALS SOULS 119 4. Human beings, associated in society, are capable of progress in civilization, by means of science, art, literature, and religion ; other animals are not. 5. Men have a capacity for religion ; no animal, except man, has this. The lowest races of men use tools, but no other animal does this. This is so universally admitted by science that the presence of the rudest tools of stone is considered a sufficient trace of the presence of man. If stone hatchets or hammers or arrow- heads are found in any stratum, though no human bones are detected, anthropologists regard this as a sufficient proof of the existence of human beings in the period indicated by such a geologic formation. The only tools used by animals in procuring food, in war, or in building their homes, are their natural organs : their beaks, teeth, claws, etc. It may be added that man alone wears clothes ; other animals being sufficiently clothed by nature. No animals make a fire, though they often suffer from cold ; but there is no race of men unacquainted with the use of fire. 1 No animals possess a verbal language. Animals can remember some of the words used by men, and associate with them their meaning. But this is not the use of language. It is merely the memory of two associated facts, — as when the animal re- collects where he found food, and goes to the same 1 It is a mistake to say that the Tasmanians do not use fire. 120 HAVE ANIMALS SOULS place to look for it again. Animals have different cries, indicating different wants. They use one cry to call their mate, another to terrify their prey. But this is not the use of verbal language. Hu- man language implies not merely an acquaintance with the meaning of particular words, but the power of putting them together in a sentence. Animals have no such language as this ; for, if they had, it would have been learned by men. Man has the power of learning any verbal lan- guage. Adelung and Vater reckon over three thousand languages spoken by men, and any man can learn any of them. The negroes speak their own languages in their own countries ; they speak Arabic in North Africa ; they learn to speak Eng- lish, French, and Spanish in America, and Oriental languages when they go to the East. If any ani- mals had a verbal language, with its vocabulary and grammar, men would long ago have learned it, and would have been able to converse with them. Again, no animal except man is capable of self- culture, as an individual. Animals are trained by external influences ; they do not teach themselves. An old wolf is much more cunning than a young one, but he has been made so by the force of cir- cumstances. You can teach your dog tricks, but no dog has ever taught himself any. Yet the lowest savages teach themselves to make tools, to ornament their paddles and clubs, and acquire HAVE ANIMALS SOULS 121 certain arts by diligent effort. Birds will some- times practice the tunes which they hear played, till they have learned them. They will also some- times imitate each other's songs. That is, they possess the power of vocal imitation. But to imi- tate the sounds we hear is not self-culture. It is not developing a new power, but it is exercising in a new way a natural gift. Yet we must admit that in this habit of birds there is the rudiment, at least, of self-education. All races of men are capable of progress in civ- ilization. Many, indeed, remain in a savage state for thousands of years, and we cannot positively prove that any particular race which has always been uncivilized is capable of civilization. But we are led to believe it from having known of so many tribes of men who have emerged from apathy, igno- rance, and barbarism into the light of science and art. So it was with all the Teutonic races, — the Goths, Germans, Kelts, Lombards, Scandinavians. So it was with the Arabs, who roamed for thou- sands of years over the deserts, a race of ignorant robbers, and then, filled with the great inspiration of Islam, flamed up into a brilliant coruscation of science, literature, art, military success, and profound learning. What great civilizations have grown up in China, India, Persia, Assyria, Baby- lon, Phoenicia, Egypt, Greece, Rome, Carthage, Etruria ! But no such progress has ever appeared among the animals. As their parents were, five 122 HAVE ANIMALS SOULS thousand years ago, so, essentially, are they now. Nor are animals religious, in the sense of wor- shiping unseen powers higher than themselves. My horse showed a sense of the supernatural, but this is not worship. These are some of the most marked points of difference between man and all other animals. Now these can all be accounted for by the hypo- thesis in which Locke and Leibnitz both agreed ; namely, that while animals are capable of reason- ing about facts, they are incapable of abstract ideas. Or, we may say with Coleridge, that while animals, in common with man, possess the faculty of understanding, they do not possess that of reason. Coleridge seems to have intended by this exactly what Locke and Leibnitz meant by their statement. When my dog Don heard the word " apple," he thought of the particular concrete apple under the tree ; and not of apples in general, and their re- lation to pears, peaches, etc. Don understood me when I told him to go and get an apple, and obeyed ; but he would not have understood me if I had remarked to him that apples were better than pears, more wholesome than peaches, not so hand- some as grapes. I should then have gone into the region of abstract and general ideas. Now it is precisely the possession of this power of abstract thought which will explain the superi- ority of man to all other animals. It explains the HAVE ANIMALS SOULS 123 use of tools ; for a tool is an instrument prepared, not for one special purpose, but to be used gener- ally, in certain ways. A baboon, like a man, might pick up a particular stone with which to crack a particular nut ; but the ape does not make and keep a stone hammer, to be used on many similar occasions. A box of tools contains a collection of saws, planes, draw-knives, etc., not made to use on one occasion merely, but made for sawing, cutting, and planing purposes generally. Still more evident is it that the power of ab- straction is necessary for verbal language. We do not here use the common term " articulate speech," for we can conceive of animals articulating their vocal sounds. But " a word " is an abstraction. The notion is lifted out of the concrete particular fact, and deposited in the abstract general term. All words, except proper names, are abstract; and to possess and use a verbal language is impossible, without the possession of this mental faculty. In regard to self-culture, it is clear that for any steady progress one must keep before his mind an abstract idea of what hie wishes to do. This ena- bles him to rise above impulse, passion, instinct, habit, circumstance. By the steady contemplation of the proposed aim, one can arrange circum- stances, restrain impulse, direct one's activity, and become really free. In like manner, races become developed in civi- lization by the impact of abstract ideas. Some- 124 HAVE ANIMALS SOULS times it is by coming in contact with other civilized nations, which gives them an ideal superior to any- thing before known. Sometimes the motive power of their progress is the reception of truths of sci- ence, art, literature, or religion. It is not necessary to show that without abstract, universal, and necessary ideas no religion is pos- sible ; for religion, being the worship of unseen powers, conceived as existing, as active, as spirit- ual, necessarily implies these ideas in the mind of the worshiper. We find, then, in the soul of animals all active, affectionate, and intelligent capacities, as in that of man. The only difference is that man is capable of abstract ideas, which give him a larger liberty of action, which enable him to adopt an aim and pur- sue it, and which change his affections from an in- stinctive attachment into a principle of generous love. Add, then, to the animal soul the capacity for abstract ideas, and it would rise at once to the level of man. Meantime, in a large part of their nature, they have the same faculties with ourselves. They share our emotions, and we theirs. They are made " a little lower " than man, and if we are souls, so surely are they. Are they immortal? To discuss this question would require more space than we can here give to it. For my own part, I fully believe in the con- tinued existence of all souls, at the same time as- suming their continued advance. The law of life HAVE ANIMALS SOULS 125 is progress ; and one of the best features in the somewhat unspiritual theory of Darwin is its pro- found faith in perpetual improvement. This theory is the most startling optimism that has ever been taught, for it makes perpetual progress to be the law of the whole universe. Many of the arguments for the immortality of man cannot indeed be used for our dumb relations, the animals. We cannot argue from their univer- sal faith in a future life ; nor contend that they need an immortality on moral grounds, to recom- pense their good conduct and punish their wicked- ness. We might indeed adduce a reason implied in our Saviour's parable, and believe that the poor creatures who have received their evil things in this life will be comforted in another. Moreover, we might find in many animals qualities fitting them for a higher state. There are animals, as we have seen, who show a fidelity, courage, generosity, often superior to what we see in man. The dogs who have loved their master more than food, and starved to death on his grave, are surely well fitted for a higher existence, Jesse tells a story of a cat which was being stoned by cruel boys. Men went by, and did not interfere ; but a dog, that saw it, did. He drove away the boys, and then took the cat to his kennel, licked her all over with his tongue, and his conduct interested people, who brought her milk. The canine nurse took care of her till she was well, and the cat and dog remained 126 HAVE ANIMALS SOULS fast friends ever after. Such an action in a man would have been called heroic ; and we think such a dog would not be out of place in heaven. Yet it is not so much on particular cases of ani- mal superiority that we rely, but on the difficulty of conceiving, in any sense, of the destruction of life. The principle of life, whether we call it soul or body, matter or spirit, escapes all observation of the senses. All that we know of it by observation is that, beside the particles of matter which com- pose an organized body, there is something else, not cognizable by the senses, which attracts and dismisses them, modifies and coordinates them. The unity of the body is not to be found in its sensible phenomena, but in something which escapes the senses. Into the vortex of that