Memorials and Other Papers — Volume 1

FROM THE AUTHOR, TO THE AMERICAN EDITOR OF HIS WORKS

These papers I am anxious to put into the hands of your house, and, so far as regards the U.S., of your house exclusively; not with any view to further emolument, but as an acknowledgment of the services which you have already rendered me; namely, first, in having brought together so widely scattered a collection—a difficulty which in my own hands by too painful an experience I had found from nervous depression to be absolutely insurmountable; secondly, in having made me a participator in the pecuniary profits of the American edition, without solicitation or the shadow of any expectation on my part, without any legal claim that I could plead, or equitable warrant in established usage, solely and merely upon your own spontaneous motion. Some of these new papers, I hope, will not be without their value in the eyes of those who have taken an interest in the original series. But at all events, good or bad, they are now tendered to the appropriation of your individual house, the Messrs. TICKNOR & FIELDS, according to the amplest extent of any power to make such a transfer that I may be found to possess by law or custom in America.

I wish this transfer were likely to be of more value. But the veriest trifle, interpreted by the spirit in which I offer it, may express my sense of the liberality manifested throughout this transaction by your honorable house.

Ever believe me, my dear sir,

Your faithful and obliged,

EXPLANATORY NOTICES

Many of the papers in my collected works were originally written under one set of disadvantages, and are now revised under another. They were written generally under great pressure as to time, in order to catch the critical periods of monthly journals; written oftentimes at a distance from the press (so as to have no opportunity for correction); and always written at a distance from libraries, so that very many statements, references, and citations, were made on the authority of my unassisted memory. Under such circumstances were most of the papers composed; and they are now reissued in a corrected form, sometimes even partially recast, under the distraction of a nervous misery which embarrasses my efforts in a mode and in a degree inexpressible by words. Such, indeed, is the distress produced by this malady, that, if the present act of republication had in any respect worn the character of an experiment, I should have shrunk from it in despondency. But the experiment, so far as there was any, had been already tried for me vicariously amongst the Americans; a people so nearly repeating our own in style of intellect, and in the composition of their reading class, that a success amongst them counts for a success amongst ourselves. For some few of the separate papers in these volumes I make pretensions of a higher cast. These pretensions I will explain hereafter. All the rest I resign to the reader's unbiased judgment, adding here, with respect to four of them, a few prefatory words—not of propitiation or deprecation, but simply in explanation as to points that would otherwise be open to misconstruction.

1. The paper on "Murder as one of the Fine Arts" [Footnote: Published in the "Miscellaneous Essays."] seemed to exact from me some account of Williams, the dreadful London murderer of the last generation; not only because the amateurs had so much insisted on his merit as the supreme of artists for grandeur of design and breadth of style; and because, apart from this momentary connection with my paper, the man himself merited a record for his matchless audacity, combined with so much of snaky subtlety, and even insinuating amiableness, in his demeanor; but also because, apart from the man himself, the works of the man (those two of them especially which so profoundly impressed the nation in 1812) were in themselves, for dramatic effect, the most impressive on record. Southey pronounced their preeminence when he said to me that they ranked amongst the few domestic events which, by the depth and the expansion of horror attending them, had risen to the dignity of a national interest. I may add that this interest benefited also by the mystery which invested the murders; mystery as to various points but especially as respected one important question, Had the murderer any accomplice? [Footnote: Upon a large overbalance of probabilities, it was, however, definitively agreed amongst amateurs that Williams must have been alone in these atrocities. Meantime, amongst the colorable presumptions on the other side was this:—Some hours after the last murder, a man was apprehended at Barnet (the first stage from London on a principal north road), encumbered with a quantity of plate. How he came by it, or whither he was going, he steadfastly refused to say. In the daily journals, which he was allowed to see, he read with eagerness the police examinations of Williams; and on the same day which announced the catastrophe of Williams, he also committed suicide in his cell.] There was, therefore, reason enough, both in the man's hellish character, and in the mystery which surrounded him, for a Postscript [Footnote: Published in the "Note Book."] to the original paper; since, in a lapse of forty-two years, both the man and his deeds had faded away from the knowledge of the present generation; but still I am sensible that my record is far too diffuse. Feeling this at the very time of writing, I was yet unable to correct it; so little self-control was I able to exercise under the afflicting agitations and the unconquerable impatience of my nervous malady.

