This crowd has
likewise a pilgrimage to make.
likewise a pilgrimage to make.
Warner - World's Best Literature - v30 - Guide to Systematic Readings
The witches have hovel, in the presence of Kent, the dis-
told him he shall not perish till Birnam guised Edgar, and the Fool, insanity
wood shall come to Dunsinane, and that sets in and never leaves him until he
no one of woman born shall have mor- dies at Dover by the dead body of Cor-
tal power over him.
But the enemy,
delia. In a hurricane of fearful events
as they approach, cut branches from the action now rushes on: Gloster's eyes
Birnam wood to shadow the number of are plucked out, and he wanders away to
their host. This strikes terror to Mac- Dover, where Cordelia, now Queen of
beth's heart; but relying on the other France, has landed with an army to re-
assurance of the witches, he rushes forth store her father to his rights. Thither,
to battle. He meets the enraged Mac- too, the stricken Lear is borne at night.
duff, learns from him that he (Macduff) The joint queens, most delicate friends,
was ripped untimely from his mother's lust after Edmund. Regan, made
womb, and so is not strictly of woman widow by the death of Cornwall, is
born. With the energy of despair Mac- poisoned by Goneril. Cordelia and Lear
beth attacks him, but is overcome and taken prisoner, and Cordelia is
beheaded.
hanged by Edmund's order. Edmund
LEAR. Shakespeare's great drama, is slain in the trial by combat. Lear
(King Lear,' was written between 1603 dies; Gloster and Kent broken-
and 1606. The bare historical outline of hearted and dying; Regan has stabbed
the story of the King he got probably herself; Edgar and Albany alone sur-
from Holinshed or from an old play, the vive. The Fool in Lear) is a man of
(Chronicle History of Leir); the sad tender feeling, and clings to his old
story of Gloster was found in Sir Philip comrade, the King, as to a brother. His
Sidney's Arcadia. ' The motifs of the jests are like smiles seen through tears;
drama are the wronging of children by they relieve the terrible strain on our
parents and of parents by children. feelings. Edmund is a shade better
a
are
are
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SYNOPSES OF NOTED BOOKS
397
OF
than lago; his bastardy, with its rank-
ling humiliations, is an assignable cause,
though hardly a palliation of his guilt.
TIMON OF ATHENS is by Shakespeare,
either in whole or in part. It is a bitter
satire on friendship and society, written
in the stern sarcastic vein of Juvenal.
The sources of the plot seem to have
been Paynter's Palace of Pleasure,'
Plutarch's (Life of Antony, and
Lucian's Dialogue on Timon. Shakes-
peare's (Timon' is unique both in his os-
tentations and indiscriminate prodigality
and in the bitterness of his misanthropy
after his wealth was gone. Yet he was
of the noblest heart. His sublime faith
that his friends were as generous as he,
and that they were all brothers, com-
manding one another's fortunes, was a
practical error, that was all.
Men were
selfish wolves; he thought them angels.
His bounty was measureless: if a friend
praised a horse 'twas his; if one wanted
a little loan of £5,000 or so, 'twas a
trifle; he portioned his servants and paid
his friends' debts; his vaults wept with
drunken spilth of wine, and every room
blazed with lights and brayed with
minstrelsy; at parting each guest re-
ceived some jewel as a keepsake. When
all was gone, full of cheerful faith he
sent out to his friends to borrow, and
they all with one accord began to make
Not a penny could he get.
Feast won, fast lost.
The smiling,
smooth, detested parasites left him to his
clamorous creditors and to ruin. The
crushing blow to his ideals maddened
him; his blood turned to gall and
vinegar. Yet he determined on one last
banquet. The surprised sycophants
thought he was on his feet again, and
with profuse apologies assembled at his
house. The covered dishes are brought
in. «Uncover dogs, and lap! ) cries the
enraged Timon. The dishes are found
to be full of warm water, which he
throws in their faces, then pelts them
with stones and drives them forth with
execrations, and rushes away to the
woods to henceforth live in a cave and
subsist on roots and berries and curse
mankind. In digging he finds gold.
His old acquaintances visit him in turn,
-Alcibiades, the cynical dog Apemantus,
his faithful steward Flavius, a poet,
a painter, senators of Athens. He curses
them all, flings gold at them, telling
them he gives it that they may use it
for the bale of man, pronounces his
weeping steward the only honest man in
the world, builds his everlasting man-
sion on the beached verge of the salt
food, where «vast Neptune may weep
for aye on his low grave, on faults for-
given, writes his epitaph, and lies down
in the tomb and dies.
