The Atlantic Monthly, Volume 14, No. 82, August, 1864

He drew his stool before the desk,
And sat him down, distraught and wan,
To paint his darling masterpiece,
The stately figure of Saint John.
He sketched the head with pious care,
Laid in the tint, when, powers of Grace!
He found a grinning Death's-head there,
And not the grand Apostle's face!

Then up he rose with one long cry:
"'Tis Satan's self does this," cried he,
"Because I shut and barred my heart
When Thou didst loudest call to me!
O Lord, Thou know'st the thoughts of men,
Thou know'st that I did yearn to make
Thy Word more lovely to the eyes
Of sinful souls, for Christ his sake!
Nathless, I leave the task undone:
I give up all to follow Thee,—
Even like him who gave his nets
To winds and waves by Galilee!"

Which said, he closed the precious Book
In silence with a reverent hand;
And, drawing his cowl about his face,
Went forth into the Stricken Land.
And there was joy in heaven that day,—
More joy o'er that forlorn old friar
Than over fifty sinless men
Who never struggled with desire!

What deeds he did in that dark town,
What hearts he soothed with anguish torn,
What weary ways of woe he trod,
Are written in the Book of God,
And shall be read at Judgment-Morn.
The weeks crept on, when, one still day,
God's awful presence filled the sky,
And that black vapor floated by,
And, lo! the sickness passed away.
With silvery clang, by thorp and town,
The bells made merry in their spires,
Men kissed each other on the street,
And music piped to dancing feet
The livelong night, by roaring fires!

Then Friar Jerome, a wasted shape,—.
For he had taken the Plague at last,—
Rose up, and through the happy town,
And through the wintry woodlands passed
Into the Convent. What a gloom
Sat brooding in each desolate room!
What silence in the corridor!
For of that long, innumerous train
Which issued forth a month before,
Scarce twenty had come back again!

Counting his rosary step by step,
With a forlorn and vacant air,
Like some unshriven church-yard thing,
The Friar crawled up the mouldy stair
To his damp cell, that he might look
Once more on his beloved Book.

And there it lay upon the stand,
Open!—he had not left it so.
He grasped it, with a cry; for, lo!
He saw that some angelic hand,
While he was gone, had finished it!
There't was complete, as he had planned!
There, at the end, stood finis, writ
And gilded as no man could do,—
Not even that pious anchoret,
Bilfrid, the wonderful,—nor yet
The miniatore Ethelwold,—
Nor Durham's Bishop, who of old
(England still hoards the priceless leaves)
Did the Four Gospels all in gold.
And Friar Jerome nor spoke nor stirred,
But, with his eyes fixed on that word,
He passed from sin and want and scorn;
And suddenly the chapel-bells
Rang in the holy Christmas-Morn!

In those wild wars which racked the land,
Since then, and kingdoms rent in twain.
The Friar's Beautiful Book was lost,—
That miracle of hand and brain:
Yet, though its leaves were torn and tossed,
The volume was not writ in vain!

LITERARY LIFE IN PARIS

THE DRAWING-ROOM

PART I

We are no "lion-hunters." When we wish to learn something of eminent authors, we hasten to the nearest book-shop and buy their works. They put the best of themselves in their books. The old saw tells us how completely all great men give the best part of themselves to the public, while the valet-de-chambre picks up little else than food for contempt. Nevertheless, we are as inquisitive about everything that concerns eminent people as anybody can be. We would not blot a single line from Boswell. We protest against a word being effaced from the garrulous pages of Lady Blessington and Leigh Hunt. We "hang" the stars with which Earl Russell has milky-wayed Moore's Diary. But we are no "lion-hunters," (the name should be "lion-harriers,") simply because this chase is not the best way to take the game we desire. What does the lion-hunter secure? A commonplace observation upon the weather, an adroit or awkward parry of flattery, and some superficial compliment upon one's native place or present residence; for a great man at bay is nothing more nor less than a casual acquaintance extremely on his guard, and, commonly, extremely fatigued by admirers. True, one obtains an acquaintance with the great man's voice, and the hearth where he lives, and the right to boast with truth, "I have seen him." Voilà tout! Now this is not what we want. We desire some good, clear, faithful account of these people, as they are, when they talk freely and easily to their contemporaries, to their peers. Boswell's picture of the Literary Club is invaluable, although, with the insatiable curiosity of the nineteenth century, we regret that the prince of reporters failed to sketch the persons and peculiarities of the dramatis personæ whose conversations he has so faithfully recorded.

We wish to go behind the scenes, and to hear the conversation engaged in in the green-room. We expect to see some dirt, some grease-pots, stained ropes, and unpainted pulleys,—and, to tell the truth, we want to see these blemishes. They are encouraging. They lessen the distance between us and it by teaching us that even fairy-land knows no exemption from those imperfections which blur our purest natures.