2. "War." [Footnote: Published in "Narrative and Miscellaneous Essays."]—In this paper, from having faultily adjusted its proportions in the original outline, I find that I have dwelt too briefly and too feebly upon the capital interest at stake. To apply a correction to some popular misreadings of history, to show that the criminal (because trivial) occasions of war are not always its trifle causes, or to suggest that war (if resigned to its own natural movement of progress) is cleansing itself and ennobling itself constantly and inevitably, were it only through its connection with science ever more and more exquisite, and through its augmented costliness,—all this may have its use in offering some restraint upon the levity of action or of declamation in Peace Societies. But all this is below the occasion. I feel that far grander interests are at stake in this contest. The Peace Societies are falsely appreciated, when they are described as merely deaf to the lessons of experience, and as too "romantic" in their expectations. The very opposite is, to my thinking, their criminal reproach. He that is romantic errs usually by too much elevation. He violates the standard of reasonable expectation, by drawing too violently upon the nobilities of human nature. But, on the contrary, the Peace Societies would, if their power kept pace with their guilty purposes, work degradation for man by drawing upon his most effeminate and luxurious cravings for ease. Most heartily, and with my profoundest sympathy, do I go along with Wordsworth in his grand lyrical proclamation of a truth not less divine than it is mysterious, not less triumphant than it is sorrowful, namely, that amongst God's holiest instruments for the elevation of human nature is "mutual slaughter" amongst men; yes, that "Carnage is God's daughter." Not deriving my own views in this matter from Wordsworth,—not knowing even whether I hold them on the same grounds, since Wordsworth has left his grounds unexplained,—nevertheless I cite them in honor, as capable of the holiest justification. The instruments rise in grandeur, carnage and mutual slaughter rise in holiness, exactly as the motives and the interests rise on behalf of which such awful powers are invoked. Fighting for truth in its last recesses of sanctity, for human dignity systematically outraged, or for human rights mercilessly trodden under foot—champions of such interests, men first of all descry, as from a summit suddenly revealed, the possible grandeur of bloodshed suffered or inflicted. Judas and Simon Maccabćus in days of old, Gustavus Adolphus [Footnote: The Thirty Years' War, from 1618 to the Peace of Westphalia in 1648, was notoriously the last and the decisive conflict between Popery and Protestantism; the result of that war it was which finally enlightened all the Popish princes of Christendom as to the impossibility of ever suppressing the antagonist party by mere force of arms. I am not meaning, however, to utter any opinion whatever on the religious position of the two great parties. It is sufficient for entire sympathy with the royal Swede, that he fought for the freedom of conscience. Many an enlightened Roman Catholic, supposing only that he were not a Papist, would have given his hopes and his confidence to the Protestant king.] in modern days, fighting for the violated rights of conscience against perfidious despots and murdering oppressors, exhibit to us the incarnations of Wordsworth's principle. Such wars are of rare occurrence. Fortunately they are so; since, under the possible contingencies of human strength and weakness, it might else happen that the grandeur of the principle should suffer dishonor through the incommensurate means for maintaining it. But such cases, though emerging rarely, are always to be reserved in men's minds as ultimate appeals to what is most divine in man. Happy it is for human welfare that the blind heart of man is a thousand times wiser than his understanding. An arričre pensée should lie hidden in all minds—a holy reserve as to cases which may arise similar to such as HAVE arisen, where a merciful bloodshed [Footnote: "Merciful bloodshed"—In reading either the later religious wars of the Jewish people under the Maccabees, or the earlier under Joshua, every philosophic reader will have felt the true and transcendent spirit of mercy which resides virtually in such wars, as maintaining the unity of God against Polytheism and, by trampling on cruel idolatries, as indirectly opening the channels for benign principles of morality through endless generations of men. Here especially he will have read one justification of Wordsworth's bold doctrine upon war. Thus far he will destroy a wisdom working from afar, but, as regards the immediate present, he will be apt to adopt the ordinary view, namely, that in the Old Testament severity prevails approaching to cruelty. Yet, on consideration, he will be disposed to qualify this opinion. He will have observed many indications of a relenting kindness and a tenderness of love in the Mosaical ordinances. And recently there has been suggested another argument tending to the same conclusion. In the last work of Mr. Layard ('Discoveries in the Ruins of Nineveh and Babylon, 1853') are published some atrocious monuments of the Assyrian cruelty in the treatment of military captives. In one of the plates of Chap xx., at page 456, is exhibited some unknown torture applied to the head, and in another, at page 458, is exhibited the abominable process, applied to two captives, of flaying them alive. One such case had been previously recorded in human literature, and illustrated by a plate. It occurs in a Dutch voyage to the islands of the East. The subject of the torment in that case as a woman who had been charged with some act of infidelity to her husband. And the local government, being indignantly summoned to interfere by some Christian strangers, had declined to do so, on the plea that the man was master within his own house. But the Assyrian case was worse. This torture was there applied, not upon a sudden vindictive impulse, but in cold blood, to a simple case apparently of civil disobedience or revolt. Now, when we consider how intimate, and how ancient, was the connection between Assyria and Palestine, how many things (in war especially) were transferred mediately through the intervening tribes (all habitually cruel), from the people on the Tigris to those on the Jordan, I feel convinced that Moses must have interfered most peremptorily and determinately, and not merely by verbal ordinances, but by establishing counter usages against this spirit of barbarity, otherwise it would have increased contagiously, whereas we meet with no such hellish atrocities amongst the children of Israel. In the case of one memorable outrage by a Hebrew tribe, the national vengeance which overtook it was complete and tearful beyond all that history has recorded] has been authorized by the express voice of God. Such a reserve cannot be dispensed with. It belongs to the principle of progress in man that he should forever keep open a secret commerce in the last resort with the spirit of martyrdom on behalf of man's most saintly interests. In proportion as the instruments for upholding or retrieving such saintly interests should come to be dishonored or less honored, would the inference be valid that those interests were shaking in their foundations. And any confederation or compact of nations for abolishing war would be the inauguration of a downward path for man.