life material molecules are being continually absorbed, and from it they are perpetually discharged. If death means the dissolution of the body, we die many times in the course of our earthly career, for every body is said by human anatomists to be changed in all its particles once in seven years. What then remains, if all the particles go ? The principle of organiza- tion remains, and this invisible, persistent principle constitutes the identity of every organized body. If I say that I have the same body when I am fifty which I had at twenty, it is because I mean by " body " that which continues unaltered amid the fast-flying particles of matter. This life principle makes and remakes the material frame ; that body HAVE ANIMALS SOULS 127 does not make it. When what we call death inter- venes, all that we can assert is that the life prin- ciple has done wholly and at once what it has always been doing gradually and in part. What happens to the material particles, we see : they be- come detached from the organizing principle, and relapse into simply mechanical and chemical con- ditions. What has happened to that organizing principle we neither see nor know ; and we have absolutely no reason at all for saying that it has ceased to exist. This is as true of plants and of animals as of men ; and there is no reason for supposing that when these die their principle of life is ended. It probably has reached a crisis, which consists in the putting on of new forms and ascending into a higher order of organized existence. APROPOS OF TYNDALL 1 We have all read in our " Vicar of Wakefield " the famous speech made by the venerable and learned Ephraim Jenkinson to good Dr. Prim- rose : " The cosmogony, or creation of the world, has puzzled philosophers in all ages. Sanchonia- thon, Manetho, Berosus, and Ocellus Lucanus have all attempted it in vain," etc. But we hardly expected to have this question of cosmogony re- opened by an eminent scientist in an address to the British Association. What " Sanchoniathon, Manetho, Berosus, and Ocellus Lucanus have all attempted in vain" Professor Tyndall has not only discussed before a body of men learned in the physical sciences, but has done it in such a manner as to rouse two continents to a new inter- est in the question. One party has immediately accused him of irreligion and infidelity, while an- other has declared his statements innocent if not virtuous. But the question which has been least debated is, What has the professor really said ? or, Has he said anything ? The celebrated sentence which has occasioned this excitement is as follows : — 1 The Galaxy, December, 1874. APROPOS OF TYNDALL 129 " Abandoning all disguise, the confession that I feel bound to make before you is, that I prolong the vision backward across the boundary of the experimental evidence, and discern in that matter which we in our ignorance, and notwithstanding our professed reverence for its Creator, have hitherto covered with opprobrium, the promise and potency of every form and quality of life." Does he, then, declare himself a materialist ? A materialist is one who asserts everything which exists to be matter, or an affection of matter. What, then, is matter, and how is that to be de- fined ? The common definition of matter is, that which is perceived by the senses, or the substance underlying sensible phenomena. By means of the senses we perceive such qualities or phenomena as resistance, form, color, perfume, sound. When- ever we observe these phenomena, whenever we see, hear, ta*ste, touch, or smell, we attribute the affections thus excited to an external substance, which we call matter. But we are aware of other phenomena which are not perceived by the senses, — such as thought, love, and will. We are as certain of their existence as we are of sensible phenomena. I am as sure of the reality of love as I am of the whiteness of chalk. By a law of our mind, whenever we perceive sensible phe- nomena, we necessarily attribute them to a sub- stance outside of ourselves, which we call matter. And by another law, or the same law, whenever 130 APROPOS OF TYXDALL we perceive the phenomena of consciousness, we necessarily attribute them to a substance which we call soul, mind, or spirit. All that we know of matter, and all that we know of soul, is their phe- nomena, and as these are entirely different, we are obliged to assume that matter and mind are dif- ferent. Xone of the qualities or attributes of matter belong to mind, none of those of mind to matter. Does Tyndall deny this distinction ? Appar- ently not. He not only makes Bishop Butler de- clare, with unanswerable power, that materialism can never show any connection between molecular processes and the phenomena of consciousness, but he distinctly iterates this in his own person at the end of the address ; asserting that there is no fusion possible between the two classes of facts, those of sensation and those of consciousness. Professor Tyndall, then, in the famous sentence above quoted, does not declare himself a material- ist in the only sense in which the term has hitherto been used. He does not pretend that sensation, thought, emotion, and will are reducible, in the last analysis, to solidity, extension, divisibility, etc. ; he positively and absolutely denies this. When Tyndall, therefore, asserts that he dis- cerns in matter the promise and potency of every form and quality of life, he uses the word " mat- ter " in a new sense. He does not mean by it the underlying subject of sensible phenomena. It is APROPOS OF TYNDALL 131 not the matter which we see, hear, touch, taste, and smell. What is it then? It is something beyond the limits of observation and experiment ; for he says that in order to discover it we must " prolong the vision backward across the boundary of the experimental evidence." In short, it is something which we know nothing about. It is a conjecture, an opinion, a theoretical matter. In another place he calls this imaginary substance " a cosmical life." This something, which shall be the common basis of the phenomena of sense and soul, not only is not known, but apparently is not knowable. For he assures us that the very at- tempt to understand this cosmical life which makes the connection between physical and mental phe- nomena, is "to soar in a vacuum," or " to try to lift one's self by his own waistband." Of course, then, the contents of the famous sentence are not science. It is not the great scien- tist, the profound observer of nature, the distin- guished experimentalist, who speaks to us in that sentence, but one who is theorizing, as we all have a right to theorize. We also, if we choose, may imagine some " cosmical life " behind both matter and soul, as the common origin of both, and call this life spirit. We shall then be thinking of exactly the same substance that Tyndall is think- ing of, only we give it another name. He has merely given another name to the great Being behind all the phenomena of body and soul, out of 132 APROPOS OF TYNDALL which or whom all proceed. But to give another name to a fact is not to tell us anything more about it. All meaning having evaporated from the word " matter," the sentence loses its whole sig- nificance, and it appears that the alarming decla- ration asserts nothing at all ! In " abandoning all disguise " Tyndall has run little risk, for our analysis shows that he has not asserted anything except, perhaps, this, that there is, in his judg- ment, some unknown common basis in which mat- ter and mind both inhere. This assertion is not alarming nor dangerous, for it is only what has always been believed. As there is no materialism, in any known sense of that term, in the doctrine of this address, so likewise there is no atheism. In fact, in this same sentence Tyndall speaks of the " creator " of what he likes to call " matter " or " cosmical life." He objects strongly to a creator who works mechan- ically, and he seems to reprove Darwin for ad- mitting an original or primordial form, created at first by the Deity. " The anthropomorphism, which it seemed the object of Mr. Darwin to set aside, is as firmly associated with the creation of a few forms as with the creation of a multitude." In another passage he says : " Is there not a temp- tation to close to some extent with Lucretius, when he affirms that nature is seen to do all things spontaneously of herself without the med- dling of the gods? " But this last sentence shows APROPOS OF TYNDALL 133 a singular vacillation in so clear a thinker as Tyndall. How can one close " to some extent " with such a statement as that of Lucretius ? Either the gods meddle, or they do not meddle. They can hardly be considered as meddling " to some ex- tent." In still another passage he contrasts the doctrine of evolution with the usual doctrine of creation, rejecting the last in favor of the other, because creation makes of God " an artificer, fash- ioned after the human model, and acting by bro- ken efforts, as man is seen to act." All these expressions are somewhat vague, im- plying, as it seems, a certain obscurity in Tyndall's own thought. But it is not atheism. His " cos- mical life " probably is exactly what Cudworth means by " plastic life." It is well known that Cudworth, whose great work is a confutation of all atheism, himself admits what he calls " a plas- tic nature " in the universe as a subordinate in- strument of divine Providence. Just as Tyndall objects to regarding the Deity as " an artificer," Cudworth objects to the "mechanic theists," who make the Deity act directly upon matter from without, by separate efforts, instead of pouring a creative and arranging life into nature. We can easily see that Cudworth, like Tyndall, would object to Darwin's one or two " primordial germs." His " plastic nature " is working everywhere and always, though under a divine guidance. It is " a life," and therefore incorporeal. It is an uncon- 134 APROPOS OF TYNBALL scions life, which acts, not knowingly, but fatally. Man, according to Cud worth, partakes of this life from the life of the universe, just as he partakes of heat and cold from the heat and cold of the universe. Thus Cudworth, believing in some such " cosmical life " as Tyndall imagines, conceives it as being itself the organ and instrument of the Deity. Tyndall, therefore, though less clear in his statements than Cudworth, is not logically involved in atheism by those statements, unless we implicate in the same condemnation the writer whose vast work constitutes the fullest arsenal of weapons against all the forms of atheism. Unfortunately, however, Tyndall does not come to any clearness on this point, which in one pos- sessing such a lucidity of intellect must be occa- sioned by his leaving his own domain of science and venturing into this metaphysical world, with which he is not so familiar. His acquaintance with the history of these