The Atlantic Monthly, Volume 03, No. 17, March, 1859

One of the finest and most touching conceptions in the whole series represents a dilapidated Cottage,—a mere shanty, so wretched that the love of those who live in it is all their happiness,—nay, all their comfort. The mother is preparing for two little children the simplest and poorest of meals, at a fire made of a few small sticks. She finds consolation in the very pranks that hinder her humble task. Death enters,—there is no door to keep him out,—and, seizing the hand of the younger child, who turns and stretches out the other imploringly to his mother, carries him off, remorseless and exulting, leaving her frantic with grief. We may look with comparative indifference, and sometimes even with sympathy, upon his other feats,—but who is there that does not hate that grinning skeleton?—And yet, perhaps, he exults that he has saved one soul, yet pure, from misery and crime.

For vigor of movement the group of Death and the Soldier is preëminent. The field is covered with the wounded and the slain, in the midst of which the soldier encounters his last enemy. The man is armed in panoply, and wields a huge two-handed sword with a vigor unabated by former struggles. Death has caught a shield from the arm of some previous victim; but his only offensive weapon is a huge thigh-bone, which we plainly see will bear down all before it. In the distance another figure of Death flies madly over the hills, beating a drum which summons other soldiers to the field. It is impossible to convey in words the fierce eagerness of this figure, minute as it is, and composed of a few lines.

The forty-seventh composition is one which has puzzled the critics and antiquaries; but it is not easy to conjecture why. It shows us a wretched Beggar, naked, sick, lame,—utterly destitute, miserable, and forsaken,—suffering at once all the ills that flesh is heir to. He sits huddled together on some straw, near a large building, and lifts his hands and face up piteously to heaven. Death is not there; and the antiquaries ask in wonder, Why is the subject introduced? Why, but to show that to him alone who would gladly welcome Death, Death will not come?

The work ends, as a connected series, with the Last Judgment, where Christ, who conquered Death, appears seated on the bow of promise,—with his feet resting on a celestial sphere, attended by angels, and showing to a throng of those who have risen from the grave the wounds by which he redeemed them from its power.

To this is added an ornamental tail-piece called Death's Arms. It shows a skull in a battered shield, which has for a crest a regal helmet surmounted by an hour-glass and two bony arms grasping a stone. The supporters to the shield are a gentleman and lady richly dressed,—said to represent Holbein and his wife.

It is not known, positively, when Holbein drew these designs upon the blocks (for of course he did not engrave them); and it has even been disputed by one or two eminent antiquarian critics, that he designed them at all. But there does not appear to be a single valid reason for thus diminishing his fame. He probably was engaged on them between 1531, the date of his first return to Bâle, and 1538, when they were published,—the year in which he refused the solicitation of his townsmen to return to the home of his childhood and the bosom of his family.

Holbein continued to live in London until the year 1554, when that city suffered a visitation of the plague, similar to that which was the occasion of the painting of the Great Dance of Death at Bâle. Holbein was struck by the disease; and Death, knowing gratitude as little as remorse, triumphed over him who had blazoned his triumphs. Upon the painter's fame, however, and that of his great work, Death could not lay his hand; but so long as the grim tyrant shall claim his victims, so long will he perpetuate the memory of Hans Holbein.

Though he was a royal favorite, it is not known where he died; and the place where lie the ashes of him who, on a king's word, was greater than seven earls, is equally unknown; there is not a line or a stone to mark it. So soon after his death as in the reign of Charles I., (within one hundred years,) a nobleman—noble by nature as well as by birth—desirous of erecting a monument to him, sought his grave, but in vain, and was compelled to abandon his design. And thus was Holbein driven to live among strangers, to die without a wife to console or children to mourn him, and to lay his bones in a nameless grave in a foreign land.