A battle is by possibility the grandest, and also the meanest, of human exploits. It is the grandest when it is fought for godlike truth, for human dignity, or for human rights; it is the meanest when it is fought for petty advantages (as, by way of example, for accession of territory which adds nothing to the security of a frontier), and still more when it is fought simply as a gladiator's trial of national prowess. This is the principle upon which, very naturally, our British school-boys value a battle. Painful it is to add, that this is the principle upon which our adult neighbors the French seem to value a battle.

To any man who, like myself, admires the high-toned, martial gallantry of the French, and pays a cheerful tribute of respect to their many intellectual triumphs, it is painful to witness the childish state of feeling which the French people manifest on every possible question that connects itself at any point with martial pretensions. A battle is valued by them on the same principles, not better and not worse, as govern our own schoolboys. Every battle is viewed by the boys as a test applied to the personal prowess of each individual soldier; and, naturally amongst boys, it would be the merest hypocrisy to take any higher ground. But amongst adults, arrived at the power of reflecting and comparing, we look for something nobler. We English estimate Waterloo, not by its amount of killed and wounded, but as the battle which terminated a series of battles, having one common object, namely, the overthrow of a frightful tyranny. A great sepulchral shadow rolled away from the face of Christendom as that day's sun went down to his rest; for, had the success been less absolute, an opportunity would have offered for negotiation, and consequently for an infinity of intrigues through the feuds always gathering upon national jealousies amongst allied armies. The dragon would soon have healed his wounds; after which the prosperity of the despotism would have been greater than before. But, without reference to Waterloo in particular, we, on our part, find it impossible to contemplate any memorable battle otherwise than according to its tendency towards some commensurate object. To the French this must be impossible, seeing that no lofty (that is, no disinterested) purpose has ever been so much as counterfeited for a French war, nor therefore for a French battle. Aggression, cloaked at the very utmost in the garb of retaliation for counter aggressions on the part of the enemy, stands forward uniformly in the van of such motives as it is thought worth while to plead. But in French casuistry it is not held necessary to plead _any_thing; war justifies itself. To fight for the experimental purpose of trying the proportions of martial merit, but (to speak frankly) for the purpose of publishing and renewing to Europe the proclamation of French superiority—that is the object of French wars. Like the Spartan of old, the Frenchman would hold that a state of peace, and not a state of war, is the state which calls for apology; and that already from the first such an apology must wear a very suspicious aspect of paradox.

