Слике страница
PDF
ePub

It is not for mere pictures, to amuse the imagination and interest the feelings, that we refer to the ancients as the great masters of the heart. If, besides charming the fancy and taking captive the passions, they inspire a taste for true glory, strengthen the sentiments of vir tue, discipline the understanding, and fit us for intercourse with our fellows, who will, for a moment, deny their extensive utility? What can more conduce to the ends enumerated, than the series of great actions in every species of heroism, every department of life, every trial, toil and difficulty, which brighten each page of the historian, and add an additional lustre to the lofty sentiments of the poet? Who, when he reads of the noble disinterestedness of Cincinnatus, the generous contempt of wealth of Emilianus, and the heroic self-denial of Scipio, does not imbibe a taste for solid glory, and real greatness, distinct from the fleeting brilliancy of worldly splendor? Who, on perusing the lofty response of the Roman matron, (Cornelia) who, when requested to display her jewels, exclaimed, pointing to the noble sons of a generous sire, (Scipio) Eu! hæc ornamenta mea sunt!—does not, with emulation, hope that the mothers of his country may have similar cause for triumph? Who fails to make resolutions of perseverance in the path of undisguised virtue, when he reads the inimitable panegyric of Sallust upon Cato, esse quam videri malebat bonus; or to renew his exertions in the cause of philanthropy, animated by the upbraiding self-reproach of the benevolent Titus? What bosom does not thrill with the loftiest patriotism, in contemplating the heroic, stubborn self-devotion of the Roman Patriot, the invicta mens Catonis? And whose heart does not bleed with sympathy,-whose

surpass, in the rapidity of their productions, even the avidity of their readers to peruse their works, we attribute (what to us, appears to be) the fate of by far the greater part of the innumerable works of the day-viz-temporary fame-inal oblivion. How many of the volumes, under which the pros daily groans, will be referred to, as standards of taste, style, or sentiment, in the 20th century?

courage is not steeled in defence of his country-when viewing the mournful, though, instructive spectacle of A great man, struggling with the storms of fate, And nobly falling, with a falling state?

But why multiply instances? Every page teems with instruction, every sentiment inculcates virtue, every character warns us from error, or incites to gencrous rivalry, in the cause of mankind!

Yes! in that generous cause forever strong,
The Patriot's virtue and the Poet's song,
Still, as the tide of agcs rolls away,

Shall charm the world unconscious of decay.

But not in literature* alone, do we acknowledge ourselves indebted and bow to the superiority of the ancients. We are still forced to gaze, with despairing admiration, on the animated forms depicted by the pencil of Apelles, the living groups, wrought by the crea tive chisel of Praxiteles, the mighty piles of the East, triumphant over time, and the venerable fragments of Grecian architecture, imposing even in their desolation!

The orator of the present day, has none of those causes of thrilling excitement, which formerly awakened the loftiest energies of the mind, and elicited, from the treasury of genius, its deepest and brightest, and richest stores. He has not mankind for his audiencehigh and permanent power for his incentive, and the applause of posterity to reverberate his fame. He addresses not the immutable springs of feeling, universal to the whole human family. His topics revolve upon

We have already said that we valued not classical lore as a mere source of pleasure to the Library. Cicero, somewhere in his rhetorical rules, (De Oratore) remarks,-in pleading-we quote the idea from memory-though the liberal arts be not directly made use of, yet the hearer immediately discovers whether the speaker is acquainted with them. It is thus that an intimacy with the great models of antiquity though they he not once alluded to, tinctures our style, gives precision to our expression, elevates our thoughts, and throws over our productions a garb of freshness and chastened originality.

principles, which change with a variation of policy, and fluctuate with that ever-varying Proteus-public opinion. He gives not tone to his age, but bends to its mandate, and succumbs to its prejudices. In short, to such a degree has the social fabric been re-modeled, and the notions of its inhabitants altered, that the Orator of Greece and Rome bears little, if any, similitudė to his successor of later date. Anciently, a gifted mind, appealing to the immutable laws of human nature, linked by common interest to his audience—they ministering to his power, and he flattering their national pride, exalting their imaginations, supplying stimulants to arouse their feelings, and meshes, to take captive their passions-wielded a sceptre over their spellbound understandings, which rendered their sympathies submissive to his words, and moulded their actions to the dictates of his will. Far different is the situation of the modern rhetorician. Fancy with her potent spell has now few materials to wreathe in her magic tie her dominion has yielded to a less visionary and more tangible idol, wealth-the divinity of modern times.

