The Progressionists, and Angela.

Crisp, cold weather. The December winds sweep gustily through the streets of the city, driving the well-clad wanderer before them and sporting with the weather-vanes. A carriage stops before the door of the Director Schlagbein. Professor Lutz steps out and directs the driver to await him.

Emil Schlagbein, Richard's unhappy married friend, had moved his easy-chair near the stove and leaned his head against its back. He looked as though despair had seized him and thrown him into it. Hasty steps were heard in the ante-room, and Lutz stood before him.

"Still in your working-clothes, Emil? Up! the tea-table of the Angel of Salingen awaits us."

"Pardon me; my head is confused, my heart is sad; grief wastes my life away."

"War-always war; never peace!" said Lutz. "I fear, Emil, that all the fault is not with your wife. You are too sensitive, too particular about principles. Man must tolerate, and not be niggardly in compliance. Take old Frank as a model. With Angela entered ultramontanism into his house. Frank lives in peace with this spirit-even on friendly terms. Angela reads him pious stories from the legends of the saints. He goes with her to church, where he listens with attention to the word of God. He hears mass as devoutly as a Capuchin; not to say any thing of Richard, who runs a race with Angela for the prize of piety. Could you not also make some sacrifice to the whims of your wife?"

"Angela and Ida-day and night!" said the director bitterly. "The two Franks make no sacrifice to female whims. They appreciate her exalted views, they admire her purity, her unspeakable modesty, her shining virtues. The two Franks acted reasonably when they adopted the principles that produced such a woman. Angela never speaks to her husband in defiance and bad temper. If clouds gather in the matrimonial heaven, she dissipates them with the breath of love. Is the sacrifice of a wish wanted? Angela makes it. Is her pure feeling offended by Richard's faults? She kisses them away and raises him to her level. My wife-is she not just the opposite in every thing? Is she not quick-tempered, bitter, loveless, extravagant, and stiff-necked? Has she a look-I will not say of love-but even of respect for me? Do not all her thoughts and acts look to the pleasures of the toilette, the opera, balls, and concerts? O my poor children! who grow up without a mother, in the hands of domestics. How is any concession possible here? Must not my position, my self-respect, the last remnant of manly dignity go to the wall?"

"Your case is lamentable, friend! Your principles and those of your wife do not agree. Concession to the utmost point of duty, joined with prudent reform in many things, may, perhaps, bring back, harmony and a good understanding between you. You praise Angela: follow her example. She abominates the air of the theatre. The opera-glasses of the young men levelled at her offend her deeply, and bring to her angelic countenance the blush of shame. Her fine religious feeling is offended at many words, gestures, and dances which a pious Christian woman should not hear and see. Yet she goes to the opera because Richard wishes it. Her husband will at last observe this heroism of love, and sacrifice the opera to it. What Angela cannot obtain by prayers and representations, she gains by the all-conquering weapons of love. In like manner and for a like object yield to your wife. She is, at least, not a firebrand. Love must overcome her stubbornness."

Schlagbein shook his head sadly.

"A father cannot do what is inconsistent with paternal duty," said he. "Shall I join in the course of my wife? Whither does this course lead? To the destruction of all family ties, to financial bankruptcy-to dishonor. For home my wife has no mind, no understanding. My means she throws carelessly into the bottomless pit of pleasure-seeking and love of dress. She does not think of the future of her children. Every day brings to her new desires for prodigality. If her wishes are fulfilled, ruin is unavoidable. If they are not fulfilled, she sits ill-humored and obstinate in her room, and leaves the care of the house to her domestics, and the children to the nurses. How often have I consented to her vain desire for show, only to see her extravagant wishes thereby increased. She is without reason."

The unfortunate man's head sunk upon his breast. Lutz stood still without uttering a word.

"Yes, Angela is a noble woman," continued Emil, "she is the spirit of order, the angel of peace and love. Just hear Richard's father. He revels in enthusiasm about her. 'My Richard is the happiest man in the world,' said he to me lately. 'I myself must be thankful to him for his prudent choice. Abounding in every thing, my house was empty and desolate before Angela came; but now every thing shines in the sun of her orderly housekeeping, of her tender care. Although served with fidelity, I have been until the present almost neglected. But now that the angel hovers over me, observes my every want, and with her smile lights my old age, I am perfectly happy.' Has my wife a single characteristic of this noble woman?"

