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when one was present, and all memory when one was gone ; when the youth becomes a watcher of windows, and studious of a glove, a veil, a ribbon, or the wheels of a carriage; when no place is too solitary, and none too silent, for him who has richer company and sweeter conversation in his new thoughts than any old friends, though best and purest, can give him; for the figures, the motions, the words of the beloved object are not, like other images, written in water, but, as Plutarch said, “ enamelled in fire," and make the study of midnight.
Thou art not gone, being gone, where'er thou art,
Thou leav'st in him thy watchful eyes, in him thy loving heart. In the noon and the afternoon of life, we still throb at the recollection of days when happiness was not happy enough, but must be drugged with the relish of pain and fear; for he touched the secret of the matter who said of love,
All other pleasures are not worth its pains; and when the day was not long enough, but the night too must be consumed in keen recollections; when the head boiled all night on the pillow with the generous deed it resolved on; when the moonlight was a pleasing fever, and the stars were letters, and the flowers ciphers, and the air was coined into song; when all business seemed an impertinence, and all the men and women running to and fro in the streets, mere pictures.
The passion remakes the world for the youth. It makes all things alive and significant. Nature grows conscious. Every bird on the boughs of the tree sings now to his heart and soul. Almost the notes are articulate. The clouds have faces as he looks on them. The trees of the forest, the waving grass, and the peeping flowers have grown intelligent; and almost he fears to trust them with a secret which they seem to invite. Yet nature soothes and sympathizes. In the green solitude he finds a dearer home than with men.
Fountain heads and pathless groves,
Behold there in the wood the fine madman! he is a palace of sweet sounds and sights; he dilates; he is twice a man: he walks with arms akimbo; he soliloquizes; he accosts the grass and the
trees; he feels the blood of the violet, the clover, and the lily, in his veins: and he talks with the brook that wets his feet.
The causes that have sharpened his perceptions of natural beauty have made him love music and verse. It is a fact often observed, that men have written good verses under the inspiration of passion who cannot write well under any other circumstances.
The like force has the passion over all his nature. It expands the sentiment; it makes the clown gentle, and gives the coward heart. Into the most pitiful and abject it will infuse a heart and courage to defy the world, so only it have the countenance of the beloved object. In giving him to another, it still more gives him to himself. He is a new man, with new perceptions, new and keener purposes, and a religious solemnity of character and aims. He does not longer appertain to his family and society. He is somewhat. He is a person. He is a soul.
And here let us examine a little nearer the nature of that influence which is thus potent over the human youth. Let us approach and admire Beauty, whose revelation to man we now celebrate,- beauty, welcome as the sun wherever it pleases to shine, which pleases everybody with it and with themselves. Wonderful is its charm. It seems sufficient to itself. The lover cannot paint his maiden to his fancy poor and solitary. Like a tree in flower, so much soft, budding, informing loveliness is society for itself, and she teaches his eye why Beauty was ever painted with loves and graces attending her steps. Her existence makes the world rich. Though she extrudes all other persons from his attention as cheap and unworthy; yet she indemnifies him by carrying out her own being into somewhat impersonal, large, mundane, so that the maiden stands to him for a representative of all select things and virtues. For that reason the lover sees never personal resemblances in his mistress to her kindred or to others. His friends find in her a likeness to her mother, or her sisters, or to persons not of her blood. The lover sees no resemblance except to summer evenings and diamond mornings, to rainbows and the
song of birds.
Beauty is ever that divine thing the ancients esteemed it. It is, they said, the flowering of virtue. Who can analyze the nameless charm which glances from one and another face and form ? We are touched with emotions of tenderness and complacency, but we cannot find whereat this dainty emotion, this wandering gleam points. It is destroyed for the imagination by any attempt
to refer it to organization. Nor does it point to any relations of friendship or love that society knows and has, but, as it seems to me, to a quite other and unattainable sphere—to relations of transcendent delicacy and sweetness, a true faerie land; to what roses and violets hint and foreshow. We cannot get at beauty. Its nature is like opaline dove's-neck lustres, hovering and evanescent. Herein it resembles the most excellent things, which all have this rainbow character, defying all attempts at appropriation and use. What else did Jean Paul Richter signify when he said to music, “Away! away! thou speakest to me of things which in all my endless life I have found not, and shall not find.' The same fact may be observed in every work of the plastic arts. The statue is then beautiful, when it begins to be incomprehensible, when it is passing out of criticism, and can no longer be defined by compass and measuring wand, but demands an active imagination to go with it, and to say what it is in the act of doing. The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not. Then first it ceases to be a stone. The same remark holds of painting. And of poetry, the success is not attained when it lulls and satisfies, but when it astonishes and fires us with new endeavours after the unattainable. Concerning it, Landor inquires “ whether it is not to be referred to some purer state of sensation and existence."