PERICLES, PRINCE TYRE, a play
written in part by Shakespeare. His
part in it begins with the magnificent
storm scene in Act iii. ,—«Thou god of
this great vast, rebuke these surges, ” —
« The seaman's whistle is as a whisper
in the ears of death, unheard, etc. The
play was very popular with the masses
for a hundred years. Indeed the roman-
tic plot is enough to make it perennially
interesting and pathetic; the deepest
springs of emotion and of tears are
touched by the scenes in which Pericles
recovers his lost wife and his daughter.
– After certain strange adventures Peri-
cles, Prince of Tyre, arrives with ships
loaded with grain at Tarsus, and feeds
the starving subjects of King Cleon and
Queen Dionyza. Afterwards shipwrecked
by Pentapolis, he recovers from the
waves his suit of armor, and buying a
horse with a jewel, goes to King Simon-
ides's court and jousts for his daughter
Thaisa's love. He marries her, and in
returning to Tyre his wife gives birth,
in the midst of a terrible storm, to a
daughter whom he names Marina. The
mother, supposed dead, is laid by Peri-
cles in a water-tight bitumened chest,
with jewels and spices, etc. , and is thrown
overboard by the sailors, but cast ashore
at Ephesus and restored to life by the
wise and good physician Cerimon. Peri-
cles lands with his infant daughter at
Tarsus, where he leaves her with his old
friends Cleon and Dionyza. The pretty
Marina grows up, and so excites the
hatred of the queen by outshining her
own daughter, that she tries to kill her;
but the girl is rescued by pirates, who
carry her to Mitylene, where she is
bought by the owner of a disreputable ,
house, but escapes to take service as a
kind of companion in an honest family.
The fame of her beauty and accomplish-
ments spreads through the city. One
festal day comes Pericles, sad and ill, in
his ship to Mitylene, and meeting with
Marina, learns from her her story. His
joy is so great that he fears death. By
Diana's command, revealed to him in a
vision, he goes to Ephesus to co ss
before the people and before her
excuse.
## p. 398 (#434) ############################################
398
SYNOPSES OF NOTED BOOKS
»
priestess the story of his life. The of-
ficiating priestess turns out to be his
wife Thaisa, who went from the physi-
cian's house to become a ministrant in
the temple of the goddess of chastity.
ANTONY AND CLEOPATRA, written about
1607, is the second of Shakespeare's Ro-
man plays. Julius Cæsar) being the
first. For breadth of treatment and
richness of canvas it excels the latter.
There is a splendid audacity and self-
conscious strength, almost diablerie, in
it all. In Cleopatra, the gipsy sorceress
queen, the gorgeous Oriental voluptuous-
ness is embodied; in the strong-thewed
Antony, the stern soldier-power of Rome
weakened by indulgence in lust. There
is no
more affecting scene in Shakes-
peare than the death, from remorse, of
Enobarbus. In the whole play the poet
follows North's (Plutarch for his facts.
The three rulers of the Roman world
are Mark Antony, Octavius Cæsar, and
their weak tool, Lepidus. While Antony
is idling away the days in Alexandria
with Cleopatra, and giving audience to
Eastern kings, in Italy things are all
askew. His
wife Fulvia has died.
Pompey is in revolt with a strong force
on the high seas. At last Antony is
shamed home to Rome. Lepidus and
other friends patch up a truce between
him and Cæsar, and it is cemented by
Antony marrying Cæsar's sister Octavia,
to the boundless vexation of Cleopatra.
What a contrast between the imperial
Circe, self-willed, wanton, spell-weaving,
and the sweet, gentle Octavia, wifely and
loyal! From the time when Antony first
met his “serpent of old Nile, in that
rich Venetian barge of beaten gold,
wafted by purple sails along the banks of
the Cydnus, up to the fatal day of Ac-
tium, when in her great trireme she fed
from Cæsar's ships, and he shamefully
fied after her, he was infatuated over
her, and she led him to his death. After
the great defeat at Actium, Enobarbus
and other intimate followers deserted the
waning fortunes of Antony. Yet once
more he tried the fortune of battle, and
on the first day was victorious, but on
the second was defeated by sea and
land. Being falsely told that Cleopatra
is dead, Antony falls on his sword.
