Blackwood's Edinburgh Magazine, Volume 56, Number 349, November, 1844

What a magnificent testimonial to the genius of Homer, written in a foreign tongue, two thousand seven hundred years after his death!

The Dardanelles and the Bosphorus have, from the dawn of letters, exercised the descriptive talents of the greatest historians of modern Europe. The truthful chronicle of Villehardouin, and the eloquent pictures of Gibbon and Sismondi of the siege of Constantinople, will immediately occur to every scholar. The following passage, however, will show that no subject can be worn out when it is handled by the pen of genius: —

"It was five in the morning, I was standing on deck; we made sail towards the mouth of the Bosphorus, skirting the walls of Constantinople. After half an hour's navigation through ships at anchor, we touched the walls of the seraglio, which prolongs those of the city, and form, at the extremity of the hill which supports the proud Stamboul, the angle which separates the sea of Marmora from the canal of the Bosphorus, and the harbour of the Golden Horn. It is there that God and man, nature and art, have combined to form the most marvellous spectacle which the human eye can behold. I uttered an involuntary cry when the magnificent panorama opened upon my sight; I forgot for ever the bay of Naples and all its enchantments; to compare any thing to that marvellous and graceful combination would be an injury to the fairest work of creation.

"The walls which support the circular terraces of the immense gardens of the seraglio were on our left, with their base perpetually washed by the waters of the Bosphorus, blue and limpid as the Rhone at Geneva; the terraces which rise one above another to the palace of the Sultana, the gilded cupolas of which rose above the gigantic summits of the plane-tree and the cypress, were themselves clothed with enormous trees, the trunks of which overhang the walls, while their branches, overspreading the gardens, spread a deep shadow even far into the sea, beneath the protection of which the panting rowers repose from their toil. These stately groups of trees are from time to time interrupted by palaces, pavilions, kiosks, gilded and sculptured domes, or batteries of cannon. These maritime palaces form part of the seraglio. You see occasionally through the muslin curtains the gilded roofs and sumptuous cornices of those abodes of beauty. At every step, elegant Moorish fountains fall from the higher parts of the gardens, and murmur in marble basins, from whence, before reaching the sea, they are conducted in little cascades to refresh the passengers. As the vessel coasted the walls, the prospect expanded – the coast of Asia appeared, and the mouth of the Bosphorus, properly so called, began to open between hills, on one side of dark green, on the other of smiling verdure, which seemed variegated by all the colours of the rainbow. The smiling shores of Asia, distant about a mile, stretched out to our right, surmounted by lofty hills, sharp at the top, and clothed to the summit with dark forests, with their sides varied by hedge-rows, villas, orchards, and gardens. Deep precipitous ravines occasionally descended on this side into the sea, overshadowed by huge overgrown oaks, the branches of which dipped into the water. Further on still, on the Asiatic side, an advanced headland projected into the waves, covered with white houses – it was Scutari, with its vast white barracks, its resplendent mosques, its animated quays, forming a vast city. Further still, the Bosphorus, like a deeply imbedded river, opened between opposing mountains – the advancing promontories and receding bays of which, clothed to the water's edge with forests, exhibited a confused assemblage of masts of vessels, shady groves, noble palaces, hanging gardens, and tranquil havens.

"The harbour of Constantinople is not, properly speaking, a port. It is rather a great river like the Thames, shut in on either side by hills covered with houses, and covered by innumerable lines of ships lying at anchor along the quays. Vessels of every description are to be seen there, from the Arabian bark, the prow of which is raised, and darts along like the ancient galleys, to the ship of the line, with three decks, and its sides studded with brazen mouths. Multitudes of Turkish barks circulate through that forest of masts, serving the purpose of carriages in that maritime city, and disturb in their swift progress through the waves, clouds of alabastros, which, like beautiful white pigeons, rise from the sea on their approach, to descend and repose again on the unruffled surface. It is impossible to count the vessels which lie on the water from the seraglio point to the suburb of Eyoub and the delicious valley of the Sweet Waters. The Thames at London exhibits nothing comparable to it." – (II. 262-265.)

"Beautiful as the European side of the Bosphorus is, the Asiatic is infinitely more striking. It owes nothing to man, but every thing to nature. There is neither a Buyukdéré nor a Therapia, nor palaces of ambassadors, nor an Armenian nor Frank city; there is nothing but mountains with glens which separate them; little valleys enameled with green, which lie at the foot of overhanging rocks; torrents which enliven the scene with their foam; forests which darken it by their shade, or dip their boughs in the waves; a variety of forms, of tints, and of foliage, which the pencil of the painter is alike unable to represent or the pen of the poet to describe. A few cottages perched on the summit of projecting rocks, or sheltered in the bosom of a deeply indented bay, alone tell you of the presence of man. The evergreen oaks hang in such masses over the waves that the boatmen glide under their branches, and often sleep cradled in their arms. Such is the character of the coast on the Asiatic side as far as the castle of Mahomet II., which seems to shut it in as closely as any Swiss lake. Beyond that, the character changes; the hills are less rugged, and descend in gentler slopes to the water's edge; charming little plains, checkered with fruit-trees and shaded by planes, frequently open; and the delicious Sweet Waters of Asia exhibit a scene of enchantment equal to any described in the Arabian Nights. Women, children, and black slaves in every variety of costume and colour; veiled ladies from Constantinople; cattle and buffaloes ruminating in the pastures; Arab horses clothed in the most sumptuous trappings of velvet and gold; caïques filled with Armenian and Circassian young women, seated under the shade or playing with their children, some of the most ravishing beauty, form a scene of variety and interest probably unique in the world." (III. 331-332.)