studies seems not to be extensive. For example, he attributes to Herbert Spencer, as if he were the discoverer, what both Hobbes and Descartes had already stated, that there is no necessary resemblance between our sen- sations and the external objects from which they are derived. In regard to a belief in God, he tells us that in his weaker moments he loses it, or that it becomes clouded and dim, but that when he is at his best he accepts it most fully. This belief, therefore, is not with Tyndall a matter of convic- APROPOS OF TYNBALL 135 tion, founded on reason, but a question of moods. No wonder, then, that he relegates religion to the region of sentiment, and declares that it has no- thing to do with knowledge. It must not touch any question of cosmogony, or, if it does, must " sub- mit to the control of science " in that field. But what has science to do with cosmogony? Science rests on observation of facts ; but our professor tells us that he obtains his great cosmological idea of " a cosmical life " by prolonging his vision back- ward " across the boundary of the experimental evi- dence." Such science as this, which is based on no experience, and is incapable of verification, has hardly the right to warn religious belief away from any field. Tyndall seems a little astray in making crea- tion and evolution contradictory and incompatible. Evolution, he tells us, is the manifestation of a power wholly inscrutable to the intellect of man. We know that God is, — that is, we know it in our better moods, — but what God is, we cannot ever know. At all events we must not consider him as a Creator. " Two courses," says Tyndall, " and only two, are possible. Either let us open our doors freely to the conception of creative acts, or, abandoning them, let us radically change our no- tions of matter." His objections to the idea of a Creator appear to be (1) that it is " derived, not from the study of Nature, but from the observation of men ; " and (2) that it represents the Deity " as 136 APBOPOS OF TYNBALL an artificer, fashioned after a human model, and acting by broken efforts as man is seen to act." Are these objections sound? When we study- man, are we not then also studying Nature ? Is not man himself the highest manifestation of Na- ture ? If so, and if we see the quality of any power best in its highest and fullest operations, we can study the nature of God best by looking into our own. We should, in fact, know very little of Nature if we did not look within as well as with- out. Tyndall justly demands unlimited freedom of investigation in the pursuit of science. But whence came this very idea of freedom except from the human mind? Nothing in the external world is free ; all is fatal. Such ideas as cause, force, sub- stance, law, unity, ideality, are not observed in the outward world — they are given by the activity of the mind itself. Subtract these from our thought, and we should know very little of Nature or its origin. No doubt the idea of a Creator, and of one per- fect in wisdom, power, and goodness, is derived by man from his own mind. But it is not necessary that such a Creator should be an " artificer," or proceed by " broken efforts." He may act by evolution, or processes of development. He may create perpetually, by a life flowing from himself into all things. He may create the universe anew at every moment — not as a man lights a torch with a match and then goes away, but as the sun APEOPOS OF TYNDALL 137 creates his image in the water by a perpetual pro- cess. Thus God may be regarded as creating each animal and each plant, while he maintains the mys- terious force of development by which it grows from its egg or its seed. The essential idea of creation is an infinite cause, acting according to a perfect intelligence, for a perfect good. There is nothing, necessarily, of an artificer or of broken efforts in this. It is the very idea of divine crea- tion given in the New Testament. " From whom, and through whom, and to whom, are all things." " In him, we live, and move, and have our being." The theist may well accept the view given by Goethe, in his little poem, " Gott, Gemiith, und Welt." 1 ' What kind of God would He be who only pushes the universe from without ? Who lets the All of Things run round and round on his finger ? It becomes him far better to move the universe from within, To take Nature up into Himself, to let Himself down into Na- ture, So that whatever lives, and moves, and has its being in Him Never loses His power, never misses His spirit." Such a conception of God, as a perpetual Creator, is essential to the intellectual rest of the human mind, and it is painful to see the irresolution of Professor Tyndall in regard to it. " Clear and confident as Jove " in the domain which is his own, where his masterly powers of observation, discrimi- nation, and judgment leave him without a peer, he seems shorn of his strength on entering this 138 APROPOS OF TYNBALL field of metaphysics. He lias warned theology not to trespass on the grounds of science ; or, if she enters them, to submit to science as her superior. Theology has been in the habit of treating science in the same supercilious way ; telling her that she was an intruder if she ventured to discuss ques- tions of psychology or religion. This is equally unwise on either part. Theologians should be glad when men of science become seriously interested in these great questions of the Whence and the Whither. The address of Professor Tyndall is ex- cellent in its intention as well as in its candid and manly treatment of the subject. Its indecision and indistinctness are probably due to his having accepted too implicitly the guidance of Spencer, thus assuming that religious truth is unknowable, that creation is impossible, and that only pheno- mena can become objects of knowledge. " Insolu- ble mystery " is therefore his final answer to the questions he has himself raised. Goethe is wiser when he follows the Apostle Paul, and regards the Deity as " the fullness which filleth all in all." There is no unity to thought, and* no hope for scientific progress, more than for moral culture, unless we see intelligence at the centre, intelligence on the circumference of being. To place an impenetrable darkness instead of an unclouded light on the throne of the universe, is to throw a shadow over the Creation. We say that there is no unity in thought with- APROPOS OF TYNDALL 139 out this conviction. The only real unity we know in the world is our own. All we see around us, in- cluding our own body, is divisible, subject to alter- ation and change. Only the ego, or soul, is con- scious of a perfect unity in a perpetual identity. Unless we can attribute to the source of all being a similar personal unity, there can be no coherence to science, but it must forever remain fragmentary and divided. This is what we mean by asserting the personality of Deity. This idea reaches what Lord Bacon calls "the vertical point of natural philosophy " or " the summary law of Nature," and constitutes, as he declares, " the union of all things in a perpetual and uniform law." And unless we can recognize in the ultimate fountain of being an intelligent purpose, the mean- ing of the universe departs. Without intelligence in the cause there is none in the effect. Then the world has no meaning, life no aim. The universe comes out of darkness, and is plunging into dark- ness again. Take away from the domain of knowledge the idea of a creating and presiding intelligence, and there remains no motive for science itself. Profes- sor Tyndall is sagacious enough to see and candid enough to admit that " without moral force to whip it into action the achievements of the intellect would be poor indeed," and that " science itself not unfrequently derives motive power from ultra- scientific sources." Faith in God, as an intelli- 140 APROPOS OF TYNDALL gent creator and ruler of the world, has awakened enthusiasm for scientific investigation among both the Aryan and the Semitic races. The purest and highest form of monotheism is that of Christianity ; and in Christendom has science made its largest progress. Not by martyrs for science, but by martyrs for religion, has the human mind been emancipated. Mr. Tyndall says of scientific freedom, " We fought and won our battle even in the middle ages." But the heroes of intellectual liberty have been the heroes of faith. Hundreds of thousands have died for a religious creed ; but how many have died for a scientific theory? Luther went to Worms, and maintained his opinions there in defiance of the anathemas of the church and the ban of the empire, but Galileo denied his most cherished convictions on his knees. Galileo was as noble a character as Luther ; but science does not create the texture of soul which makes so many martyrs in all the reli- gious sects of Christendom. Let the doctrine of cosmical force supplant our faith in the Almighty, and in a few hundred years science would probably fade out of the world from pure inanition. The world would probably not care enough for any- thing to care for science. The light of eternity must fall on this our human and earthly life, to arouse the soul to a living and permanent interest even in things seen and temporal. Professor Tyndall says : " Whether the views of APROPOS OF TYNDALL 141 Lucretius, Darwin, and Spencer are right or wrong, we claim the freedom to discuss them. The ground which they cover is scientific ground." It is not only a right, but a duty to examine these theories, since they are held seriously and urged earnestly by able men. But we must doubt whether they ought to claim the authority of science. They are proposed by scientific men, and they refer to scientific subjects. But these theo- ries, in their present development, belong to meta- physics rather than to science. Science consists, first, of observation of facts ; secondly, of laws inferred from those facts ; and thirdly, of a veri- fication of those laws by new observation and ex- periment. That which cannot be verified is no part of science ; astronomy is a science, since every eclipse and occultation verifies its laws ; geology is a science, since every new observation of the strata and their contents accords with the estab- lished part of the system ; chemistry is a science for the same reason. But Darwin's theory of the transformation of species by natural selection is as yet unverified. " There is no evidence of a direct descent of earlier from later species in the geolo- gical succession of animals." So says Agassiz, and on this point his testimony can hardly be im- peached. Professor W'. Thompson, another good geological authority, says : " In successive geologi- cal formations, although new species are constantly appearing, and there is abundant evidence of 142 APROPOS OF TYNDALL progressive change, no single case has yet been observed of one species