Cleopatra has taken refuge in her monu-
ment, and she and her women draw up
the dying lover to its top. But the
monument is forced by Cæsar's men,
and the queen put under a guard. She
has poisonous asps smuggled in a basket
of figs, and applies one to her breast
and another to her arm, and so dies,
looking in death like sleep,” and
"As she would catch another Antony
In her strong toil of grace. ”
CORIOLANUS, a powerful drama of
Shakespeare's later years (written about
1609), retells from North's (Plutarch, in
terse sinewy English, the fate that over-
took the too haughty pride of a Roman
patrician,-generous, brave, filial, but a
mere boy in discretion, his soul a dyna-
mo always overcharged with a voltage
current of scorn and rage, and playing
out its live lightnings on the least prov-
ocation. See his fierce temper reflected
in his little boy, grinding his teeth as
he tears a butterfly to pieces: «Oh, I war-
rant how he mammocked it! ) Mark his
strength: Death, that dark spirit, in's
nervy arm doth lie. ” “What an arm he
has! he turned me about with his finger
and thumb as one would set up a top. ”
In battle he was a thing of blood,
whose every motion was timed with
dying cries. ” In the Volscian war, at
the gates of Corioli, this Caius Marcius
performed such deeds of derring-do that
he was nigh worshiped; and there he got
his addition of Coriolanus. ) His scorn
of the rabble, their cowardice, vacillation,
dirty faces, and uncleaned teeth, was
boundless, The patricians were
with
him: if the plebeians rose in riot, accus-
ing the senatorial party of «still cup-
boarding the viand, but never bearing
labor like the rest, Menenius could put
them down with the apologue of the
belly and the members,— the belly, like
the Senate, indeed receiving all, but only
to distribute it to the rest. Coriolanus
goes further, and angers the tribunes by
roundly denying the right of the cowardly
plebs to a distribution of grain in time
of scarcity: The tribunes stir up the
people against him; and when he returns
from the war, wearing the oaken gar-
land and covered with wounds, and seeks
the consulship, they successfully tempt
his temper by taunts, accuse him of
treason, and get him banished by de-
In a towering rage he cries, “You
common cry of curs, I banish you! ” and
taking an affecting farewell of his wife,
and of Volumnia his mother (type of the
stern and proud Roman matron), he
goes disguised to Antium and offers his
services against Rome to his hitherto
cree.
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SYNOPSES OF NOTED BOOKS
399
mortal foe and rival, Tullus Sufidius. with Pisanio, who discloses all, gets her
The scene with the servants forms the to disguise herself in men's clothes and
sole piece of humor in the play. But seek to enter the service of Lucius, the
his destiny pursues him still: his worser Roman ambassador. She loses her way,
genius, like the Little Master in (Sin- and arrives at the mountain cave in
tram,' whispers him to his ruin; his old Wales where dwell, unknown to her, her
stiff-necked arrogance of manner again two brothers, Guiderius and Arviragus,
appears. The eyes of all the admirant stolen in infancy. Imogen is hospitably
Volscians are
on him.
Sufidius, now received by them under the name of Fi-
bitterly jealous, regrets his sharing of dele. While they are at the chase she
the command; and when, softened by the partakes of a box of drugged medicine
entreaties of weeping wife and mother, which the wicked queen had prepared,
Coriolanus spares Rome and returns with and sinks into a trance resembling
the Volscians to Antium, his rival and death. Her brothers sing her requiem.
a band of conspirators (stain all their In the end Cloten is killed, the paternity
edges” in his blood, and he falls, like of the youths revealed, Iachimo confesses
the great Julius, the victim of his own his crime, and Imogen recovers both her
willful spirit.
husband and her brothers.
CYMBELINE was written by Shakes- A WINTER's TALE, probably the last
peare late in his life, probably about dramatic piece from Shakespeare's pen,
1609. A few facts about Cymbeline and has the serene and cheerful wisdom of
his sons he took from Holinshed; but Cymbeline) and The Tempest. It is
the story of Imogen forms the ninth based on Greene's Pandosto) (1568). In
novel of the second day of Boccaccio's this story, as in Shakespeare, Bohemia
(Decameron. ) These two stories Shakes- is made a maritime country and Del-
peare has interwoven; and the atmo- phos an island. The name "Winter's
sphere of the two is not dissimilar: there Tale) derives partly from the fact that
is a tonic moral quality in Imogen's un- the play opens in winter, and partly
assailable virtue like the bracing mount- from the resemblance of the story to a
ain air in which the royal youths have marvelous tale told by a winter's fire.