3. "The English Mail-Coach." [Footnote: Published in the "Miscellaneous Essays."]—This little paper, according to my original intention, formed part of the "Suspiria de Profundis," from which, for a momentary purpose, I did not scruple to detach it, and to publish it apart, as sufficiently intelligible even when dislocated from its place in a larger whole. To my surprise, however, one or two critics, not carelessly in conversation, but deliberately in print, professed their inability to apprehend the meaning of the whole, or to follow the links of the connection between its several parts. I am myself as little able to understand where the difficulty lies, or to detect any lurking obscurity, as those critics found themselves to unravel my logic. Possibly I may not be an indifferent and neutral judge in such a case. I will therefore sketch a brief abstract of the little paper according to my own original design, and then leave the reader to judge how far this design is kept in sight through the actual execution.

Thirty-seven years ago, or rather more, accident made me, in the dead of night, and of a night memorably solemn, the solitary witness to an appalling scene, which threatened instant death, in a shape the most terrific, to two young people, whom I had no means of assisting, except in so far as I was able to give them a most hurried warning of their danger; but even that not until they stood within the very shadow of the catastrophe, being divided from the most frightful of deaths by scarcely more, if more at all, than seventy seconds.

Such was the scene, such in its outline, from which the whole of this paper radiates as a natural expansion. The scene is circumstantially narrated in Section the Second, entitled, "The Vision of Sudden Death."

But a movement of horror and of spontaneous recoil from this dreadful scene naturally carried the whole of that scene, raised and idealised, into my dreams, and very soon into a rolling succession of dreams. The actual scene, as looked down upon from the box of the mail, was transformed into a dream, as tumultuous and changing as a musical fugue. This troubled Dream is circumstantially reported in Section the Third, entitled, "Dream-Fugue upon the Theme of Sudden Death." What I had beheld from my seat upon the mail,—the scenical strife of action and passion, of anguish and fear, as I had there witnessed them moving in ghostly silence; this duel between life and death narrowing itself to a point of such exquisite evanescence as the collision neared,—all these elements of the scene blended, under the law of association, with the previous and permanent features of distinction investing the mail itself, which features at that time lay—1st, in velocity unprecedented; 2dly, in the power and beauty of the horses: 3dly, in the official connection with the government of a great nation; and, 4thly, in the function, almost a consecrated function, of publishing and diffusing through the land the great political events, and especially the great battles during a conflict of unparalleled grandeur. These honorary distinctions are all described circumstantially in the FIRST or introductory section ("The Glory of Motion"). The three first were distinctions maintained at all times; but the fourth and grandest belonged exclusively to the war with Napoleon; and this it was which most naturally introduced Waterloo into the dream. Waterloo, I understood, was the particular feature of the "Dream-Fugue" which my censors were least able to account for. Yet surely Waterloo, which, in common with every other great battle, it had been our special privilege to publish over all the land, most naturally entered the Dream under the license of our privilege. If not—if there be anything amiss—let the Dream be responsible. The Dream is a law to itself; and as well quarrel with a rainbow for showing, or for not showing, a secondary arch. So far as I know, every element in the shifting movements of the Dream derived itself either primarily from the incidents of the actual scene, or from secondary features associated with the mail. For example, the cathedral aisle derived itself from the mimic combination of features which grouped themselves together at the point of approaching collision, namely, an arrow-like section of the road, six hundred yards long, under the solemn lights described, with lofty trees meeting overhead in arches. The guard's horn, again—a humble instrument in itself—was yet glorified as the organ of publication for so many great national events. And the incident of the Dying Trumpeter, who rises from a marble bas-relief, and carries a marble trumpet to his marble lips for the purpose of warning the female infant, was doubtless secretly suggested by my own imperfect effort to seize the guard's horn, and to blow a warning blast. But the Dream knows best; and the Dream, I say again, is the responsible party.