passing through a series of inappreciable modifications into another." Neither has any such change taken place within historic times, for the animals and plants found in the tombs of Egypt are " identical, in all respects," says M. Quatrefages, " with those now existing." He adds the opinion, after a very careful and can- did examination of the hypothesis of Darwin, that "the theory and the facts do not agree." Not being verified, then, this theory is not yet science, but an unverified mental hypothesis, that is, meta- physics. It is important that this should be distinctly said, for when men eminent in science propound new theories, these theories themselves are apt to be regarded as science, and those who oppose them are accused of being opposed to science. This is the tendency which Professor Tyndall has so justly described in this very address : " When the human mind has achieved greatness and given evidence of power in any domain, there is a tendency to credit it with similar power in any other domain." Be- cause Tyndall is great in experimental science, many are apt to accept his cosmological conclu- sions. Because he is a great observer in natural history, his metaphysical theories are supposed to be supported by observation, and to rest on experi- ence. Professor Tyndall' s own address terminates, not in science, but nescience. It treats of a realm APROPOS OF TYNBALL 143 of atoms and molecules whose existence science has never demonstrated, and attributes to them potencies which science has never verified. It is a system, not made necessary by the stringent con- straint of facts, but avowedly constructed in order to avoid the belief in an intelligent Creator, and a universe marked by the presence of design. His theory, he admits, no less than that of Darwin, was not constructed in the pure interests of truth for its own sake. There was another purpose in both, — to get rid of a theology of final causes, of a theology which conceives of God as a human ar- tificer. He wished to exclude religion from the field of cosmogony, and forbid it to intrude on the region of knowledge. Theologians have often been reproached for studying " with a purpose," but it seems that this is a frailty belonging not to theolo- gians only, but to all human beings who care a good deal for what they believe. Professor Tyndall accepts religious faith as an important element of human nature, but considers it as confined to the sentiments, and as not based in knowledge. He doubtless comes to this conclu- sion from following too implicitly the traditions of modern English psychology. These assume that knowledge comes only from without, through the senses, and never from within, through intuition. This prepossession, singularly English and insular, is thus stated by John Stuart Mill in his article on Coleridge. " Sensation, and the mind's conscious- 144 APROPOS OP TYXDALL ness of its own acts, are not only the exclusive sources, but the sole materials of our knowledge. There is no knowledge a priori; no truths cogniz- able by the mind's inward light, and grounded on intuitive evidence." These views have been de- veloped in England by the two Mills, Herbert Spencer, Bain, and others, who have made great efforts to show how sensations may be transformed into thoughts : how association of ideas may have developed instincts : how hereditary impressions, repeated for a million years, may at last have taken on the aspect of necessary truths. In short, they have laid out great labor and ingenuity in proving that a sensation may, very gradually, be transformed into a thought. But all this labor is probably a waste of time and of intellectual power. The attempt at turn- ing sensation into thought only results in turning thought into sensation. It is an error that we only know what we perceive through the senses, or transform by the action of the mind. It is not true that we only know that of which we can form a sensible image. We know the existence of the soul as certainly as that of the body. We know the infinite and the eternal as well as we know the finite and temporal. TTe know substance, cause, immortal beauty, absolute truth, as surely as the flitting phenomena which pass within the sphere of sensational experience. These convictions be- long, not to the sphere of sentiment and emotion, APROPOS OF TYNBALL 145 but to that of knowledge. It is because they show us realities and not imaginations, that they nerve the soul to such vast efforts in the sphere of morals, literature, and religion. The arguments against the independent exist- ence of the soul which Tyndall puts into the mouth of his Lucretian disciple are not difficult to answer. " You can form no picture of the soul," he says. No ; and neither can we form a mental picture of love or hate, of right and wrong, or even of bodily pain and pleasure. " If localized in the body, the soul must have form." Must a pain, localized in the finger, have form ? " When a leg is amputated, in which part does the soul reside? " We answer, that the soul resides in the body, with reduced power. Its instrument is less perfect than before — like a telescope which has lost a lens. " If consciousness is an essential at- tribute of the soul, where is the soul when con- sciousness ceases by the depression of the brain ? " Is there any difficulty, we reply, in supposing that the soul may pass sometimes into a state of torpor, when its instrument is injured ? A soul may sleep, and so be unconscious, without being dead. " The diseased brain may produce immorality : can the reason control it ? If not, what is the use of the reason?" To this we answer that the soul may lose its power with a diseased body; but when furnished w T ith another and better body, it will regain it. " If you regard the body only as 146 APROPOS OF TYNDALL an instrument, you will neglect to take care of it." Does the astronomer neglect to take care of his telescope ? These answers to the Lucretian may be far from complete ; but they are at least as good as the objections. The soul, no doubt, depends on the body, and cannot do its work well when the body is out of order ; but does that prove it to be the result of the body ? If so, the same argument would prove the carpenter to be the result of his box of tools, and the organist to be the result of his organ. The organist draws sweet music from his instrument. But as his organ grows old, or is injured by the weather, or the pipes crack, and the pedals get out of order r the music becomes more and more imperfect. At last the instrument is wholly ruined, and the music wholly ceases. Is t then, the organist dead, or was he only the result of the organ ? " Without phosphorus, no thought," say the materialists. True. So, "without the organ, no music." Just as in addition to the musical instrument we need a performer, so in addition to the brain we need a soul. There are two worlds of knowledge, — the out- ward world, which is perceived through the senses, and which belongs to physical science, and the inward world, perceived by the nobler reason, and from which a celestial light streams in, irradiating the mind through all its powers. Religion and science are not opposed, though different ; their APROPOS OF TYNDALL 147 spheres are different, though not to be divided. Each is supreme in its own region, but each needs the help of the other in order to do its own work well. Professor Tyndall claims freedom of dis- cussion and inquiry for himself and his scientific brethren, and says he will oppose to the death any limitation of this liberty. He need not be anxious on this point. Religious faith has already fought this battle, and won for science as well as for it- self perfect liberty of thought. The Protestant churches may say, " With a great sum obtained we this freedom." By the lives of its confessors and the blood of its martyrs has it secured for all men to-day equal rights of thought and speech. What neither Copernicus, Kepler, nor Galileo could do was accomplished by the courage of Martin Luther, John Calvin, John Knox, and Oliver Cromwell. And now the freedom they obtained by such sacrifices we inherit and enjoy : " We are free- born." We may be thankful that in most coun- tries to-day no repression nor dictation prevents any man from expressing his inmost thought. We are glad that the most rabid unbelief and extreme denial can be spoken calmly in the open day. This is one great discovery of modern times, that errors lose half their influence when openly uttered. We owe this discovery to the Reforma- tion. The reformers made possible a toleration much larger than their own; unwittingly, while 148 APROPOS OF TYNBALL seeking freedom for their own thoughts, they won the same freedom for others, who went farther than they. They builded better than they knew. Professor Tyndall's address is tranquil yet earn- est, modest, and manly. But its best result is, that it shows us the impotence of the method of sensa- tion to explain the mystery of the universe. It has shown us clearly the limitations of " the under- standing judging by sense " — shown that it sees our world clearly, but is blind to the other. It can tell every blade of grass, and name every mineral ; but it stands helpless and hopeless be- fore the problem of being. Science and religion may each say with the apostle, " We know in part and prophesy in part." Together and united, they may one day see and know the whole. LAW AND DESIGN IN NATURE 1 In the paper which opens this discussion on "Law and Design in Nature," Prof essor Newcomb announces in a single sentence a proposition, the truth or falsehood of which, he tells us, is " the sole question presented for discussion in the present series of papers." But, as soon as we examine this proposition, we find that it contains not one sole question, but three. The three are independent of each other, and do not necessarily stand or fall together. They are these : — 1. " The whole course of Nature, considered as a succession of phenomena, is conditioned solely by antecedent causes." 2. In the action of these causes, " no regard to consequences is traceable." 3. And no regard to consequences is " necessary to foresee the phenomena." Of these three propositions I admit the truth of the first ; deny the truth of the second ; and, for want of space, and because of its relative un- importance, leave the third unexamined. 1 Symposium in the North American Review, May, 1879. 