been brought up. The beautiful song Like (Othello,' it depicts the tragic re-
(Fear No More the Heat o' the Sun) sults of jealousy, in this case long
a great favorite with Tennyson. years of suffering for both husband and
Cymbeline wanted his daughter Imogen wife, and the purification of the soul of
to marry his stepson Cloten, a boorish the former through remorse, and his
lout and cruel villain, but she has se- final reconciliation with his wronged
cretly married a brave and loyal private queen. Leontes, king of Sicily, unlike
gentleman, Posthumus Leonatus, and he Othello, has a natural bent toward jeal-
is banished for it. In Italy one lachimo ousy; he suspects without good cause,
wagers him ten thousand ducats to his and is grossly tyrannical in his persecu-
diamond ring that he can seduce the tions of the innocent. Hermione, in her
honor of Imogen. He miserably fails, sweet patience and sorrow, is the most
even by the aid of lies as to the disloy- divinely compassionate matron Shakes-
alty of Posthumus, and then pretends he peare has delineated. Polixenes, king
was but testing her virtue for her hus- of Bohemia, has been nine months a
band's sake. She pardons him, and re- guest of his boyhood's friend Leontes,
ceives into her chamber, for safe-keeping, and is warmly urged by both king and
a trunk, supposed to contain costly plate queen
to stay longer. Hermione's
and jewels, but which really contains warm hospitality and her lingering hand
lachimo himself, who emerges from it in pressures are construed by the king as
the dead of night; slips the bracelet proof of criminality: he sees himself
from her arm; observes the mole, cinque- laughed at for a cuckold; a deep fire of
spotted with crimson, on her breast; and rage burns in his heart; he wants Ca-
notes down in his book the furniture millo to poison Polisenes; but this good
and ornaments of the room. He returns man flies with him to Bohemia. Leon-
to Italy. Posthumus despairingly yields tes puts his wife in prison, where she is
himself beaten, and writes to his serv- delivered of a daughter. He compels
ant Pisanio to kill Imogen; to facilitate Antigonus to swear to expose it in a
the deed, he sends her word to meet desert place, and then proceeds with the
him at Milford Haven. Thither she flies formal trial of his wife. His messen-
was
## p. 400 (#436) ############################################
400
SYNOPSES OF NOTED BOOKS
a
was
gers to Delphi report her guiltless. She THE TEMPEST, one of Shakespeare's
swoons away, and Paulina gives out very latest plays (1611), written in the
that she is dead. But she is secretly mellow maturity of his genius, is prob-
conveyed away, after the funeral, and ably based on a lost Italian novella or
revived. Her little son dies from grief. play, though certain incidents are bor-
Sixteen years now elapse, and we are rowed from three pamphlets on the Ber-
across seas in Bohemia, near the palace mudas and Virginia and from Florio's
of Polixenes, and near where Hermi- Montaigne. The scene is said to be
one's infant daughter was exposed, but laid in the haunted island of Lampe-
rescued (with a bundle containing rich dusa in the Mediterranean. In the
bearing cloth, gold, jewels, etc. ) by an opening lines we see a ship laboring in
old shepherd. Antigonus and his ship's heavy seas near the shore of an island,
crew were all lost, so no trace of the in- whose sole inhabitants, besides the
fant could be found. But here she is, spirits of earth and air typified in the
the sweetest girl in Bohemia and named dainty ye powerful sprite Ariel, are
Perdita (“the lost one”). A sheep- Prospero and his lovely daughter Mi-
shearing feast at the old shepherd's cot- randa, and their slave, the deformed
tage is in progress. His son has gone boor Caliban, an aborigine of the is-
for sugar and spices and rice, and had land.
The grave and good Prospero is
his pocket picked by that rogue of
luckier castaway than Robinson
rogues, that snapper-up of unconsidered Crusoe, in that his old friend Gonzalo
trifles, Autolycus. The dainty Perdita put into the boat with him not only his
moves about under the green trees as infant daughter, but clothes, and some
the hostess of the occasion, giving to books of magic, by the aid of which
each guest a bunch of sweet flowers and both men and spirits, and the very ele-
a welcome. Polixenes and Camillo are ments, are subject to the beck of his
here in disguise, to look after Polix- wand. He was the rightful Duke of
enes's son Florizel. After dancing, and Milan, but
supplanted by his
some songs from peddler Autolycus, brother Antonio, who with his confeder-
Florizel and Perdita are about to be be- ate, the king of Naples, and the lat-
trothed when Polixenes discovers him- ter's son Ferdinand and others, is cast
self and threatens direst punishment to ashore on the island. The shipwreck
the rustics. The lovers fly to Sicily, occurs full in the sight of the weeping
with a feigned story for the ear of Miranda; but all hands are saved, and
Leontes; and the old shepherd and his the ship too. The humorous characters
son get aboard Florizel's ship to show are the butler Stephano, and the court
the bundle and fairy gold” found with jester Trinculo, both semi-drunk, their
Perdita, expecting thus to save their speech and songs caught from the sail-
lives by proving that they are not re- ors, and savoring of salt and tar.
sponsible for
her doings. Polixenes Throughout the play the three groups of
and Camillo follow the fugitives, and at personages, — the royal retinue with the
Leontes's court is great rejoicing at the irrepressible and malapropos old Gon-
discovery of the king's daughter; which zalo, the drunken fellows and Caliban,
joy is increased tenfold by Paulina, who and Prospero with his daughter and
restores Hermione to her repentant hus- Ferdinand, - move leisurely to and fro,
band's arms. Her device for gradually the whole action taking up only three
and gently possessing him of the idea of hours. The three boors, fuddled with
Hermione's being alive, is curious and their fine liquor and bearing the bark
shrewd. She gives out that she has in bottle, rove about the enchanted island,
her gallery a marvelous statue of Her- fall into the filthy-mantled pool, and are
mione by Julio Romano, so recently stoutly pinched by Prospero's goblins for
finished that the red paint on the lips is theft. The murderous plot of Antonio
yet wet.
