The Atlantic Monthly, Volume 04, No. 24, October, 1859
Grey. I expected nothing else; and, indeed, I am not sure that in your present circumstances I should desire you to do otherwise, or, at most, to deviate more than slightly from the prevailing mode toward such remote points as simplicity, genuineness, and harmony. But if you were to set the fashion instead of following it, I should hope for better things.
Mrs. Grey. Fall things?
Tomes. But society has little to hope for from you, who would brand callings and conditions with a distinctive costume. That was a part of the essay that surprised me much. For the mere sake of a picturesque variety, would you perpetuate the degradation of labor, the segregation of professions, and set up again one of the social barriers between man and man? Your doctrine is fitter for Hindostan than for America. This uniformity of costume, of which you complain, is the great outward and visible sign of the present political, and future social, equality of the race.
Grey. You forget that the essay expressly recognizes, not only the connection between social progress and the abandonment of distinction in professional costume, but admits, perhaps somewhat hastily, that it cannot be arrested, and deplores it only on the score of the beauty and fitness of external life. If we must give up social progress or variety of costume, who could doubt which to choose? But I do not hesitate to assert that this uniform phase of costume is not a logical consequence of social advancement, that it is the result of vanity and petty pride, and in its spirit at variance with the very doctrine of equality, irrespective of occupation or condition, from which it seems to spring. For the carpenter, the smith, the physician, the lawyer, who, when not engaged in his calling, makes it a point not to be known as belonging to it, contemns it and puts it to open shame; and so this endeavor of all men to dress on every possible occasion in a uniform style unsuited to labor, so far from elevating labor, degrades it, and demoralizes the laborer. This is exemplified every day, and especially on Sunday, when nine-tenths of our population do all in their power, at cost of cash and stretch of credit, at sacrifice of future comfort and present self-respect and peace of mind, to look as unlike their real selves On other days as possible. Our very maid-servants, who were brought up shoeless, stockingless, and bonnetless, and who work day and night for a few dollars a month, spend those dollars in providing themselves with hoops, flounced silk dresses, and variegated bonnets for Sunday wearing.
Tomes. Do you grudge the poor creatures their holiday and their holiday-dress?
Grey. Far from it! Let them, let us all, have more holidays, and holiday-dresses as beautiful as may be. But I cannot see why a holiday-dress should be so entirely unlike the dress they wear on other days. I have a respect as well as an admiration for the white-capped, bonnetless head of the French maid, which I cannot feel for my own wife's nurse, when I meet her flaunting along the streets on Sunday afternoon in a bonnet which is a cheap and vulgar imitation of that which my wife wears, and really like it only in affording no protection to her head, and requiring huge pins to keep it in the place where a bonnet is least required. I have seen a farmer, whose worth, intelligence, and manly dignity found fitting expression in the dress that he daily wore, sacrifice this harmonious outward seeming in an hour, and sink into insignificance, if not vulgarity, by putting on a dress-coat and a shiny stove-pipe hat to go to meeting or to "York." A dress-coat and a fashionable hat are such hideous habits in themselves, that he must be unmistakably a man bred to wearing them, and on whom they sit easily, if not a well-looking and distinguished man, who can don them with impunity, especially if we have been accustomed to see him in a less exacting costume.
Mr. Key. The very reason why every man will, at sacrifice of his comfort and his last five dollars, exercise his right to wear them whenever he can do so. But your idea of a beautiful costume, Mr. Grey, seems to be a blue, red, or yellow bag, or bolster-case, drawn over the head, mouth downwards, with a hole in the middle of the bottom for the neck and two at the corners for the arms, and bound about the waist with a cord; for I observe that you insist upon a girdle.
Grey. I don't scout your pattern so much as you probably expected. Costumes worse in every respect have been often worn.—And the girdle? Is it not, in female dress, at least, the most charming accessory of costume? that which most defines the peculiar beauties of woman's form? that to which the tenderest associations cling? Its knot has ever had a sweet significance that makes it sacred. What token could a lover receive that he would prize so dearly as the girdle whose office he has so often envied? "That," cries Waller,—
"That which her slender waist confin'dShall now my joyful temples bind.* * * * *Give me but what this ribbon bound,Take all the rest the sun goes round."Have women taste? and can they put off this cestus with which the least attractive of them puts on some of Venus's beauty? Have they sentiment? and can they discard so true a type of their tender power that its mere lengthening makes every man their servant?