Such is an imperfect and brief account of the origin, the various forms, and the meaning of the Dance of Death, and of the life and character of him whose genius has caused it to be called by his name. It may smell too much of mortality and antiquity for this fast-living and forward-looking age; for it is not only a monument of the past, but an exponent of its spirit. We can look back at it, through the mellowing mist of centuries, with curiosity not unmixed with admiration; but we should turn with aversion from such a work, coming from the hands of an artist of our own day. We think, and with some reason, that we do not need its teachings; for we are freed from the thraldom that gave edge to its democratic satire; and we have learned to look with greater calmness, if not with higher hope, upon the future, to which the grave is but the ever-open portal. But we may yet profit by a thoughtful consideration of the eternal truths embodied by Holbein in his Dance of Death; and in the story of his life there is a lesson for every man, and every woman too, if they will but find it.

LIZZY GRISWOLD'S THANKSGIVING

"So John a'n't a-comin', Miss Gris'ld," squeaked Polly Mariner, entering the great kitchen, where Mrs. Griswold was paring apples and Lizzy straining squash.

"Isn't he?" quietly replied the lady addressed, as the tailoress sat down in the flag-bottomed rocking-chair, and began rocking vehemently, all the time eyeing Lizzy from the depths of her poke-bonnet with patient scrutiny.

"No, he a'n't,—so Mr. Gris'ld says," went on Polly. "You see, I was a-comin' up here from the Centre, so's to see if Sam couldn't wait for his roundabout till arter Thanksgivin'; for Keziah Perkins, she 't was my sister's husband's fust wife's darter, 'n' finally married sister's fust husband's son, she's a real likely woman, and she's wrote over from Taunton to ask me to go there to Thanksgivin'; 'n' to-day's Monday; 'n' I was a-comin' here Tuesday so's to make Sam's roundabout; 'n' yesterday Miss Luken's boy Simon, he 't a'n't but three year old, he got my press-board, when he was a-crawlin' round, 'n' laid it right onto the cookin'-stove, and fust thing Miss Lukens know'd it blazed right up, 'n' I can't get another fixed afore Wednesday, and then I'd ought to be to Taunton, 'cause there a'n't no stage runs Thursday, and there hadn't oughter, of course"–

"We have got a press-board," said Mrs. Griswold, quietly.

"Yes, and I a'n't goin' to grandfather's in my old jacket, Miss Poll," interposed Sam, one of the "terrible" children who are scattered here and there through this world. "Catch me where all the folks are, in that old butternut suit!" added Sam.

But here his father stepped in at the door,—a fine, sturdy, handsome farmer, one of New England's model men, whose honesty was a proverb, and whose goodness a reliance to every creature in Greenfield.

"John isn't coming, wife," said Mr. Griswold, in a steady, sober tone. "He says business will delay him, so that he can only get to Coventry just as we do."

"So you had a letter," said Mrs. Griswold, carefully avoiding a look at Lizzy.

"Yes," said Mr. Griswold, in a very abrupt way.—"Are you ready to go back, Miss Polly? for I've got to go down to the Centre again with a load of wheat."

"Well, yes, I don't know but I be. I ken stay over, if you want help, Miss Gris'ld. I'm a-goin' to the minister's to help Miss Fletcher a little mite this afternoon, but I guess she don't lot on it none; 'n' seein' it's you, I ken stay, if you want help."

Lizzy looked quickly across the kitchen at her mother.

"Oh! no, thank you, Miss Polly, I know Mrs. Fletcher would feel very badly to lose your help, and I really don't need it until to-morrow."

"Then I'll come round to the door as quick as I've loaded up," said Mr. Griswold; and Miss Polly settled back in her chair to wait comfortably; a process much intensified by a large piece of Mrs. Griswold's gingerbread and a glass of new cider, both brought her by Lizzy's hospitable hands,—readier even than usual just now, in the vain hope of stopping Polly Mariner's clattering tongue. But neither gingerbread nor cider was a specific to that end: Polly talked while she ate, and ate while she talked. But while she finishes her luncheon, let us make known to the patient reader whom and what the tailoress discusses.

