The Atlantic Monthly, Volume 18, No. 110, December, 1866

We have not the space to make, as we should like to do, an exact analysis of these volumes, comparing each artist's series of drawings, one by one, with his chosen passages of the text; but a careful examination convinces us that as a whole these designs are remarkably appreciative and apt. Every person will not expect his own ideal Evangeline or Sir Launfal to appear before him on the page, but every reflective mind will find, we think, such a parallelism between poetry and picture as is not only consistent with exactness, but will further serve to illuminate and beautify the text.

Intelligent or even inspired drawing is vain, if to it be not added faithfulness and fervor on the part of those whose handiwork follows that of the draughtsman, and upon whom his fate and fame greatly depend,—the engraver and the printer. Heretofore it has seemed almost impossible for American representatives of these three arts to work together for good. The drawing might be faultless as it lay intact upon the wood, but the graver in a heedless hand or the manipulation of an injudicious pressman left little except the broad, indestructible characteristics in the impression which was eventually made public.

At last, let us be thankful, a new era has dawned, and we have here woodcuts which may confidently invite comparison with any as examples of the highest excellence which has yet been reached in this department. The thorough and intelligent workmanship of the University Press has preserved to us every line and shade which was intrusted to its care, and the prints are free alike from fade indistinctness and from ruinous weight of color. The engraving which is so admirably represented is thoroughly good, and, to our thinking, it is of a better school than that which largely obtains in England at this time, and the degeneracy and slovenliness of which have been of late so much criticised and deplored by the best judges. The most of the designs have been engraved by Mr. A.V.S. Anthony, who ranks probably at the head of American engravers, and whose delicacy of feeling and touch, beautifully exemplified in the eighth and twelfth pictures of "Maud Muller," entitle much of his work to an estimation not far below that accorded to Linton or Thompson. The few remaining blocks were cut by Mr. J.P. Davis and Mr. Henry Marsh, who emulate most praiseworthily the excellence, skill, and fidelity of Mr. Anthony.

An American Family in Germany. By J. Ross Browne. New York: Harper & Brothers.

If the author of this amusing book had been less devoted to his purpose of making fun, we think he could have made us a picture of German life which we should have been very glad to have in the absence of much honest information on the subject and the presence of a great deal of flimsy idealizing. As it is, we fear that his work, for the most part a truthful portraiture, will present itself only as a caricature to those unacquainted with the original, and that, for all Mr. Browne says to the contrary, many worthy people must go on thinking German life a romantic, Christmas-tree affair, full of pretty amenity, and tender ballads, and bon-bons. But some day, the truth will avenge itself, and without the least air of burlesque show us that often narrow and sordid existence, abounding in sensual appetites, coarse or childish pleasures, and paltry aims, and varnished with a weak and extravagant sentimentality,—that social order still so feudally aristocratic and feudally plebeian, in which the poor are little better than vassals, and their women toil in the fields like beasts of burden, and the women of all classes are treated with rude and clumsy disesteem.

Mr. Browne's book is devotedly funny, as we hinted, but, in spite of this, is really very amusing. A Californian, rich from the subiti guadagni of his shares in the Washoe mines, is carried to Frankfort by his enthusiastic wife, who is persuaded that Germany is the proper place to bring up American children. They live there in the German fashion,—Mrs. Butterfield charmed and emulous of German civilization, Mr. Butterfield willing, but incorrigibly Californian to the last, and retaining throughout that amazing local pride in the institutions, productions, and scenery of his adopted State which Americans so swiftly acquire in drifting from one section of the Union to another. The invention of this family is not the least truthful thing in the book, which in many respects is full of droll good-sense and good humor.

Charles Lamb. A Memoir. By Barry Cornwall. Boston: Roberts Brothers.

It is not to any very definable cause that this charming book owes the interest with which it holds the reader throughout. It can scarcely be said to present the life or character of Lamb in a novel aspect, and even the anecdotic material in which it abounds does not appear altogether fresh. The very manner in which the subject is treated is that to which we are accustomed: for who has ever been able to write of Charles Lamb but in a tone of tender and compassionate admiration?

Something, however, better than novelty of matter or method appears in this Memoir, and makes it the best ever written concerning the fine poet, exquisite humorist, and noble man, who it brings nearer than ever to our hearts. Much was to be expected of Mr. Proctor in such a work, though much would have been forgiven him if he had indulged himself far more than he has done in an old man's privilege to be garrulous upon old times and old friends, and had confined himself less strictly to the life and character illustrative of Lamb's. As it is, there is nothing concerning any of Lamb's contemporaries that we would willingly lose from this book. In these sketches of the humorist's friends the subtile and delightful touches bring out his own nature more clearly, and he appears in the people who surrounded him hardly less than in his essays or the events of his career; while Mr. Proctor's long acquaintance with Lamb becomes the setting to a more careful picture than we have yet had of his singularly great and unselfish life; and we behold, not a study of the man in this or that mood only, but a portrait in which his whole character is seen. The sweetest and gentlest of hosts, moving among his guests and charming all hearers with his stammered, inimitable pleasantry; the clerk at his desk at the India House, and finally released from it into a life of illimitable leisure; the quaint little scholar of Christ's Hospital; the quaint old humorist taking his long walks about his beloved London; the author, known and endeared by his books; the careworn and devoted man, hurrying through the streets with his maniac sister on his arm, to place her in the shelter of a mad-house,—it is not some one of these alone, but all of these together, that we remember, after the perusal of this Memoir, so graceful in manner, so simple in style, and so thoroughly beautiful and unaffected in spirit. There is no story from which the reader can turn with a higher sense of another's greatness and goodness, or an humbler sense of his own.