But the chief source of the inferiority of oratory, in modern days, and, especially, of the absence of the "verba ardentia,” which glowed on every page of the ancients, must be attributed to want of culture in its professors. Despite the unvarying testimony of all ages the unerring dictate of universal experience, that success in this art, unaided by untiring perseverance, and determined effort, is unknown-and notwithstanding the importance, which, though less than formerly, is still attached to it-the small attention it receives from him, who has staked upon it his fortunes, his eminence, nay his existence itself, is truly surprising. In any other pursuit, such indifference, or rash reliance upon natural talent would be esteemed an infallible symptom of folly. The ancient aspirant for rhetorical renown, like his brother candidate, in the

gladiatorial arena, or the festive games of Olympus, made every improvement in his powers, that unceasing practice could ensure-nor risked the encounter, without repeated trials of his strength. His devotion to his profession was undivided, untiring-no diversity of pursuits, no complexity of business could divert him from the ardent prosecution of the end, which was to make, or mar hini-upon which he had staked his hopes, his expectations, his all!

CHATEAUBRIAND.

[ocr errors]

We find a passage, relating to the present and past career of this great man, in the columns of a brother journalist, to which we must unhesitatingly put in our dissent. We quote the paragraph entire.

"

"M. De Chateaubriand, was said at the last accounts from France, to be engaged in writing a political pamphlet, against a project of some writer, for the banishment of the Bourbons. The muse of this author is susceptible of inspiration, under every variety of dynasty and form of rule." He wrote political allegories under the imperial regime. His imagination became sublimated under the Bourbon domination, and he concocted poetical prose, in large quantitres, for the glori fication of that monarchy. Now, he is not less adventurous under the sway of royalty, in a republican guise. But genius draws resources out of misfortunes, and materials for new creations from the most opposite systems. M. De Chateaubriand is a mystic-in politics, and his mysticism is tinctured from his religion, which is spiritualized by his imagination. Every thing is distilled through this alembic. He forms his political system as he would combine the elements of his fictions. He would have principles of action that are too etherial and antiquated for our modern wants and appetites.

He would make the church the handmaid of authority, after making priests more than mortal men. He would blend in the offices and maxims of the state, the influences of piety and philosophy; but his system is founded upon associations which are merely poeticalwhich live on the, past-which would revive faded recollections. The world looks now to the useful, and will sacrifice nothing to the romantic. The remembrances of by-gone periods, that call up images connec ted with martyrdoms for the church and feudal monarchy, are passed irrevocably. It is the whole scope of M. Chateaubriand's genius to recall these recollections and make them the basis of the renewal of the political system, as he wishes it formed. The attempt is vain, but one cannot but admire the consistency of that idealist, who thus under every change, clings to his cherished scheme, and embellishes it with so much genius."

The quotation above made, is from the pen of our very able and highly esteemed contemporary, Mr. Cardozo, of the Southern Patriot; but we do not think it marked by the temperate tone which uniformly characterizes him, and the rigid logic which he seldom fails to exact from others. His anathema strikes us as too unsparing his denunciations as too bitter-his critical touches as too general, vague, and inconclusive— to be entirely well founded, even were there no facts that could be adduced in support of our objection. The name of Chateaubriand is one dear to literature, and may well excuse a word or two in its defence. That he did acquiesce under the different regimes, that, in a short space of time harassed his country, is certain:But that he ever went beyond acquiescence-with the exception of a few jeux d'esprit, and complimentary copies of verses, which readily find shelter under the "poetica licentia"-has never been substantiated. The charge of political servility is a common one against literary men, and is about as well founded in this, as in

« ПретходнаНастави »