When the curtain is drawn by and the courtier Sebastian is exposed at
Paulina, husband and daughter gaze the phantom banquet of the harpies.
greedily on the statue, and to their Spellbound in the linden grove, all the
amazement it is made to step down guilty parties come forward into
from its pedestal and speak. They per- charmed circle and take a lecture from
ceive it to be warm with life, and to be Prospero. General reconciliation. Then
indeed Hermione herself, - let us hope, to finally, Miranda and Ferdinand are dis-
have less strain on her charity thereafter. covered playing chess before Prospero's
a
## p. 401 (#437) ############################################
SYNOPSES OF NOTED BOOKS
401
on
a
or
cell, and learn that to-morrow they set
sail for Naples to be married.
Two NOBLE KINSMEN. – A most no-
ble and pathetic drama, founded
Chaucer's (Knighte's Tale, and first
printed in 1634, with the names of
Shakespeare and Fletcher on the title-
page as authors. The grand passages
show the very style of Coriolanus)
and of The Tempest,' and are wholly
beyond Fletcher's powers: e. g. , the
magnificent description of Arcite's horse,
worthy of the Panathenaic frieze; the
Meissonier portraits of the champion
Knights' assistants,— the stern, brown-
faced prince with long, black, shining
hair and lion mien, the massive-thewed
blond, and the rest; the portrait of
Arcite himself, his eye like a sharp
weapon on soft sheath, of most
fiery sparkle and soft sweetness);
of Palamon's brown manly face and
thought-lined brow. And how Shakes-
pearean that phrase applied to old men
nearing death,—the gray approachers !
And who but Shakespeare would have
written the lines (so admired by Ten-
nyson) on Mars,-
« Who dost pluck
with hand omnipotent from forth blue clouds
The mason'd turrets"?
The under-plot about the jailer's
daughter, who goes mad for Palamon's
love, is a weak and repulsive imitation
of the Ophelia scenes in (Hamlet. )
The play is about the tribulations of
two noble youths who both love the
sweet girl, «fresher than
the
May, - Emilia, sister of Hippolyta,
wife of Theseus. Their love separates
them; they were a miracle of friend-
ship, they become bitterest foes. By
Theseus's command they select each
three friends, and in a trial by combat
of the eight champions, Arcite wins
Emilia, but is at once killed by his
horse falling on him, and Palamon
secures the prize after all.
Henry VIII. , a historical drama by
Shakespeare, based on Edward Hall's
(Union of the Families of Lancaster
and York,' Holinshed's Chronicles,' and
Fox's 'Acts and Monuments of the
Church. ) The key-idea is the muta-
bility of earthly grandeur, and by one
or another turn of Fortune's wheel, the
overthrow of the mighty - i. e. , of the
Duke of Buckingham, of Cardinal Wol-
sey, and
of Queen arine. The
action covers a period of sixteen years,
XXX-2Ć
from the field of the Cloth of Gold, in
1520, described in the opening pages,
to the death of Queen Katharine in
1536. It is the trial and divorce of this
patient, queenly, and unfortunate woman,
that forms the main subject of the
drama. She was the daughter of Ferdi-
nand and Isabella of Castile, and born
in 1485. She had been married when
seventeen to Arthur, eldest son of Henry
VII. Arthur lived only five months after
his marriage, and when at seventeen
years Henry VIII. came to the throne
(that most hateful ruffian and tyrant),
he married Katharine, then twenty-four.
She bore him children, and he never
lost his respect for her and her unblem-
ished life. But twenty years after his
marriage he met Anne Bullen at a merry
ball at Cardinal Wolsey's palace, and
fell in love with her, and immediately
conceived conscientious scruples against
the legality of his marriage. Queen
Katharine is brought to trial before a
solemn council of nobles and churchmen.
With fine dignity she appeals to the
Pope and leaves the council, refusing
then and ever after to attend any of
their courts. The speeches are master-
pieces of pathetic and noble defense.