John Boynton was a step-cousin of Lizzy Griswold's. Her youngest aunt had married a widower, with one son, some five years older than Lizzy, and had always lived in the old homestead at Coventry, with her father; while the other daughters and sons, six in number, were scattered over the State, returning once a year, at Thanksgiving, to visit their birthplace, and bring their children into acquaintance with each other. Eben Griswold, who lived at Greenfield, was nearer home than any of the others, and Lizzy, consequently, oftener at her grandfather's house than her cousins. She and John Boynton were playmates from childhood, and it was not strange that John, who had never known a pleasure unshared by Lizzy, or suffered a pain without her consolation, should grow up in the idea that he could not possibly live without her, an idea also entertained half-consciously by Miss Lizzy, though neither of them ever yet had expressed it; for John was poor, and had no home to offer any woman, much less the petted child of a rich farmer. So Mr. Boynton, Jr., left home to teach school in Roxbury, five years before the date of our story, without making any confidences on the subject of his hopes and fears to Miss Griswold; and she knit him stockings and hemmed pocket-handkerchiefs for him with the most cold-blooded perseverance, and nobody but the yarn and the needles knew whether she dropped any tears on them or not.

Now it had always been John Boynton's custom to give his school Thanksgiving-week as a vacation,—to take the train on Monday for Greenfield, and stay there till Wednesday, when the whole family set off together for Coventry, to spend the next day, according to time-honored precedent.

Whatever John and Lizzy did in those two dull November days, it never has been made known to the present chronicler; it is only understood that no point-blank love-making went on; yet the days always ran away, instead of creeping; and neither of the twain could believe it was Wednesday when Wednesday came. But this year those forty-eight hours were destined to drag past, for John wasn't coming; why, we shall discover,—for Polly Mariner has finished the cider, and the gingerbread is as much subject of inquiry as "The Indians,—where are they?"

"So John Boynton a'n't a-comin'? Well! Hetty Maria Clapp's jest got home from Bunkertown, that's tew mile from Roxbury, 'n' she told Miss Lucas that Miss Perrit, whose sister's son keeps a grocer's store to Roxbury, told that Mr. Boynton, their teacher to the 'Cademy, was waitin' on Miss Roxany Sharp's cousin, a dreadful pretty gal, who'd come down from Boston to see Roxany, an' liked it so well she staid to Roxbury all through October. I do'no's I should ha' remembered it, only 't I hed the dredfullest jumpin' toothache that ever you did, 'n' Miss Lucas, she'd jest come in to our house, an' she run an' got the lodlum an' was a-puttin' some on't onto some cotton so's to plug the hole, while she was tellin'; 'n' I remember I forgot all about the jumpin' while 't she was talkin', so I ses, ses I, 'Miss Lucas, I guess your talkin's as good as lodlum'; 'n' she bu'st out larfin', 'n' ses she, 'Polly Mariner, I declare for't, you do beat all!' 'Well,' ses I, 'I'd die content, ef I could beat John Boynton; fur ef ever I see a feller payin' attention to a gal, he's been payin' on't to Lizzy Gris'ld this four year; and 'ta'n't no wonder 't I think hard on't, for there never was a prettier-behaved gal than her on Greenfield Hill'; an' I ses"–

Lizzy was on the point of "freeing her mind" just at this juncture, when Mrs. Griswold interposed her quiet voice,—

"Don't trouble yourself to defend Lizzy, Miss Mariner; you know John Boynton is her cousin, and he has been here a good deal. Folks will talk, I suppose, always; but if John Boynton marries well, I don't think anybody 'll be more forward to shake hands with him than our Lizzy."

"Of course I shall," said the young lady, with a most indignant toss of her head. "Pray, keep your pity, Miss Polly, for somebody else. I don't need it."

"H'm," sniffed the sagacious Polly. "Well, I didn't suppose you'd allow 't you felt put out about it; and I wouldn't, if I was you. Besides, there's as good fish in the sea as–I declare for 't! there's Mr. Gris'ld! I'll come round early to-morrer. Good-day, all on ye!"

So Polly departed.

"I don't care, if he is!" said Lizzy, flinging herself down on the settle, when the door closed behind Polly's blue cloak.

Mrs. Griswold said nothing, but Sam looked up from his whittling, and coolly remarked,—

"It looks as if you did, though!"

"Sam!" said his mother, with—emphasis.

Sam whistled, and, with his hands in his pockets, having shut his jack-knife with a click, and kicked his shavings into the fire, muttered something about feeding the pigs, and beat an ignominious retreat,—snubbed, as the race of Adam daily are, and daily will be, let us hope, for telling "the truth, the whole truth, and nothing but the truth."