Tomes. Your bringing up the poets to your aid reminds me that you have the greatest of them against you, as to the importance of richness in dress. What do you say to Shakespeare's "Costly thy habit as thy purse can buy, but not expressed in fancy"?
Grey. That it is often quoted as Shakespeare's advice in dress by people who know nothing else that he wrote, and who would have his support for their extravagance, when, in fact, we do not know what Shakespeare would have thought upon the subject, had he lived now. It is the advice of a worldly-minded old courtier to his son, given as a mere prudential maxim, at a time when, to make an impression and get on at court, a man had need to be richly dressed. That need has entirely passed away.
Miss Larches. But, Mr. Grey, I remember your finding fault with the powder on the head-dress of that marquise costume, because it concealed the red hair of the wearer. In such a case I should consider powder a blessing. Do you really admire red hair?
Grey. When it is beautiful, I do, and prefer it to that of any other tint. I don't mean golden hair, or flaxen, or yellow, but red,—the color of dark red amber, or, nearer yet, of freshly cut copper. There is ugly red hair, as there is ugly hair of black and brown, and every other hue. It is not the mere name of the color of the hair that makes it beautiful or not, but its tint and texture. I have seen black hair that was hideous to the sight and repulsive to the touch,—other, also black, that charmed the eyes and wooed the fingers. Fashion has asserted herself even in this particular. There have been times when the really fortunate possessor of such brown tresses as Miss Larches's would have been deemed unfortunate. No troubadour would have sung her praises; or if he did, he would either have left her hair unpraised, or else lied and called it golden, meaning red, as we know by the illuminated books of the Middle Ages. Had she lived in Venice, that great school of color, two or three hundred years ago, in the days of Titian and Giorgione, its greatest masters, she would probably have sat upon a balcony with her locks drawn through a crownless broad-brimmed hat, and covered with dye, to remove some of their rich chestnut hue, and substitute a reddish tinge;—just as this lady is represented as doing in this Venetian book of costumes of that date.
Key. Oh that two little nephews of mine, that the boys call Carroty Bill and Brickdust Ben, were here! How these comfortable words would edify them!
Grey. I'm afraid not, if they understood me, or the poets, who, as well as the painters, are with me, Horace's Pyrrha had red hair,—
"Cui flavam religas comamSimplex munditiis?"which, if Tomes will not be severely critical, I will translate,—
"For whom bind'st back thy amber hairIn neat simplicity?"Mrs. Grey. The poets are always raving about neat simplicity, or something else that is not the fashion. I suppose they sustain you in your condemnation of perfumes, too.
Tomes. There I'm with Grey,—and the poets, too, I think.
Mrs. Grey. What say you, Mr. Key?
Tomes. At least, Grey, [turning to him,] Plautus says, "Mulier recte olet ubi nihil olet" which you may translate for the ladies, if you choose. I always distrust a woman steeped in perfumes upon the very point as to which she seeks to impress me favorably.
Grey [as if to himself and Tomes]—
"Still to be powder'd, still perfum'd,Lady, it is to be presum'd,Though Art's hid causes are not found,All is not sweet, all is not sound."Mrs. Grey. What is that you are having to yourselves, there?
Grey. Only a verse or two à-propos from rare Ben.
Mrs. Grey. What do poets know about dress, even when they are poetesses? Look at your friend, the authoress of the "Willow Wreath." What a spook that woman is! Where does she get those dresses? I've often wondered—
* * * * *Here the glass door opened, and a neat, fresh-looking maid-servant said, "Please, Ma'am, dinner is served."
Grey. Dinner! Have we been talking here two mortal hours? You'll all stop, of course: don't think of declining. Nelly blushes, yonder, doubtful, on "hospitable thoughts intent," I don't believe "our general mother," though she had Eden for her larder, heard Adam announce the Archangel's unexpected visit about dinner-time without a momentary qualm as to whether the peaches would go round twice. There'll be enough for Miss Larches and you, Nelly; and we gentlemen will beam smiles upon you as we mince our modest share. Let us go in. Mr. Key, will you commit yourself to Mrs. Grey? Miss Larches, will you lay aside your bonnet? Oh, it's off already! One can't see, unless one stands behind you; and I prefer the front view. Pray, take my arm. And, Tomes, keep at a respectful distance in the rear, for the safety of Miss Larches's skirts, or she will be for excluding you, if we should have a talk about another phase of Daily Beauty, or stay away herself; and neither of you could be spared.