In all his facts the poet follows history
very faithfully. The Pope goes against
her, and she is divorced and sequestered
at Kimbolton, where presently she dies
heart-broken, sending a dying message
of love to Henry. Intertwined with the
sad fortunes of the queen the
equally crushing calamities that overtake
Cardinal Wolsey. His high-blown pride,
his oppressive exactions in amassing
wealth greater than the king's, his ego
et rex meus, his double dealing with
Henry in securing the Pope's sanction
to the divorce,- these and other things
are the means whereby his many ene-
mies work his ruin. He is stripped of
all his dignities and offices, and wanders
away, an old man broken with the storms
of State, to lay his bones in Leicester
Abbey. The episode of the trial of
Archbishop Cranmer is so pathetically
handled as to excite tears. He is brought
to trial for heresy by bis enemy Gardi-
ner, bishop of Winchester, but has pre-
viously been moved to tears of gratitude
by Henry's secretly bidding him be of
good cheer, and giving him his signet
ring as a talisman to conjure with if too
hard pressed by his enemies. Henry is
so placed as to oversee (himself unseen)
are
same
## p. 402 (#438) ############################################
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SYNOPSES OF NOTED BOOKS
Cranmer's trial and the arrogant perse-
cution of Gardiner. Cranmer produces
the ring just as they are commanding
him to be led away to the Tower; and
Henry steps forth to first rebuke his
enemies and then command them to be
at peace. He does Cranmer the high
honor of asking him to become a god-
father to the daughter (Elizabeth) of
Anne Bullen; and after Cranmer's elo-
quent prophecy at the christening, the
curtain falls. The setting of this play
is full of rich and magnificent scenery
and spectacular pomp.
not work, japers, and mynstralles »
that sell "glee. ” They are, or nearly so,
the same beings Chaucer assembled at
the « Tabard » inn, on the eve of his pil-
grimage to Canterbury.
This crowd has
likewise a pilgrimage to make.
« They journey through abstract coun-
tries, they follow mystic roads
in search of Truth and of Supreme
Good. »
This search is the subject of an elab-
orate allegory, in the course of which
the current abuses in Church and State
are vigorously attacked. The poet in-
veighs especially against the greed and
insincerity of his age, personifying these
qualities in Lady Meed, who leads men
astray, and tricks them into sin. The
poem throws much light upon social and
religious institutions of the day. These
revelations must, however, be sought for
among the strange mist-shapes of alle-
gory.
The poet's vocabulary is similar to
that of Chaucer. Several dialects are
combined in it, the Midland dia
dominating The metre is alliterative,
long lines, divided into half-lines by a
pause. Each line contains strong, or ac-
cented, syllables in fixed number, and
weak or unaccented syllables in varying
number.
About Piers Plowman) there has
grown up a considerable body of editor-
ial commentary. The work of Thomas
Wright and of Skeat in this field is
noteworthy.
The Vision
of Piers Plowman, an
English poem of the fourteenth cen-
tury, is ascribed, chiefly on the ground
of internal evidence, to William Lang-
land or Longland, a monk of Malvern,
in spirit a Thomas Carlyle of the Middle
Ages, crying out against abuses, insist-
ing upon sincerity as the first of virtues.
This poem belongs to the class of the
dream-poem, a characteristic product of
his century. Dante had seen all heaven
and hell in vision. Gower and the au-
thor of Pearl had dreamed dreams.
(The Vision of Piers Plowman) is a cu-
rious amalgamation of fantastic allegory
and clear-cut fact, of nebulous dreams
and vivid pictures of the England of the
day. The author is at once as realistic
as Chaucer and as mystical as Guil-
laume de Lorris, the observant man of
the world and the brooding anchorite;
his poem reflects both the England of
the fourteenth century and the visionary,
child-like mediæval mind.
Internal evidence fixes its date about
1362. Forty manuscript copies of it, be-
longing for the most part to the latter
end of the fourteenth century, attest its
popularity. Three distinct versions are
extant, known as Texts A, B, and C.
The probable date of Text A is 1362-63;
of Text B, 1376–77; of Text C, 1398–99.
The variations in these texts are consid-
erable. An imitation of the poem called
(Piers Plowman's Crede) appeared about
1393. The author of Piers Plowman)
represents himself as falling asleep on
Malvern Hills, on a beautiful May morn-
ing: In his dreams he beholds a vast
plain, «a feir feld ful of folk,” repre-
senting indeed the whole of humanity:
knights, monks, parsons, workmen sing-
ing French songs, cooks crying hot pies !
Hote pyes, hote! ” pardoners, pilgrims,
preachers, beggars, jongleurs who will
1
on
Sartor Resartus, by Thomas Carlyle,
first appeared in Fraser's Magazine,
in 1833-34, and later in book form. It
is divided into three parts, - introduc-
tory, biographical, and philosophical.
The first part describes an imaginary
book (Clothes: Their Origin and
Influence) by Diogenes Teufelsdröckh,
Professor of Things in General at
Weissnichtwo in Germany. The book,
the editor complains, is uneven in style
and matter, and extraordinarily difficult
to comprehend, but of such vigor in
places that he is impelled to translate
parts of it. The book begins with a
history of clothes: they are co-existent
with civilization, and are the source of
all social
and
political distinction.