150 LAW AND DESIGN IN NATURE The first proposition is so evidently true, and so universally admitted, that it was hardly worth positing for discussion. It is merely affirming that every natural phenomenon implies a cause. The word " antecedent " is ambiguous, but, if it intends logical and not chronological antecedence, it is un- objectionable. So understood, we are merely asked if we can accept the law of universal causation ; which I suppose we shall all readily do, since this law is the basis of theology no less than of science. Without it, we could not prove the existence of the first cause. Professor Newcomb has divided us into two conflicting schools, one of theology and the other of science. Taking my place in the school of theology, I think I may safely assert for my brethren that on this point there is no conflict, but that we all admit the truth of the law of uni- versal causation. It will be noticed that Professor Newcomb has carefully worded his statement, so as not to confine us to physical causes, nor even to exclude supernatural causes from without, work- ing into the nexus of natural laws. He does not say " antecedent physical causes," nor does he say " causes which have existed from the beginning." Admitting thus the truth of the first proposition, I must resolutely deny that of the second ; since, by accepting it, I should surrender the very cause I wish to defend, namely, that we can perceive design in Nature. Final causes are those which " regard consequences." The principle of finality LAW AND DESIGN IN NATURE 151 is defined by M. Janet (in his recent exhaustive work, " Les Causes finales ") as " the present de- termined by the future." One example of the way in which we can trace in Nature " a regard to con- sequences " is so excellently stated by this eminent philosopher that we will introduce it here : " Con- sider what is implied in the egg of a bird. In the mystery and night of incubation there comes, by the combination of an incredible number of causes, a living machine within the egg. It is absolutely separated from the external world, but every part is related to some future use. The outward physi- cal world which the creature is to inhabit is wholly divided by impenetrable veils from this internal laboratory ; but a preestablished harmony exists between them. Without, there is light ; within, an optical machine adapted to it. Without, there is sound ; within, an acoustic apparatus. Without, are vegetables and animals ; within, organs for their reception and assimilation. Without, is air ; within, lungs with which to breathe it. Without, is oxygen ; within, blood to be oxygenized. With- out, is earth ; within, feet are being made to walk on it. Without, is the atmosphere ; within, are wings with which to fly through it. Now imagine a blind and idiotic workman, alone in a cellar, who simply by moving his limbs to and fro should be found to have forged a key capable of opening the most complex lock. If we exclude design, this is what Nature is supposed to be doing." 152 LAW AND DESIGN IN NATURE That design exists in Nature, and that earthly- phenomena actually depend on final causes as well as on efficient causes, appears from the industry of man. Man is certainly a part of Nature, and those who accept evolution must regard him as the high- est development resulting from natural processes. Now, all over the earth, from morning till even- ing, men are acting for ends. " Regard to conse- quences is traceable " in all their conduct. They are moved by hope and expectation. They devise plans, and act for a purpose. From the savage hammering his flint arrowheads, up to a Shake- speare composing " Hamlet," a Columbus seeking a new way to Asia, or a Paul converting Europe to a Syrian religion, human industry is a constant proof that a large part of the course of Nature on this earth is the result of design. And, as man develops into higher stages, this principle of design rises also from the simple to the complex, taking ever larger forms. A ship, for instance, shows throughout the adaptation of means to ends, by which complex adaptations produce a unity of result. And that there is no conflict between the action of physical causes and final causes is demonstrated by the works of man, since they all result from the harmonious action of both. In studying human works we ask two questions, — " How ? " and " Why ? " We ask, " What is it for ? " and " How is it done ? " The two lines of inquiry run paral- LAW AND DESIGN IN NATURE 153 lei, and without conflict. So, in studying the works of Nature, to seek for design does not ob- struct the investigation of causes, and may often aid it. Thus Harvey is said to have been led to the discovery of the circulation of the blood by seeking for the use of the valves of the veins and heart. The human mind is so constituted that, when- ever it sees an event, it is obliged to infer a cause. So, whenever it sees adaptation, it infers design. It is not necessary to know the end proposed, or who were the agents. Adaptation itself, implying the use of means, leads us irresistibly to infer in- tention. We do not know who built Stonehenge, or some of the pyramids, or what they were built for ; but no one doubts that they were the result of design. This inference is strengthened if we see combination toward an end, and preparation made beforehand for a result which comes after- ward. From preparation, combination, and adap- tation, we are led to believe in the presence of hu- man design even where we did not before know of the presence of human beings. A few rudely shaped stones, found in a stratum belonging to the Quaternary period, in which man had before not been believed to exist, changed that opinion. Those chipped flints showed adaptation ; from adaptation design was inferred ; and design implied the pre- sence of man. Now, we find in Nature, especially in the organ- 154 LAW AND DESIGN IN NATURE ization and instincts of animals, myriads of similar instances of preparation, combination, and adapta- tion. Two explanations only of this occurred to antiquity, — design and chance. Socrates, Plato, and others, were led by such facts to infer the creation of the world by an intelligent author — 41 ille opifex rerum.' 9 Democritus, Epicurus, and Lucretius, ascribed it to the fortuitous concourse of atoms. But modern science has expelled chance from the universe, and substituted law. Laplace, observing forty-three instances in the solar system of planets and their satellites revolving on their axes or moving in their orbits, from west to east, declared that this could not be a mere coincidence. Chance, therefore, being set aside, the question takes another form : " Did the cosmos that we see come by design or by law? " But does this really change the question? Granting, for example, the truth of the theory of the development of all forms of life, under the operation of law, from a primal cell, we must then ask, " Did these laws come by chance or by de- sign ? " It is not possible to evade that issue. If the universe resulted from non-intelligent forces, those forces themselves must have existed as the result of chance or of intelligence. If you put out the eyes, you leave blindness ; if you strike intelli- gence out of the creative mystery, you leave blind forces, the result of accident. Whatever is not from intelligence is from accident. To substitute LAW AND DESIGN IN NATURE 155 law for chance is merely removing the difficulty a little further back ; it does not solve it. To eliminate interventions from the universe is not to remove design. The most profound theists have denied such interruptions of the course of Na- ture. Leibnitz is an illustrious example of this. Janet declares him to have been the true author of the theory of evolution, by his " Law of Conti- nuity," of " Insensible Perceptions," and of " Infin- itely Small Increments." Yet he also fully believed in final causes. Descartes, who objected to some teleological statements, believed that the Creator imposed laws on chaos by which the world emerged into a cosmos. We know that existing animals are evolved by a continuous process from eggs, and existing vegetables by a like process from seeds. No one ever supposed that there was less of design on this account in their creation. So, if all exist- ing things came at first by a like process from a single germ, it would not argue less, but far more, of design in the universe. The theory of " natural selection " does not enable us to dispense with final causes. This theory requires the existence of forces working according to the law of heredity and the law of variation, together with a suitable environment. But whence came this arrangement, by which a law of heredity was combined with a law of varia- tion, and both made to act in a suitable environ- ment ? Here we find again the three marks of a 156 LAW AND DESIGN IN NATUBE designing intelligence : preparation, combination, adaptation. That intelligence which combines and adapts means to ends is merely remanded to the initial step of the process, instead of being allowed to act continuously along the whole line of evolu- tion. Even though you can explain by the action of mechanical forces the whole development of the solar system and its contents from a nebula, you have only accumulated all the action of a creative intelligence in the nebula itself. Because I can explain the mechanical process by which a watch keeps time, I have not excluded the necessity of a watchmaker. Because, walking through my neigh- bor's grounds, I come upon a water-ram pumping up water by a purely mechanical process, I do not argue that this mechanism makes the assumption of an inventor superfluous. In human industry we perceive a power capable of using the blind forces of Nature for an intelligent end ; which pre- pares beforehand for the intended result ; which combines various conditions suited to produce it, and so creates order, system, use. But we observe in Nature exactly similar examples of order, method, and system, resulting from a vast number of com- binations, correlations, and adaptations of natural forces. Man himself is such a result. He is an animal capable of activity, happiness, progress. But innumerable causes are combined and har- monized in his physical frame, each necessary to this end. As the human intelligence is the only LAW AND DESIGN IN NATURE 157 i power we know capable of accomplishing such results, analogy leads us to assume that a similar intelligence presides over the like combinations of means to ends in Nature. If any one questions the value of this argument from analogy, let him remember how entirely we rely upon it in all the business of life. We know only the motives which govern our own actions ; but we infer by analogy that others act from similar motives. Knowing that we ourselves combine means designed to effect ends, when we see others adapting means to ends, we assume that they act also with design. Hence we have a right to extend the argument further and higher. The result of what I have said is this : The phenomena of the universe cannot be satisfacto- rily explained except by the study both of efficient causes and of final causes. Routine scientists, confining themselves to the one, and routine theo- logians, confining themselves to the other, may suppose them to be in conflict. But