THE ARTIST-PRISONER
Here, in this vacant cell of mine,I picture and paint my Apennine.In spite of walls and gyvéd wrist,I gather my gold and amethyst.The muffled footsteps' ebb and swell,Immutable tramp of sentinel,The clenchéd lip, the gaze of doom,The hollow-resounding dungeon-gloom,All fade and cease, as, mass and line,I shadow the sweep of Apennine,And from my olive palette takeThe marvellous pigments, flake by flake.With azure, pearl, and silver white,The purple of bloom and malachite,Ceiling, wall, and iron door,When the grim guard goes, I picture o'er.E'en where his shadow falls athwartThe sunlight of noon, I've a glory wrought,—Have shaped the gloom and golden shineTo image my gleaming Apennine.No cruel Alpine heights are there,Dividing the depths of pallid air;But sea-blue liftings, far and fine,With driftings of pearl and coralline;And domes of marble, every oneAll ambered o'er by setting sun;—Yes, marble realms, that, clear and high,So float in the purple-azure sky,We all have deemed them, o'er and o'er,Miraculous isles of madrepore;Nor marvel made that hither floodsBore wonderful forms of hero-gods.Oh, can you see, as spirit sees,Yon silvery sheen of olive-trees?To me a sound of murmuring dovesComes wandering up from olive-groves,And lingers near me, while I dwellOn yonder fair field of asphodel,Half-lost in sultry songs of bees,As, touching my chaliced anemones,I prank their leaves with dusty sheenTo show where the golden bees have been.On granite wall I paint the JuneWith emerald grape and wild festoon,—Its chestnut-trees with open palmsBeseeching the sun for daily alms,—In sloping valley, veiled with vines,A violet path beneath the pines,—The way one goes to find old Rome,Its far away sign a purple dome.But not for me the glittering shrine:I worship my God in the Apennine!To all save those of artist eyes,The listeners to silent symphonies,Only a cottage small is mine,With poppied pasture, sombre pine.But they hear anthems, prayer, and bell,And sometimes they hear an organ swell;They see what seems—so saintly fair—Madonna herself a-wandering there,Bearing baby so divineThey speak of the Child in Palestine!Yet I, who threw my palette downTo fight on the walls of yonder town,Know them for wife and baby mine,As, weeping, I trace them, line by line,In far-off glen of Apennine!THE MINISTER'S WOOING
[Continued.]
CHAPTER XXVA GUEST AT THE COTTAGENothing is more striking, in the light and shadow of the human drama, than to compare the inner life and thoughts of elevated and silent natures with the thoughts and plans which those by whom they are surrounded have of and for them. Little thought Mary of any of the speculations that busied the friendly head of Miss Prissy, or that lay in the provident forecastings of her prudent mother. When a life into which all our life-nerves have run is cut suddenly away, there follows, after the first long bleeding is stanched, an internal paralysis of certain portions of our nature. It was so with Mary: the thousand fibres that bind youth and womanhood to earthly love and life were all in her as still as the grave, and only the spiritual and divine part of her being was active. Her hopes, desires, and aspirations were all such as she could have had in greater perfection as a disembodied spirit than as a mortal woman. The small stake for self which she had invested in life was gone,—and henceforward all personal matters were to her so indifferent that she scarce was conscious of a wish in relation to her own individual happiness. Through the sudden crush of a great affliction, she was in that state of self-abnegation to which the mystics brought themselves by fastings and self-imposed penances,—a state not purely healthy, nor realizing the divine ideal of a perfect human being made to exist in the relations of human life,—but one of those exceptional conditions, which, like the hours that often precede dissolution, seem to impart to the subject of them a peculiar aptitude for delicate and refined spiritual impressions. We could not afford to have it always night,—and we must think that the broad, gay morning light, when meadow-lark and robin and bobolink are singing in chorus with a thousand insects and the waving of a thousand breezes, is on the whole the most in accordance with the average wants of those who have a material life to live and material work to do. But then we reverence that clear-obscure of midnight, when everything is still and dewy;—then sing the nightingales, which cannot be heard by day; then shine the mysterious stars. So when all earthly voices are hushed in the soul, all earthly lights darkened, music and color float in from a higher sphere.