Aprons, for example, are of all sorts,
from the smith's iron sheet to the
bishop's useless drapery. The re
church is shown in the paper aprons
## p. 403 (#439) ############################################
SYNOPSES OF NOTED BOOKS
403
men.
as
a
of the Paris cooks; future historians man and of the freedom of thought.
will talk, not of church, but of jour-Religion is the basis of society: every
nalism, and of editors instead of states- society may be described as a church
Man is apt to forget that he is which is audibly preaching or prophesy-
not a mere clothed animal, - that to ing, or which is not yet articulate, or
the eye of pure reason he is a soul. which is dumb with old age. Religion
Still Teufelsdröckh does not counsel a has entirely abandoned the clothes pro-
return to the natural state, for he rec- vided for her by modern society, and
ognizes the utility of clothes the sits apart making herself new ones. All
foundation of society. Wonder, at him- symbols are valuable as keeping some-
self or at nature, every man must feel thing silent, and, at the same time, as
in order to worship. Everything ma- revealing something of the Infinite.
terial is but an emblem of something Society now has no proper symbols,
spiritual; clothes are such emblems, and owing to over-utilitarianism and over-
are thus worthy of examination.
independence. Still a new society is form-
The autobiographic details sent to the ing itself to rise, Phænix-like, from the
editor which fill Book ii. came to him on ashes of the old. Mankind, like nature,
loose scraps of paper in sealed paper is one, not an aggregate of units. The
bags, with no attempt at arrangement future church for the worship of these
anywhere. A mysterious stranger left mysteries will be literature, as already
Teufelsdröckh, when he was a helpless suggested by the prophet Goethe. Cus-
infant, at the house of Andreas Futteral, tom makes nature, time, and space, which
a veteran and farmer. Andreas and his are really miracles, seem natural, but
wife Gretchen brought the boy up hon- we must feel wonder and reverence at
estly and carefully. As child he them. Our life is through mystery to
roamed out-doors, listened to the talk of mystery, from God to God. The chief
old men, and watched the sunset light points, in concluding, to be remembered
play over
the valley. At school he are: All life is based on wonder; all
learned little, and at the gymnasiums clothes, or symbols, are forms or mani-
less. At the university he received no festations of the spiritual or infinite;
instruction, but happened to prefer read- cant and hypocrisy everywhere should
ing to rioting, and so gained a great deal be replaced by clear truth.
of information. Then he was thrust into
the world to find out what his capability
was by himself. He withdrew from the riet Waters Preston, is an account
law, in which he had begun, and tried of the poetry of Provence, old and new.
to start out for himself.
The woman The earlier essays describe the work
whom he loved married another, and he of the two best-known of the <Fé-
was plunged into the depths of despair. libres, as the school of modern poets
Doubt, which he had felt in the univer- of the South of France is called: men
sity, became unbelief in God and even who write in the old (langue d'oc,”
the Devil, — in everything but duty, could or Provençal dialect, in opposition to
he have known what duty was.
He was
the langue d'oil,” or French tongue,
a victim to a curious fear, until one day which they do not acknowledge as their
his whole spirit rose, and uttering the language. Miss Preston makes many
protest of the everlasting no, asserted translations of their verse, which give
its own freedom. After that he wan- a vivid presentment of the fire and
dered in a «Centre of Indifference, color and naïve simplicity of the ori-
not caring much, but interested in cities, ginals. Another poet of the South of
fields, and books. Life came to mean France, neither Provençal nor French,
freedom to him; he felt impelled to was Jacques Jasmin, who wrote in the
look through the shows of things to the peculiar Gascon dialect, with all the
things themselves,» — to find the Ideal wit and gayety of his race. The fore-
in the midst of the Actual.
runners of all these men were the old
The third book, which deals with the troubadours, who fourished from the
philosophy itself, is much less continuous driving out of the Saracens to the end
and clear. In the first chapter, he of the crusades, during the age of
praises George Fox's suit of leather as chivalry,” and who spent their lives
the most remarkable suit of its century, making love songs for the ladies of their
since it was a symbol of the equality of preference. Their chansons, or songs, so
Troubadours and Trouveres, by Har-
>>
## p. 404 (#440) ############################################
404
SYNOPSES OF NOTED BOOKS
sec
simple and so perfect, were invariably on
the one theme of love; occasionally they
wrote longer pieces, called “sirventes,
which were narrative or satiric. Many
charming translations illustrate their
manner. The book closes with a chap-
ter on the Arthurian legends, showing
what these owe to Geoffrey of Mon-
mouth, to unknown French romances,
to Sir Thomas Malory, and finally
to Tennyson. Miss Preston's excellent
scholarship and rare literary gift com-
bine to make a most entertaining book.
own
ambitions. Leaving the actors, he be-
comes acquainted with some landed pro-
prietors belonging to the lesser nobility
of the country. And here the
ond period of his apprenticeship begins.