Character and Characteristic Men. By Edwin P. Whiffle. Boston: Ticknor and Fields.

If we should say this is a book that brings its author under its title, and that he is in every page of it to the unconscious subject of his own pen, we might sufficiently express our sense of its reality and vital strength. But no self-introduction could be more modest or undesigned. We know of no volume in which vigor walks with less attendance of vanity, or less motion of covert egotism in the stalwart stride; yet the style, which proverbially is the man, does not lack decisive stamp, but is too peculiar to be confounded with any other. It is not flaming, or flowing, or architectural. It is not built, but wrought, with blows of the hammer. We should emphasize the writer's historic taste, but that his learning is so at the service of his philosophy that it never burdens, but only arms. There is a tough welding of principle with fact, and fetching of opposite poles together in the constant circulation betwixt ideas and events. Sometimes an excess of antithesis shows a little too much the wrinkled brow of thought, striving to put more into a sentence than it will fairly carry, and corrugating the elsewhere smoother lines,—as in a hilly country there was said to be too much soil to be evenly disposed of, and so part of it had to be pushed up into the sky. But this roughness is better than thinness; and in Mr. Whipple's book there are passages of swift, grand eloquence, and of intense peace and depth. Wit and humor, native to our author, with no malignity or pride for an ally, combine with sentiment and reflection, and his talent is never wrapped up in a merely elegant phrase, but in plain and homely words is the delivery of his sense. We would cite, in proof of the justness of our criticism, such essays as those on "Character," "Intellectual Character," and "Washington and the Principles of the Revolution." Those on Thackeray and Nathaniel Hawthorne show, with appreciative praise, the literary doctor's fatal feeling of the patient's pulse. The courtesy of Everett is gracefully owned; and there is a fine glimpse of that face of Thomas Starr King, which did not seem so much to mirror the sun as to make the sunbeam a shadow of itself; while a just tribute is paid to the original and courageous genius and research of our great enthusiast and naturalist, Agassiz. But this is a book to be mastered only by a thorough perusal, and no hasty diagonal glance along the leaves can render justice to it. While deserving attention for its general merits of intelligence, morality, humanity, and a spiritual faith, which no eye of friendship is needed to discern, in the judiciary department of letters it has an unrivalled claim. For faculty of pure criticism we know not Mr. Whipple's equal. The judgment-seat shines in his eye. We seem to be hearing all the time the kindly sentence of an infallible sight. We should be afraid of the decree which such knowledge, intuition, imagination, and logic combine to pronounce, but that no grudge provokes, or bribe can ever bias the court; and, while its just conscience cannot acquit hollow pretensions, over its own decisions preside an absolute purity and the loftiest ideal of human life.

notes

1

And here I may as well mention a curious incident. When I wrote my poem, I had never seen Niagara; but we agreed to go together on a pilgrimage at our earliest convenience. One thing and another happened, until I had been abroad and returned, without our seeing it together. At last, being about to go to the South of Europe, I made a new arrangement with him; but just as we—my wife and I—were ready to go, he was called away to consecrate some church in the West, and we started on a journey of two thousand miles through portions of our country I had never seen, and was ashamed to go abroad again without seeing. On my way back we stopped in Buffalo, and as I stood in the piazza I saw a little card on one of the pillars saying that the Rev. Mr. Pierpont would preach in the evening somewhere. I found him, and we went together at last, and saw Niagara together, as we had agreed to do forty years before. And that night the heavens rained fire upon us, and the great November star-shooting occurred, and our landlord, being no poet, was unwilling to disturb us, so that we missed the show altogether.

2

The old philosophy held, that "Nature abhors a vacuum"; but modern observation shows that the natural Yankee abhors the air.

3

A long, round, narrow bolster, stuffed with very light materials (often with paper), and not for the head, but embraced in the arms, so as to help the sleeper to a cool and comfortable posture.

4

Body-servants.

5

A salutation of particular respect and well-wishing.

6

Waistband.

7

Destiny, fortune.

8

A table-servant.

9

A spiritual teacher.

10

Writer, clerk.

11

Banker, merchant in foreign trade.

12

The fourth caste—originally laborers.

13

A native gentleman, of wealth, education, and influence.

14

Hostler and footman.

15

Washerman.

16

Sweeper.

17

Lit. Fan-fellow.

18

"Good! Bring the Europe-water,"—Bengali for soda-water.

19

Showmen and puppet-dancers.