No veiled nun, with her shrouded forehead and downcast eyes, ever moved about a convent with a spirit more utterly divided from the world, than Mary moved about her daily employments. Her care about the details of life seemed more than ever minute; she was always anticipating her mother in every direction, and striving by a thousand gentle preveniences to save her from fatigue and care; there was even a tenderness about her ministrations, as if the daughter had changed feelings and places with the mother.
The Doctor, too, felt a change in her manner towards him, which, always considerate and kind, was now invested with a tender thoughtfulness and anxious solicitude to serve which often brought tears to his eyes. All the neighbors who had been in the habit of visiting at the house received from her, almost daily, in one little form or another, some proof of her thoughtful remembrance.
She seemed in particular to attach herself to Mrs. Marvyn,—throwing her care around that fragile and wounded nature, as a generous vine will sometimes embrace with tender leaves and flowers a dying tree.
But her heart seemed to have yearnings beyond even the circle of home and friends. She longed for the sorrowful and the afflicted,—she would go down to the forgotten and the oppressed,—and made herself the companion of the Doctor's secret walks and explorings among the poor victims of the slave-ships, and entered with zeal as teacher among his African catechumens.
Nothing but the limits of bodily strength could confine her zeal to do and suffer for others; a river of love had suddenly been checked in her heart, and it needed all these channels to drain off the waters that must otherwise have drowned her in the suffocating agonies of repression.
Sometimes, indeed, there would be a returning thrill of the old wound,—one of those overpowering moments when some turn in life brings back anew a great anguish. She would find unexpectedly in a book a mark that he had placed there,—or a turn in conversation would bring back a tone of his voice,—or she would see on some thoughtless young head curls just like those which were swaying to and fro down among the wavering seaweeds,—and then her heart gave one great throb of pain, and turned for relief to some immediate act of love to some living being. They who saw her in one of these moments felt a surging of her heart towards them, a moisture of the eye, a sense of some inexpressible yearning, and knew not from what pain that love was wrung, nor how that poor heart was seeking to still its own throbbings in blessing them.
By what name shall we call this beautiful twilight, this night of the soul, so starry with heavenly mysteries? Not happiness,—but blessedness. They who have it walk among men "as sorrowful, yet alway rejoicing,—as poor, yet making many rich,—as having nothing, and yet possessing all things."
The Doctor, as we have seen, had always that reverential spirit towards women which accompanies a healthy and great nature; but in the constant converse which he now held with a beautiful being, from whom every particle of selfish feeling or mortal weakness seemed sublimed, he appeared to yield his soul up to her leading with a wondering humility, as to some fair, miraculous messenger of Heaven. All questions of internal experience, all delicate shadings of the spiritual history, with which his pastoral communings in his flock made him conversant, he brought to her to be resolved with the purest simplicity of trust.
"She is one of the Lord's rarities," he said, one day, to Mrs. Scudder, "and I find it difficult to maintain the bounds of Christian faithfulness in talking with her. It is a charm of the Lord's hidden ones that they know not their own beauty; and God forbid that I should tempt a creature made so perfect by divine grace to self-exaltation, or lay my hand unadvisedly, as Uzzah did, upon the ark of God, by my inconsiderate praises!"
"Well, Doctor," said Miss Prissy, who sat in the corner, sewing on the dove-colored silk, "I do wish you could come into one of our meetings and hear those blessed prayers. I don't think you nor anybody else ever heard anything like 'em."
"I would, indeed, that I might with propriety enjoy the privilege," said the Doctor.
"Well, I'll tell you what," said Miss Prissy; "next week they're going to meet here; and I'll leave the door just ajar, and you can hear every word, just by standing in the entry."
"Thank you, Madam," said the Doctor; "it would certainly be a blessed privilege, but I cannot persuade myself that such an act would be consistent with Christian propriety."