"Angela is unapproachable in the little arts that win the heart and drive away melancholy," said Lutz. "A few weeks ago, Herr Frank came home one day from the counting-room all out of sorts. He sat silently in his easy-chair drumming on his knee. Angela noticed his ill-humor. She sought to dissipate it-to cheer him; but she did not succeed. She then arose, and, going to him, said with unspeakable affection, 'Father, may I play and sing for you the "Lied der Kapelle?"' Herr Frank looked in her face, and smiled as he replied, 'Yes, my angel' When her sweet voice resounded in the next room in beautiful accord with the accompaniment, which she played most feelingly, the old man revived and joined in her song with his trembling bass."

"How often we have twitted Richard with his views of modern women," said Emil. "It was his cool judgment, perhaps, that saved him from a misfortune like mine."

Just then a carriage stopped before the house. Emil went uneasily to the window, and Lutz followed him. Bandboxes and trunks were taken from the house. The professor looked inquiringly at his friend, whose hand appeared to tremble as it rested on the window-glass.

"What does this mean, Emil?"

"My wife is going to her aunt's for an indefinite time. She leaves me to enjoy the pleasures of Christmas alone. The children also remain here; they might be in her way."

The professor pitied his unhappy friend.

"Emil," said he, almost angrily, "it is for you to determine how a man should act in regard to the freaks and caprices of his wife. But you should not steep yourself in gall, even though your wife turn into a river of bitterness. Drive away sadness and be happy. Do not let your present humor rob you of every thing. Forget what you cannot change."

A beautiful woman approached the carriage. Schlagbein turned away from the sight. Lutz observed the departing wife and mother. She did not look up at the window where her husband was. She got into the carriage without even saying farewell. She sat in the midst of bandboxes, surrounded by finery and tinsel; and as the wheels rolled over the pavement, the director groaned in his chair.

"A happy journey to you, Xantippe!" cried the angry professor. "Emil, be a man. Dress yourself; forget at the Angel of Salingen's your domestic devil."

Schlagbein moved his head disconsolately.

"What have the wretched to do in the home of the happy? There I shall only see more clearly that I suffer and am miserable."

Lutz, out of humor, threw himself into the carriage. With knitted brows he buried himself in one of its corners. That professional head was perplexed with a question which ordinary men would have quickly seen through and settled. Frank's happiness and Schlagbein's misery stood as two irrefutable facts before the mind of the professor. Now came the question. Why this happiness, why this misery? The dashing Ida he had known for years; also her enlightened views of life, and her flexible principles, perfectly conformable to the spirit of progress. Whence, then, the dissoluteness of her desires, the bitterness of her humor, the heartlessness of the wife, the callousness of the mother?

The professor continued his musing. He gave a scrutinizing glance at the marriages of all his acquaintances. Everywhere he found a clouded sky, and, in the semi-darkness, lightning and thunder. Only one marriage stood before him bright and clear in the sunlight of happiness, in the raiment of peace, and that was ultramontane. That ultramontane principles had produced this happiness and peace, the professor's industrious mind saw with clearness. He raised his head and said solemnly, "Marriage is an image of religion. It proceeds from the lips of God, and is perfected at the altar. The marriage duties are children of the religious sentiment, fetters of the divine law. Ida was faithful and true so long as it agreed with the longings of her heart. But with the cooling of affection died love and fidelity. She recognizes no religious duty, because she has progressed to liberty and independence. From this follows with striking clearness the incompatibility of Christian marriage with the spirit of the age. Marriage will be a thing of the past as soon as intellectual maturity conquers in the contest with religion. Sound sense, liberty of emotion and inclination will supplant the terrible marriage yoke."

The professor paused and examined his conclusion. It smiled upon him like a true child of nature. It clothed itself in motley flesh, and passed through green meadows and shady forests. It pointed encouragingly to the beasts of the field and the birds of the air, long in possession of intellectual maturity. Sensual marriages, intended to last only for weeks or months, danced around the professor. Cannibal hordes, who extended to him their brotherly paws and claws, pressed about him. In astonishment, he contemplated his conclusion; it made beastly grimaces, knavish and jeering, and he dashed into fragments the provoking mockery.

In strong contrast to the animal kingdom, stood before him again the Christian marriage. He cunningly tried to give his new conclusion human shape; but here the carriage stopped, and the speculation vanished before the clear light in the house of the "Angel of Salingen."

notes

1

Proverbs vi., vii.

2

This argument is not conclusive, nor is it at all necessary. Animals have memory; and there is no more reason why their waking sensations, emotions, and acts should not repeat themselves in dreams than there is in the case of men. The difference between the soul of man and the soul of the brute is constituted by the presence of the gift of reason, or the faculty of knowing necessary and universal truths in the former, and its absence in the latter. – Ed. Catholic World.