men of larger insight, like Leibnitz, Newton, Descartes, and Bacon, easily see the harmony between them. Like Hegel they say: "Nature is no less artful than powerful ; it attains its end while it allows all things to act according to their constitution ; " or they declare with Bacon that " the highest link of Nature's chain is fastened to the foot of Jupi- ter's chair." But the belief in final causes does not imply belief in supernatural intervention, nor 158 LAW AND DESIGN IN NATURE of any disturbance in the continuity of natural processes. It means that Nature is pervaded by an intelligent presence; that mind is above and around matter ; that mechanical laws are them- selves a manifestation of some providing wisdom, and that when we say Nature we also say God. 1 1 In this brief paper it is not possible even to allude to the objections which have been brought against the doctrine of final causes. For these objections, and the answers to them, I would refer the reader to the work of Janet, before mentioned. HISTORICAL AND BIOGRAPH- ICAL THE TWO CARLYLES, OR CARLYLE PAST AND PRESENT 1 In Thomas Carlyle's earlier days, when he fol- lowed a better inspiration than his present, — when his writings were steeped, not in cynicism, but in the pure human love of his fellow beings, — in the days when he did not worship Force, but Truth and Goodness, — in those days, it was the fashion of critics to pass the most sweeping cen- sures on his writings as " affected," " unintelligi- ble," " extravagant." But he worked his way on, in spite of that superficial criticism, — he won for himself an audience ; he gained renown ; he be- came authentic. JVow, the same class of critics admire and praise whatever he writes. For the rule with most critics is that of the bully in school and college, — to tyrannize over the new boys, to abuse the strangers, but to treat with respect who- ever has bravely fought his way into a recognized position. Carlyle has fought his way into the posi- tion of a great literary chief, — so now he may be ever so careless, ever so willful, and he will be spo- ken of in high terms by all monthlies and quarter- lies. When he deserved admiration, he was treated 1 The Christian Examiner, September 1864. 162 THE TWO CAELYLES with cool contempt ; now that he deserves the sharp- est criticism, not only for his false moral position, but for his gross literary sins, the critics treat him with deference and respect. But let us say beforehand that we can never write of Thomas Carlyle with bitterness. We have received too much good from him in past days. He is our " Lost Leader," but we have loved and honored him as few men were ever loved and honored. It is therefore with tenderness, and not any cold, indifferent criticism, that we find fault with him now. We shall always be grateful to the real Carlyle, the old Carlyle of " Sartor Re- sartus," of the " French Revolution," of the " Life of Schiller," of " Heroes and Hero- Worship," and of that long and noble series of articles in the Edinburgh, Foreign Review, Westminster, and Frazer, each of which illuminated some theme, and threw the glory of genius over whatever his mind touched or his pencil drew. Carlyle's " Frederick the Great " 1 seems to us a badly written book. Let us consider the volume containing the fifteenth, sixteenth, and seventeenth chapters. Nothing in these chapters is brought out clearly. When we have finished the book, the mind is filled with a confusion of vague images. 1 History of Friedrich the Second, called Frederick the Great, by Thomas Carlyle. In four volumes. Harper and Brothers, 1864. THE TWO CAELYLJES 163 We know that Mr. Carlyle is not bound to " pro- vide^ with brains " as well as with a history, but neither was he so bound in other days. Yet no such confusion was left after reading the " French Revolution. " How brilliantly distinct was every leading event, every influential person, every pa- thetic or poetic episode, in that charmed narrative ! Who can forget Carlyle's account of the " Me- nads," the King's " Flight to Varennes," the Con- stitutions that " would not march," the " Septem- ber Massacres," " Charlotte Corday," — every chief tragic movement, every grotesque episode, moving forward, distinct and clear, to the final issue, " a whiff of grapeshot " ? Is there anything like that in this confused " Frederick " ? Compare, for example, the chapters on Voltaire in the present volume with the article on Voltaire published in 1829. The sixteenth book is devoted to the ten years of peace which followed the second Silesian war. These were from 1746 to 1756. The book con- tains fifteen chapters. Carlyle begins, in chapter i., by lamenting that there is very little to be known or said about these ten years. " Nothing visible in them of main significance but a crash of authors' quarrels, and the crowning visit of Vol- taire." Yet one would think that matter enough might be found in describing the immense activity of Friedrich, of which Macaulay says, " His exer- tions were such as were hardly to be expected 164 THE TWO CABLYLES from a human body or a human mind." During these years Frederick brought a seventh part of his people into the army, and organized and drilled it under his own personal inspection, till it became the finest in Europe. He compiled a code of laws, in which he, among the first, abolished torture. He made constant journeys through his domin- ions, examining the condition of manufactures, arts, commerce, and agriculture. He introduced the strictest economy into the expenditures of the state. He indulged himself, indeed, in various architectural extravagances at Berlin and Pots- dam, — but otherwise saved every florin for his army. He wrote " Memoirs of the House of Brandenburg," and an epic poem on the " Art of War." But our author disdains to give us an account of these things. They are not picturesque, they can be told in only general terms, and Carlyle will tell us only what an eyewitness could see or a listener hear. Accordingly, instead of giving us an account of these great labors of his hero, he inserts (chapter ii.) " a peep at Voltaire and his divine Emilie," " a visit to Frederick by Marshal Saxe ; " (chapter iii.) a long account of Candi- date Linsenbarth's visit to the king ; " Sir Jonas Hanway stalks across the scene ; " the lawsuit of Voltaire about the Jew Hirsch ; " a demon news- writer gives an idea of Friedrich ; " the quarrel of Voltaire and Maupertuis ; " Friedrich is visible in Holland to the naked eye for some minutes." THE TWO CARLYLES 165 This is very unsatisfactory. Reports of eyewit- nesses" are, no doubt, picturesque and valuable ; but so only on condition of being properly arranged, and tending, in their use, toward some positive result. Then the tone of banter, of irony, almost of persiflage, is discouraging. If the whole story of Friedrich is so unintelligible, uninteresting, or incommunicable, why take the trouble to write it ? The poco-curante air with which he narrates, as though it were of no great consequence whether he told his story or not, contrasts wonderfully with his early earnestness. Carlyle writes this history like a man thoroughly blase. Impossible for him to take any interest in it himself, — how, then, does he expect to interest us ? Has he not himself told us, in his former writings, that the man who proposes to teach others anything must be good enough to believe it first himself ? Here is the problem we have to solve. How came this change from the Carlyle of the Past to the Carlyle of the Present, — from Carlyle the universal believer to. Carlyle the universal skeptic, — from him to whom the world was full of wonder and beauty, to him who can see in it nothing but Force on the one side and Shams on the other ? What changed that tender, loving, brave soul into this hard cynic ? And how was it, as Faith and Love faded out of him, that the life passed from his thought, the glory from his pen, and the page, once alive with flashing ideas, turned into 166 THE TWO CARLYLES this confused heap of rubbish, in which silver spoons, old shoes, gold sovereigns, and copper pen- nies are pitched out promiscuously, for the patient reader to sift and pick over as he can ? In read- ing the Carlyle of thirty years ago, we were like California miners, — come upon a rich placer, never before opened, where we could all become rich in a day. Now the reader of Carlyle is a chiffonier, raking in a heap of street dust for what- ever precious matters may turn up. To investigate this question is our purpose now, — and in doing so we w r ill consider, in succession, these two Carlyles. I. It was about the year 1830 that readers of books in this vicinity became aware of a new power coming up in the literary republic. Opinions con- cerning him varied widely. To some he seemed a Jack Cade, leader of rebels, foe to good taste and all sound opinions. Especially did his admiration for Goethe and for German literature seem to many preposterous and extravagant. It was said of these, that " the force of folly could no further go," — that they " constituted a burlesque too extravagant to be amusing." The tone of Carlyle was said to be of " unbounded assumption ; " his language to be " obscure and barbarous ; " his ideas composed of " extravagant paradoxes, fami- liar truths or familiar falsehoods ; " " wildest ex- travagance and merest silliness." But to others, and especially to the younger THE TWO CARLYLES 167 men, this new writer came, opening up unknown wdrtehf of beauty and wonder. A strange influ- ence, unlike any other, attracted us to his writing. Before we knew his name, we knew him. We could recognize an article by our new author as soon as we opened the pages of the Foreign Re- view, Edinburgh, or Westminster, and read a few paragraphs. But it was not the style, though marked by a singular freedom and originality — not the tone of kindly humor, the good-natured irony, the happy illustrations brought from afar, — not the amount of literary knowledge, the fa- miliarity with German, French, Italian, Spanish literature, — not any or all of these which so be- witched us. We knew a young man who used to walk from a neighboring town to Boston every week, in order to read over again two articles by Carlyle in two numbers of the Foreign Review lying on a table in the reading-room of the Athe- naeum. This was his food, in the strength of which he could go a week, till hunger drove him back to get another meal at the same table. We knew other young men and young women who taught themselves German in order to read for themselves the authors made so luminous by this writer. Those were counted fortunate who pos- sessed the works of our author, as yet unpublished in America, — his " Life of Schiller," his " Ger- man Romance," his Review articles. What, then, was the charm, — whence the fascination? 