For Lizzy certainly did look as if she cared. A pretty enough picture she made, too, flung down on the old black settle, one well-shaped hand pinching the arm as if it had been—John Boynton's!—the other as vigorously clenched on a harmless check-apron that showed no disposition to get away; her bright red lips trembling a little, and her gray eyes suspiciously shiny about the lashes, while her soft black hair had fallen from part of its restraints on to the gay calico dress she wore, and her foot beat time to some quick step that she didn't sing!

Mrs. Griswold did not care for the picturesque, just then; she cared much more for Lizzy, and her acute feminine instinct helped her to the right word.

"I don't believe it, dear!" said she; "you'd better finish straining that squash, or Widow Peters won't have her pies for Thursday."

Lizzy went to work,—work is a grand panacea, even for sentimental troubles,—and in doing battle with the obstinate squash,—which was not as well cooked as it might have been,—Lizzy, for the moment, looked quite bright, and forgot John, till her father came in to dinner.

Somebody once said that Mrs. Griswold was "a lesser Providence," and Lizzy thought so now; for scarce were they all seated at dinner, when she remarked, in a very unconcerned and natural way,—

"What keeps John in Roxbury so long, father?"

"He has business in Boston," curtly answered Mr. Griswold.—"Sam, did you go over to the Corners, yesterday, about those sheep?"

Sam answered, and the conversation went on, but John's name did not enter it, nor did Mr. Griswold offer to show his letter either to mother or Lizzy.

Now the latter lady, not being a perfect woman, had sundry small faults; she was proud, after a certain fashion of her own; slightly sentimental, which is rather a failing than a fault; but her worst trait was a brooding, fault-seeing, persevering tact at making herself miserable, scarce ever equalled. The smallest bit of vantage-ground was enough for a start, and on that foundation Lizzy took but a few hours of suspicion and imagination to build up a whole Castle Doubting. The cause she had to-day was even greater than was necessary; it was peculiar that her father should be so reserved; it was more strange that he so perseveringly withheld John's letter; and certainly he watched Lizzy at her work with unusually tender eyes, that sometimes filled with a sort of mist. All these things heaped up evidence for the poor girl; she brooded over each separate item all night, and added to the sum Polly Mariner's gossip, and looked forward to the day when everybody in Greenfield should say, "Lizzy Griswold's had a disapp'intment of John Boynton!" Poor, dear, Lizzy! as if that were an unheard-of pang! as if nine-tenths of her accusers were not "disapp'inted" themselves,—some before, some after marriage,—some in themselves, some in their children, some in their wretched, dreary lives! But there was only one John and only one heart-break present to her vision.

Polly Mariner came to breakfast next day, and pervaded the kitchen like a daily paper. Horrible murders, barn-burnings, failures, deaths, births, marriages, separations, lawsuits, slanders, and petty larcenies outran each other in her glib speech, and her fingers flew as fast on Sam's blue jacket as her tongue clappered above it.

Lizzy's pride kept her up before the old woman; she was in and out and everywhere, a pretty spot of crimson on either fair cheek, her eyes as sparkling and her step as light as any belle's in a ballroom, and her whole manner so gay and charming that Polly inwardly pronounced John Boynton a mighty fool, if he dodged such a pretty girl as that, and one with "means."

But night came, and Polly went. Lizzy went to bed with a bad headache,—convenient synonyme for aches of soul or body that one does not care to christen! Sleep she certainly did that night, for she dreamed John was married to a rich Boston girl with red hair and a yellow flannel dress, and that Polly Mariner was bridesmaid in the peculiar costume of a blue roundabout and pantaloons! But sleep with such dreams was scarcely a restorer; and Wednesday morning, when Mrs. Griswold asked Lizzy if she had put up her carpet-bag to go to Coventry, she received for answer a flood of tears, and a very earnest petition to be left at home.

"Leave you, Lizzy! Why, grandfather couldn't have Thanksgiving without you! And Uncle Boynton! And Aunt Lizzy is coming up from Stonington with the new baby;—and—John, too! You must go, Lizzy, dear!"