So must it be with personal beauty, which love worships. Then first is it charming and itself, when it dissatisfies us with any end; when it becomes a story without an end; when it suggests gleams and visions, and not earthly satisfactions; when it seems
too bright and good
For human nature's daily food; when it makes the beholder feel his unworthiness; when he cannot feel his right to it, though he were Cæsar; he cannot feel more right to it than to the firmament and the splendours of the sunset.
Hence arose the saying, “ If I love you, what is that to you?” We say so, because we feel that what we love is not in your will, but above it, It is the radiance of you and not you. It is that which
you know not in yourself, and can never know. This agrees well with that high philosophy of Beauty which . the ancient writers delighted in; for they said, that the soul of man, embodied here on earth, went roaming up and down in quest of that other world of its own, out of which it came into this, but was soon stupified by the light of the natural sun and unable to
'see any other objects than those of this world, which are but shadows of real things. Therefore, the Deity sends the glory of youth before the soul, that it may avail itself of beautiful bodies as aids to its recollection of the celestial good and fair; and the man beholding such a person in the female sex, runs to her, and finds the highest joy in contemplating the form, movement, and intelligence of this person, because it suggests to him the presence of that which indeed is within the beauty, and the cause of the beauty.
If, however, from too much conversing with material objects, the soul was gross, and misplaced its satisfaction in the body, it reaped nothing but sorrow; body being unable to fulfil the promise which beauty holds out; but if, accepting the hint of these visions and suggestions which beauty makes to his mind, the soul passes through the body, and falls to admire strokes of character, and the lovers contemplate one another in their discourses and their actions, then they pass to the true palace of beauty, more and more inflame their love of it, and by this love extinguishing the base affection, as the sun puts out the fire by shining on the hearth, they become pure and hallowed. By conversation with that which is in itself excellent, magnanimous, lowly, and just, the lover comes to a warmer love of these nobilities, and a quicker apprehension of them. Then he passes from loving them in one, to loving them in all ; and so is the one beautiful soul only the door through which he enters to the society of all true and pure souls. In the particular society of his mate, he attains a clearer sight of any spot, any taint, which her beauty has contracted from this world, and is able to point it out, and this with mutual joy that they are now able without offence to indicate blemishes and hindrances in each other, and give to each all help and comfort in curing the same. And, beholding in many souls the traits of the divine beauty, and separating in each soul that which is divine from the taint which they have contracted in the world, the lover ascends ever to the highest beauty—to the love and knowledge of the Divinity, by steps on the ladder of created souls.
Somewhat like this have the truly wise told us of love in all ages. The doctrine is not old, nor is it new. If Plato, Plutarch, and Apuleius, taught it, so have Petrarch, Angelo, and Milton. It awaits a truer unfolding in opposition and rebuke to that subterranean prudence which presides at marriages with words that take hold of the upper world, whilst one eye is eternally boring down into the cellar, so that its gravest discourse has ever a slight savour of hams and powdering-tubs. Worst, when the snout of this sensualism intrudes into the education of young women, and withers the hope and affection of human nature, by teaching, that marriage signifies nothing but a housewife's thrift, and that woman's life has no other aim,
But this dream of love, though beautiful, is only one scene in our play. In the procession of the soul from within outward, it enlarges its circles ever, like the pebble thrown into the pond, or the light proceeding from an orb. The rays of the soul alight first on things nearest, on every utensil and toy, on nurses and domestics, on the house and yard and passengers, on the circle of household acquaintance, on politics, and geography, and history. But by the necessity of our constitution, things are ever grouping themselves according to higher or more interior laws. Neighbourhood, size, numbers, habits, persons, lose by degrees their power over us. Cause and effect, real affinities, the longing for harmony between the soul and the circumstance, the high progressive idealizing instinct,—these predominate later, and ever the step backward from the higher to the lower relations is impossible. Thus even love, which is the deification of persons, must become more impersonal every day. Of this at first it gives no hint. Little think the youth and maiden who are glancing at each other across crowded rooms, with eyes so full of mutual intelligence, of the precious fruit long hereafter to proceed from this new, quite external stimulus. The work of vegetation begins first in the irritability of the bark and leaf-buds. From exchanging glances, they advance to acts of courtesy, of gallantry, then to fiery passion, to plighting troth and marriage. Passion beholds its object as a perfect unit. The soul is wholly embodied, and the body is wholly ensouled.
Her pure and eloquent blood
Romeo, if dead, should be cut up into little stars to make the heavens fine. Life, with this pair, has no other aim, asks no more than Juliet,--than Romeo. Night, day, studies, talents, kingdoms, religion, are all contained in this form full of soul, in this soul which is all form. The lovers delight in endearments, in avowals of love, in comparisons of their regards. When alone, they solace themselves with the remembered image of the other. Does that