168 THE TWO CABLYLES To explain this we must describe a little the state of literature and opinion in this vicinity at the time when Carlyle's writings first made their appearance. Unitarianism and Orthodoxy had fought their battle, and were resting on their arms. Each had intrenched itself in certain positions, each had won to its side most of those who legitimately belonged to it. Controversy had done all it could, and had come to an end. Among the Unitarians, the so- called " practical preaching " was in vogue ; that is, ethical and moral essays, pointing out the good- ness of being good, and the excellence of what was called " moral virtue." There was, no doubt, a body of original thinkers and writers, — better thinkers and writers, it may be, than we have now, — who were preparing the way for another ad- vance. Channing had already unfolded his doc- trine of man, of which the central idea is, that human nature is not to be moulded by religion, but to be developed by it. Walker, Greenwood, Ware, and their brave associates, were conducting this journal with unsurpassed ability. But some- thing more was needed. The general character of preaching was not of a vitalizing sort. It was much like what Carlyle says of preaching in Eng- land at the same period : " The most enthusiastic Evangelicals do not preach a Gospel, but keep describing how it should and might be preached ; to awaken the sacred fire of faith is not their en- THE TWO CABLYLES 169 dea^w^Jbut at most, to describe how faith shows and acts, and scientifically to distinguish true faith from false." It is " not the Love of God which is taught, but the love of the Love of God." According to this, God was outside of the world, at a distance from his children, and obliged to communicate with them in this indirect way, by breaking through the walls of natural law with an occasional miracle. There was no door by which he could enter into the sheepfold to his sheep. Miracles were represented, even by Dr. Channing, as abnormal, as " violations of the laws of nature ; " something, therefore, unnatural and monstrous, and not to be believed except on the best evidence. God could not be supposed to break through the walls of this house of nature, except in order to speak to his children on some great occasions. That he had done it, in the case of Christianity, could be proved by the eleven volumes of Dr. Lardner, which showed the Four Gospels to have been written by the companions of Christ, and not otherwise. The whole of this theory rested, it will be ob- served, on a sensuous system of mental philosophy. " All knowledge comes through the senses," was its foundation. Kevelation, like every other form of knowledge, must come through the senses. A miracle, which appeals to the sight, touch, hearing, is the only possible proof of a divine act. For, in the last analysis, all our theology rests on our 170 THE TWO CABLYLES philosophy. Theology, being belief, must pro- ceed according to those laws of belief, whatever they are, which we accept and hold. The man who thinks that all knowledge comes through the senses must receive his theological knowledge also that way, and no other. This was the general opinion thirty or forty years ago ; hence this the- ory of Christianity, which supposes that God is obliged to break his own laws in order to com- municate it. But the result of this belief was harmful. It tended to make our religion formal, our worship a mere ceremony; it made real communication with God impossible; it turned prayer into a self -magnetizing operation ; it left us virtually " without God and hope in the world." Thanks to Him who never leaves himself without a witness in the human heart, this theory was often nullified in practice by the irrepressible instincts which it denied, by the spiritual intuitions which it ridi- culed. Even Professor Norton, its chief champion, had a heart steeped in the sweetest piety. Deny- ing, intellectually, all intuitions of God, Duty, and Immortality, his beautiful and tender hymns show the highest spiritual insight. Still it cannot be denied that this theory tended to dry up the fountains of religious faith in the human heart, and to leave us in a merely mechanical and unspirit- ualized world. Now the first voice which came to break this THE TWO CARLYLES 171 enchantment was, to many, the voice of Thomas Carlyle. It needed for this end, it always needs, a man who could come face to face with Truth. Every great idol-breaker, every man who has de- livered the world from the yoke of Forms, has been one who was able to see the substance of things, who was gifted with the insight of realities. Forms of worship, forms of belief, at first the channels of life, through which the Living Spirit flowed into human hearts, at last became petrified, incrusted, choked. A few drops of the vital current still ooze slowly through them, and our parched lips, sucking these few drops, cling all the more closely to the form as it becomes less and less a vehicle of life. The poorest word, old and trite, is precious when there is no open vision. We do well continually to resort to the half-dead form, " till the day dawn, and the day-star arise in our hearts." But at last there comes a man capable of dis- pensing with the form, — a man endowed with a high degree of the intuitive faculty, — a born seer, a prophet, seeing the great realities of the universe with open vision. The work of such a man is to break up the old formulas and introduce new light and life. This work was done for the Orthodox thirty years ago by the writings of Coleridge ; for the Unitarians in this vicinity, by the writings of Thomas Carlyle. This was the secret of the enthusiasm felt for 172 THE TWO CAELYLES Carlyle, in those days, by so many of the younger men and women. He taught us to look at reali- ties instead of names, at substance instead of sur- face, — to see God in the world, in nature, in life, in providence, in man, — to see divine truth and beauty and wonder everywhere around. He taught that the only organ necessary by which to see the divine in all things was sincerity, or inward truth. And so he enabled us to escape from the form into the spirit, he helped us to rise to that plane of freedom from which we could see the divine in the human, the infinite in the finite, God in man, heaven on earth, immortality beginning here, eter- nity pervading time. This made for us a new heaven and a new earth, a new religion and a new life. Faith was once more possible, a faith not bought by the renunciation of mature reason or the beauty and glory of the present hour. But all this was taught us by our new prophet, not by the intellect merely, but by the spirit in which he spoke. He did not seem to be giving us a new creed, so much as inspiring us with a new life. That which came from his experience went into ours. Therefore it might have been difficult, in those days, for any of his disciples to state what it was that they had learned from him. They had not learned his doctrine, — they had absorbed it. Hence, very naturally, came the imitations of Carlyle, which so disgusted the members of the old school. Hence the absurd Carlylish writing, THE TWO CABLYLES 173 the feeBle imitations by honest, but weak disciples of the great master. It was a pity, but not un- natural, and it soon passed by. As Carlyle thus did his work, not so much by direct teaching as by an influence hidden in all that he said, it did not much matter on what subject he wrote, — the influence was there still. But his articles on Goethe were the most attrac- tive, because he asserted that in this patriarch of German literature he had found one who saw in all things their real essence, one whose majestic and trained intelligence could interpret to us in all parts of nature and life the inmost quality, the terza essenza, as the Italian Platonists called it, which made each itself. Goethe was announced as the prophet of Realism. He, it should seem, had perfectly escaped from words into things. He saw the world, not through dogmas, traditions, formulas, but as it was in itself, To him " the world's unwithered countenance Was fresh as on creation's day." Consider the immense charm of such hopes as these ! No wonder that the critics complained that the disciples of Carlyle were " insensible to ridicule." What did they care for the laughter, which seemed to them, in their enthusiasm, like " the crackling of thorns under the pot." Ridi- cule, in fact, never touches the sincere enthusiast. It is a good and useful weapon against affectation, but it falls, shivered to pieces, from the magic 174 THE TWO CABLYLES breastplate of truth. No sincere person, at work in a cause which he knows to be important, ever minds being laughed at. But besides his admirable discussions of Goethe, Carlyle's " Life of Schiller " opened the portals of German literature, and made an epoch in biogra- phy and criticism. It was a new thing to read a biography written with such enthusiasm, — to find a critic who could really write with reverence and tender love of the poet whom he criticised. In- stead of taking his seat on the judicial bench, and calling his author up before him to be judged as a culprit, Carlyle walks with Schiller through the circles of his poems and plays, as Dante goes with Virgil through the Inferno and Paradiso. He accepts the great poet as his teacher and master, 1 a thing unknown before in all criticism. It was supposed that a biographer would become a mere Boswell if he looked up to his hero, instead of looking down on him. It was not understood that it was that " angel of the world," Reverence, which had exalted even a poor, mean, vain fool, like Boswell, and enabled him to write one of the best books ever written. It was not his reverence for Johnson which made Boswell a fool, — his reverence for Johnson made him, a fool, capable of writing one of the best books of modern times. This capacity of reverence in Carlyle — this 1 " Tu se' lo mio maestro, e '1 mfo autore, O degli altri poeti onore e lume." THE TWO CABLYLES 175 power-of perceiving a divine, infinite quality in human souls — tinges all his biographical writing with a deep religious tone. He wrote of Goethe, Schiller, Bichter, Burns, Novalis, even Voltaire, with reverence. He could see their defects easily enough, he could playfully expose their weaknesses ; but beneath all was the sacred undertone of rever- ence for the divine element in each, — for that which God had made and meant them to be, and which they had realized more or less imperfectly in the struggle of life. The difference between the reverence of a Carlyle and that of a Boswell is, that one is blind and the other intelligent. The one worships his hero down to his shoes and stock- ings, the other distinguishes the divine idea from its weak embodiment. Two articles from this happy period — that on the " Signs of the Times " and that called " Char- acteristics " — indicate some of