4. "The Spanish Nun." [Footnote: Published in "Narrative and Miscellaneous Essays."]—There are some narratives, which, though pure fictions from first to last, counterfeit so vividly the air of grave realities, that, if deliberately offered for such, they would for a time impose upon everybody. In the opposite scale there are other narratives, which, whilst rigorously true, move amongst characters and scenes so remote from our ordinary experience, and through, a state of society so favorable to an adventurous cast of incidents, that they would everywhere pass for romances, if severed from the documents which attest their fidelity to facts. In the former class stand the admirable novels of De Foe; and, on a lower range, within the same category, the inimitable "Vicar of Wakefield;" upon which last novel, without at all designing it, I once became the author of the following instructive experiment. I had given a copy of this little novel to a beautiful girl of seventeen, the daughter of a statesman in Westmoreland, not designing any deception (nor so much as any concealment) with respect to the fictitious character of the incidents and of the actors in that famous tale. Mere accident it was that had intercepted those explanations as to the extent of fiction in these points which in this case it would have been so natural to make. Indeed, considering the exquisite verisimilitude of the work meeting with such absolute inexperience in the reader, it was almost a duty to have made them. This duty, however, something had caused me to forget; and when next I saw the young mountaineer, I forgot that I had forgotten it. Consequently, at first I was perplexed by the unfaltering gravity with which my fair young friend spoke of Dr. Primrose, of Sophia and her sister, of Squire Thornhill, &c., as real and probably living personages, who could sue and be sued. It appeared that this artless young rustic, who had never heard of novels and romances as a bare possibility amongst all the shameless devices of London swindlers, had read with religious fidelity every word of this tale, so thoroughly life-like, surrendering her perfect faith and her loving sympathy to the different persons in the tale, and the natural distresses in which they are involved, without suspecting, for a moment, that by so much as a breathing of exaggeration or of embellishment the pure gospel truth of the narrative could have been sullied. She listened, in a kind of breathless stupor, to my frank explanation—that not part only, but the whole, of this natural tale was a pure invention. Scorn and indignation flashed from her eyes. She regarded herself as one who had been hoaxed and swindled; begged me to take back the book; and never again, to the end of her life, could endure to look into the book, or to be reminded of that criminal imposture which Dr. Oliver Goldsmith had practised upon her youthful credulity.

In that case, a book altogether fabulous, and not meaning to offer itself for anything else, had been read as genuine history. Here, on the other hand, the adventures of the Spanish Nun, which in every detail of time and place have since been sifted and authenticated, stood a good chance at one period of being classed as the most lawless of romances. It is, indeed, undeniable, and this arises as a natural result from the bold, adventurous character of the heroine, and from the unsettled state of society at that period in Spanish America, that a reader the most credulous would at times be startled with doubts upon what seems so unvarying a tenor of danger and lawless violence. But, on the other hand, it is also undeniable that a reader the most obstinately sceptical would be equally startled in the very opposite direction, on remarking that the incidents are far from being such as a romance-writer would have been likely to invent; since, if striking, tragic, and even appalling, they are at times repulsive. And it seems evident that, once putting himself to the cost of a wholesale fiction, the writer would have used his privilege more freely for his own advantage. Whereas the author of these memoirs clearly writes under the coercion and restraint of a notorious reality, that would not suffer him to ignore or to modify the leading facts. Then, as to the objection that few people or none have an experience presenting such uniformity of perilous adventure, a little closer attention shows that the experience in this case is not uniform; and so far otherwise, that a period of several years in Kate's South American life is confessedly suppressed; and on no other ground whatever than that this long parenthesis is not adventurous, not essentially differing from the monotonous character of ordinary Spanish life.