These are the details of the piece: here is the general impression: —

"One evening, by the light of a splendid moon, which was reflected from the sea of Marmora, and the violet summits of Mount Olympus, I sat alone under the cypresses of the 'Ladders of the Dead;' those cypresses which overshadow innumerable tombs of Mussulmans, and descend from the heights of Pera to the shores of the sea. No one ever passes at that hour: you would suppose yourself an hundred miles from the capital, if a confused hum, wafted by the wind, was not occasionally heard, which speedily died away among the branches of the cypress. These sounds weakened by distance; the songs of the sailors in the vessels; the stroke of the oars in the water; the drums of the military bands in the barracks; the songs of the women who lulled their children to sleep; the cries of the muetzlim, who, from the summits of the minarets, called the faithful to evening prayers; the evening gun which boomed across the Bosphorus, the signal of repose to the fleet – all these sounds combined to form one confused murmur, which strangely contrasted with the perfect silence around me, and produced the deepest impression. The seraglio, with its vast peninsula, dark with plane-trees and cypresses, stood forth like a promontory of forests between the two seas which slept beneath my eyes. The moon shone on the numerous kiosks; and the old walls of the palace of Amurath stood forth like huge rocks from the obscure gloom of the plane-trees. Before me was the scene, in my mind was the recollection, of all the glorious and sinister events which had there taken place. The impression was the strongest, the most overwhelming, which a sensitive mind could receive. All was there mingled – man and God, society and nature, mental agitation, the melancholy repose of thought. I know not whether I participated in the great movement of associated beings who enjoy or suffer in that mighty assemblage, or in that nocturnal slumber of the elements, which murmured thus, and raised the mind above the cares of cities and empires into the bosom of nature and of God." – (III. 283-284.)

"Il faut du tems," says Voltaire, "pourque les grandes reputations murissent." As a describer of nature, we place Lamartine at the head of all writers, ancient or modern – above Scott or Chateaubriand, Madame de Staël or Humboldt. He aims at a different object from any of these great writers. He does not, like them, describe the emotion produced on the mind by the contemplation of nature; he paints the objects in the scene itself, their colours and traits, their forms and substance, their lights and shadows. A painter following exactly what he portrays, would make a glorious gallery of landscapes. He is, moreover, a charming poet, an eloquent debater, and has written many able and important works on politics; yet we never recollect, during the last twenty years, to have heard his name mentioned in English society except once, when an old and caustic, but most able judge, now no more, said, "I have been reading Lamartine's Travels in the East– it seems a perfect rhapsody."

We must not suppose, however, from this, that the English nation is incapable of appreciating the highest degree of eminence in the fine arts, or that we are never destined to rise to excellence in any but the mechanical. It is the multitude of subordinate writers of moderate merit who obstruct all the avenues to great distinction, which really occasions the phenomenon. Strange as it may appear, it is a fact abundantly proved by literary history, and which may be verified by every day's experience, that men are in general insensible to the highest class of intellectual merit when it first appears; and that it is by slow degrees and the opinion oft repeated, of the really superior in successive generations, that it is at length raised to its deserved and lasting pedestal. There are instances to the contrary, such as Scott and Byron: but they are the exceptions, not the rule. We seldom do justice but to the dead. Contemporary jealousy, literary envy, general timidity, the dread of ridicule, the confusion of rival works, form so many obstacles to the speedy acquisition of a great living reputation. To the illustrious of past ages, however, we pay an universal and willing homage. Contemporary genius appears with a twinkling and uncertain glow, like the shifting and confused lights of a great city seen at night from a distance: while the spirits of the dead shine with an imperishable lustre, far removed in the upper firmament from the distractions of the rivalry of a lower world.

notes

1

See the Judgment of the Judges, ordered by the House of Lords to be printed, (and from which the quotations in this article have been made,) read to the House of Lords by Lord Chief-Justice Tindal, on the 2d September 1844.

2

State Prosecutions, pp. 9, 10. No. cccxxxix. Vol. lv.

3

Blackstone's Commentaries, vol. i. p. 302.

4

Several distinct offences may undoubtedly be included, in as many counts, in one indictment.

5

Two of the defendants' (the two priests) names do not appear in the record of the verdict, as one of them (Tyrrell) died before the trial, and as to Tierney, the Attorney-General entered a nolle prosequi.

6

Comyn's Digest, title Pleader, 3 B. 18.

7

This is the proper expression. See M'Queen's Practice of the House of Lords, p. 256. "They are summoned for their advice in point of law, and the greater dignity of the proceedings" of the Lords. – (Blackst, Comm. p. 167.)

8

1 Blackstone's Commentaries, p. 69.

9

Opinions of the Judges, &c. – (Pp. 1-3.)

10

Opinions of the Judges, p. 23.

11

3 Blackstone's Commentaries, p. 395.

12

We quote from the edition of Lord Denman's judgment, sanctioned by himself, and edited by D. Leahy, Esq., (one of the counsel in the cause.)

13

A "demurrer" is the mode by which any pleading, civil or criminal, is denied to be (whether in form or substance) sufficient in point of law; and a plea is the mode by which is denied the truth of the facts which the pleading alleges.

14

Opinions of the Judges, p. 19.

15

Vol. I., pp. 68-9.

16

Williams v. Germaine, 7 Bar. and Cress. 476.

17

Opinions of the Judges, p. 17.

18

Judgment, (by Leahy,) p. 36.

19

Opinions of the Judges, p. 28.

20