Carlyle's leading ideas concerning right thinking and right living. In the first, he declares the present to be an age of mechanism, — not heroic, devout, or philoso- phic. All things are done by machinery. " Men have no faith in individual endeavor or natu- ral force." "Metaphysics has become material." Government is a machine. All this he thinks evil. The living force is in the individual soul, — not mechanic, but dynamic. Religion is a calcula- tion of expediency, not an impulse of worship ; no thousand- voiced psalm from the heart of man to his 176 THE TWO CARLYLES invisible Father, the Fountain of all goodness, beauty, and truth, but a contrivance by which a small quantum of earthly enjoyment may be ex- changed for a much larger quantum of celestial enjoyment. " Virtue is pleasure, is profit." "In all senses we worship and follow after power, which may be called a physical pursuit." (Ah, Carlyle of the Present ! does not that wand of thine old true self touch thee ?) " No man now loves truth, as truth must be loved, with an infinite love ; but only with a finite love, and, as it were, par amours" In the other article, " Characteristics," printed two years later, in 1831, he unfolds the doctrine of " Unconsciousness " as the sign of health in soul as well as body. He finds society sick every- where ; he finds its religion, literature, science, all diseased, yet he ends the article, as the other was ended, in hope of a change to something better. These two articles may be considered as an in- troduction to his next great work, " Sartor Eesar- tus," or the " Clothes-Philosophy." Here, in a vein of irony and genial humor, he unfolds his doctrine of substance and form. The object of all thought and all experience is to look through the clothes to the living beneath them. Accord- ing to his book, all human institutions are the clothing of society ; language is the garment of thought, the heavens and earth the time-vesture of the Eternal. So, too, are religious creeds and ceremonies the clothing of religion ; so are all sym- THE TWO CABLYLES 177 bols the vesture of some idea ; so are the crown and sceptre the vesture of government. This book is the autobiography of a seeker for truth. In it he is led from the shows of things to their inner- most substance, and as in all his other writings, he teaches here also that sincerity, truthfulness, is the organ by which we are led to the solid rock of reality, which underlies all shows and shams. II. We now come to treat of Carlyle in his pre- sent aspect, — a much less agreeable task. We leave Carlyle the generous and gentle, for Carlyle the hard cynic. We leave him, the friend of man, lover of his race, for another Carlyle, advocate of negro slavery, worshiper of mere force, sneering at philanthropy, and admiring only tyrants, des- pots, and slaveholders. The change, and the steps which led to it, chronologically and logically, it is our business to scrutinize, — not a grateful occu- pation indeed, but possibly instructive and useful. Thomas Carlyle, after spending his previous life in Scotland, and from 1827 to 1834 in his solitude at Craigenputtoch, removed to London in the latter year, when thirty-eight years old. Since then he has permanently resided in London, in a house situated on one of the quiet streets running at right angles with the Thames. He came to Lon- don almost an unknown man ; he has there become a great name and power in literature. He has had for friends such men as John Stuart Mill, Sterling, Maurice, Leigh Hunt, Browning, Thackeray, and 178 THE TWO CARLYLES Emerson. His " French Revolution " was pub- lished in 1837 ; " Sartor Resartus " (published in Frazer in 1833, and in Boston in a volume in 1836) was put forth collectively in 1838 ; and in the same year his " Miscellanies " (also collected and issued in Boston in 1838) were published in London, in four volumes. " Chartism " was issued in 1839. He gave four courses of Lectures in Willis's rooms "to a select but crowded audience," in 1837, 1838, 1839, and 1840. Only the last of these — " Heroes and Hero-Worship " — was pub- lished. " Past and Present " followed in 1843, " Oliver Cromwell " in 1845. In 1850 he printed " Latter-Day Pamphlets," and subsequently his " Life of Sterling " (1851), and the four volumes, now issued, of " Frederick the Great." The first evidence of an altered tendency is per- haps to be traced in the " French Revolution." It is a noble and glorious book ; but, as one of his friendly critics has said, " its philosophy is con- temptuous and mocking, and it depicts the varied and gigantic characters which stalk across the scene, not so much as responsible and living mor- tals, as the mere mechanical implements of some tremendous and irresistible destiny." In " Heroes and Hero-Worship " the habit has grown of rever- ing mere will, rather than calm intellectual and moral power. The same thing is shown in " Past and Present," in " Cromwell," and in " Latter- Day Pamphlets," which the critic quoted above THE TWO CARLYLES 179 \. says isT ■" only remarkable as a violent imitation of himself, and not of his better self." For the works of this later period, indeed, the best motto would be that verse from Daniel : " He shall exalt him- self, and magnify himself, and speak marvelous things ; neither shall he regard the God of his fathers, but in his stead shall he honor the God of Forces, a god whom his fathers knew not." Probably this apostasy from his better faith had begun, before this, to show itself in conversation. At least Margaret Fuller, in a letter dated 1846, finds herself in his presence admiring his bril- liancy, but " disclaiming and rejecting almost everything he said." " For a couple of hours," says she, " he was talking about poetry, and the whole harangue was one eloquent proclamation of the defects in his own mind." " All Carlyle's talk, another evening," says she, " was a defence of mere force, — success the test of right ; if people would not behave well, put collars round their necks ; find a hero, and let them be his slaves." " Maz- zini was there, and, after some vain attempts to remonstrate, became very sad. Mrs. Carlyle said to me, ' These are but opinions to Carlyle ; but to Mazzini, who has given his all, and helped bring his friends to the scaffold, in pursuit of such sub- jects, it is a matter of life and death.' ' As this mood of Mr. Carlyle comes out so strongly in the " Latter-Day Pamphlets," it is per- haps best to dwell on them at greater leisure. 180 THE TWO CARLYLES The first is " The Present Time." In this he describes Democracy as inevitable, but as utterly- evil ; calls for a government ; finds most European governments, that of England included, to be shams and falsities, — no-government, or drifting, to be a yet greater evil. The object, he states, is to find the noblest and best men to govern. Democracy fails to do this ; for universal balloting is not ade- quate to the task. Democracy answered in the old republics, when the mass were slaves, but will not answer now. The United States are no proof of its success, for (1st) anarchy is avoided merely by the quantity of cheap land, and (2d) the United States have produced no spiritual results, but only material. Democracy in America is no-govern- ment, and " its only feat is to have produced eigh- teen millions of the greatest bores ever seen in the world." Mr. Carlyle's plan, therefore, is to find, somehow, the best man for a ruler, to make him a despot, to make the mass of the English and Irish slaves, to beat them if they will not work, to shoot them if they still refuse. The only method of find- ing this best man, which he suggests, is to call for him. Accordingly, Mr. Thomas Carlyle calls, say- ing, " Best man, come forward, and govern." The sum, therefore, of his recipe for the diseases of the times is Slavery. The second pamphlet is called " Model Prisons," and the main object of this is to ridicule all at- tempts at helping men by philanthropy or human- THE TWO CARLYLES 181 ity. The talk of " Fraternity " is nonsense, and must be drummed out of the world. Beginning with model prisons, he finds them much too good for the " scoundrels " who are shut up there. He would have them whipped and hung (seventy thousand in a year, we suppose, as in bluff King Harry's time, with no great benefit therefrom). " Revenge," he says, " is a right feeling against bad men, — only the excess of it wrong." The proper thing to say to a bad man is, " Caitiff, I hate thee." "A collar round the neck, and a cart-whip over the back," is what he thinks would be more just to criminals than a model prison. The whole effort of humanity should be to help the industrious and virtuous poor ; the criminals should be swept out of the way, whipt, enslaved, or hung. As for human brotherhood, he does not admit brotherhood with " scoundrels." Particularly disgusting to him is it to hear this philanthropy to bad men called Chris- tianity. Christianity, he thinks, does not tell us to love the bad, but to hate them as God hates them. According, probably, to his private expurgated version of the Gospel, " that ye may be the chil- dren of your Father in heaven, whose sun rises only on the good, and whose rain falls only on the just." " Downing Street " and " New Downing Street " are fiery tirades against the governing classes in England. Mr. Carlyle says (according to his in- evitable refrain), that England does not want a 182 THE TWO CARLYLES reformed Parliament, a body of talkers, but a reformed Downing Street, a body of workers. He describes the utter imbecility of the English gov- ernment, and calls loudly for some able man to take its place. Two passages are worth quoting ; the first as to England's aspect in her foreign rela- tions, which is quite as true for 1864 as for 1854. " How it stands with the Foreign Office, again, one still less knows. Seizures of Sapienza, and the like sudden appearances of Britain in the charac- ter of Hercules-Harlequin, waving, with big bully- voice, her sword of sharpness over field-mice, and in the air making horrid circles (horrid Catherine- wheels and death-disks of metallic terror from said huge sword) to see how they will like it. Her- cules-Harlequin, the Attorney Triumphant, the World's Busybody ! " Or see the following description of the sort of rulers who prevail in England, no less than in America : — " If our government is to be a No-Government, what is the matter who administers it? Fling an orange-skin into St. James Street, let the man it hits be your man. He, if you bend him a little to it, and tie the due official bladders to his ankles, will do as well as another this sublime problem of balancing himself upon the vortexes, with the long loaded pole in his hand, and will, with straddling, painful gestures, float hither and thither, walking the waters in that singular manner for a little THE TWO CABLYLES 183 while>