"Ah, now do hear that good man!" said Miss Prissy, after he had left the room; "if he ha'n't got the making of a real gentleman in him, as well as a real Christian!—though I always did say, for my part, that a real Christian will be a gentleman. But I don't believe all the temptations in the world could stir that blessed man one jot or grain to do the least thing that he thinks is wrong or out of the way. Well, I must say, I never saw such a good man; he is the only man I ever saw good enough for our Mary." Another spring came round, and brought its roses, and the apple-trees blossomed for the third time since the commencement of our story; and the robins had rebuilt their nest, and began to lay their blue eggs in it; and Mary still walked her calm course, as a sanctified priestess of the great worship of sorrow. Many were the hearts now dependent on her, the spiritual histories, the threads of which were held in her loving hand,—many the souls burdened with sins, or oppressed with sorrow, who found in her bosom at once confessional and sanctuary. So many sought her prayers, that her hours of intercession were full, and often needed to be lengthened to embrace all for whom she would plead. United to the good Doctor by a constant friendship and fellowship, she had gradually grown accustomed to the more and more intimate manner in which he regarded her,—which had risen from a simple "dear child," and "dear Mary," to "dear friend," and at last "dearest of all friends," which he frequently called her, encouraged by the calm, confiding sweetness of those still, blue eyes, and that gentle smile, which came without one varying flutter of the pulse or the rising of the slightest flush on the marble cheek.
One day a letter was brought in, postmarked "Philadelphia." It was from Madame de Frontignac; it was in French, and ran as follows:–
"MY DEAR LITTLE WHITE ROSE:—"I am longing to see you once more, and before long [ shall be in Newport. Dear little Mary, I am sad, very sad;—the days seem all of them too long; and every morning I look out of my window and wonder why I was born. I am not so happy as I used to be, when I cared for nothing but to sing and smooth my feathers like the birds. That is the best kind of life for us women;—if we love anything better than our clothes, it is sure to bring us great sorrow. For all that, I can't help thinking it is very noble and beautiful to love;—love is very beautiful, but very, very sad. My poor dear little white cat, I should like to hold you a little while to my heart;—it is so cold all the time, and aches so, I wish I were dead; but then I am not good enough to die. The Abbe says, we must offer up our sorrow to God as a satisfaction for our sins. I have a good deal to offer, because my nature is strong and I can feel a great deal.
"But I am very selfish, dear little Mary, to think only of myself, when I know how you must suffer. Ah! but you knew he loved you truly, the poor dear boy!—that is something. I pray daily for his soul; don't think it wrong of me; you know it is our religion;—we should all do our best for each other.
"Remember me tenderly to Mrs. Marvyn. Poor mother!—the bleeding heart of the Mother of God alone can understand such sorrows.
"I am coming in a week or two, and then I have many things to say to ma belle rose blanche; till then I kiss her little hands.
"VIRGINIE DE FRONTIGNAC."
One beautiful afternoon, not long after, a carriage stopped at the cottage, and Madame de Frontignac alighted. Mary was spinning in her garret-boudoir, and Mrs. Scudder was at that moment at a little distance from the house, sprinkling some linen, which was laid out to bleach on the green turf of the clothes-yard.
Madame de Frontignac sent away the carriage, and ran up the stairway, pursuing the sound of Mary's spinning-wheel mingled with her song; and in a moment, throwing aside the curtain, she seized Mary in her arms, and kissed her on either cheek, laughing and crying both at once.
"I knew where I should find you, ma blanche! I heard the wheel of my poor little princess! It's a good while since we spun together, mimi! Ah, Mary, darling, little do we know what we spin! life is hard and bitter, isn't it? Ah, how white your cheeks are, poor child!"
Madame de Frontignac spoke with tears in her own eyes, passing her hand caressingly over the fair checks.
"And you have grown pale, too, dear Madame," said Mary, looking up, and struck with the change in the once brilliant face.
"Have I, petite? I don't know why not. We women have secret places where our life runs out. At home I wear rouge; that makes all right;—but I don't put it on for you, Mary; you see me just as I am."
Mary could not but notice the want of that brilliant color and roundness in the cheek, which once made so glowing a picture; the eyes seemed larger and tremulous with a pathetic depth, and around them those bluish circles that speak of languor and pain. Still, changed as she was, Madame de Frontignac seemed only more strikingly interesting and fascinating than ever. Still she had those thousand pretty movements, those nameless graces of manner, those wavering shades of expression, that irresistibly enchained the eye and the imagination,—true Frenchwoman as she was, always in one rainbow shimmer of fancy and feeling, like one of those cloud-spotted April days which give you flowers and rain, sun and shadow, and snatches of bird-singing all at once.