Meeting people of culture and position
in society, he comes into closer touch
with real life, and is initiated into the
ways of the world. His development is
further hastened by finding his son Fe-
lix, whom he has never acknowledged.
What women and society are still unable
to teach him, he now learns from his
child. The awakening sense of
his parental responsibilities is the final
touchstone of his fully developed man-
hood. Having thus completed his ap-
prenticeship to life in a series of bitter
experiences, he now marries a lady of
rank, and turns landed proprietor. The
scheme of the novel gave Goethe oppor-
tunity to bring in the most varied phases
of society, especially the nobility of his
time, and the actors. He also discusses
different æsthetic principles, especially
the laws of dramatic art as exemplified
in (Hamlet. ) He also touches on ques-
tions of education, and religious contro-
versy, and satirizes somewhat the secret
societies, just then beginning to spring
up in Germany. (Wilhelm Meister,' in
short, gives a richly colored picture of
the life of Goethe's time.
Wilhelm Meister's Apprenticeship.
The first part of Wilhelm Meis-
ter) was finished in 1796, after having
occupied Goethe's attention for twenty
years.
The central idea of this great
novel is the development of the individ-
ual by means of the most varied expe-
riences of life. There is no plot proper,
but in a series of brilliant episodes the
different stages of the hero's spiritual
growth are brought before the reader.
Wilhelm Meister is a young man with
many admirable qualities of character,
but passionate and emotional, somewhat
unstable, lacking reflection and proper
knowledge of the world. The son of a
well-to-do business man in a small Ger-
man town is traveling for his father's
house when he falls in with a troupe of
strolling comedians. From earliest boy-
hood he has been devoted to the theatre,
a passion which has been nourished by
puppet-plays and much reading of dra-
matic literature and romances. Disgusted
with the routine of business, and eager
for new experiences, he joins the players,
determined to become an actor himself,
His apprenticeship to life falls into two
periods. The first comprises the lessons
he learned while among the players.
Brought up in comfort in a respectable,
somewhat philistine household, he enjoys
at first the free and easy life of his new
companions, though as a class they had
at that period hardly any standing in
society. He becomes passionately at-
tached to Marianne, a charming young
actress, who returns his love, but whom
he leaves after a while, because of un-
grounded jealousy. For a time he thinks
he has found his true vocation in the
pursuit of the actor's art. But ill-success
on the stage, and closer acquaintance
with this bohemian life of shams and
gilded misery, disillusions him, and re-
veals the insubstantiality of his youthful
Scarlet Letter, The, the novel which
established Nathaniel Hawthorne's
fame, and which he wrote in the ancient
environment of Salem, was published in
1850, when he was forty-six years old.
Its simple plot of Puritan times in New
England is surrounded with an air of
mystery and of weird imaginings. The
scene is in Boston, two hundred years
ago: the chief characters are Hester
Prynne; her lover, Arthur Dimmes-
dale, the young but revered minister of
the town; their child, Pearl; and her
husband Roger Chillingworth, an aged
scholar, a former resident of Amster-
dam, who, resolving to remove to the
New World, had, two years previously,
sent his young wife Hester on before
him. When the book opens, he arrives
in Boston, to find her upon the pillory,
her babe in her arms; upon her breast
the Scarlet Letter “A” (“Adulteress”),
which she has been condemned to wear
for life. She refuses to reveal the
name of her partner in guilt, and takes
up her lonely abode on the edge of the
## p. 405 (#441) ############################################
SYNOPSES OF NOTED BOOKS
405
on
rare
wilderness. Here Pearl grows up a wild
elf-like child; here Hester makes atone-
ment by devoting her life to deeds of
mercy.
Her husband, whose identity
she has sworn to conceal, remains in the
town, and in the guise of a physician,
pries into and tortures the minister's
remorse-haunted soul. Hester, knowing
this, forgetting aught but love, proposes
fight with him. He wills to remain,
to reveal his guilt publicly. Confessing
all, after a sermon of great power, he
dies in Hester's arms, upon the plat-
form where she once stood condemned.
A wonderful atmosphere of the Puritan
society bathes this book, its moral in-
tensity, its sensitiveness to the unseen
powers; while forever pressing in upon
the seething little community is the
mystery of the new-world wilderness,
the counterpart of the spiritual wilder-
ness in which Hester and Arthur wan-
der. This great creation is one of the
few classics » that the nineteenth cen-
tury has added to literature.
Knightly Soldier, The, by H. Clay
Trumbull, is a biography of Major
Henry Ward Camp of the Tenth Con-
necticut Volunteers, who fell in one of
the battles before Richmond in 1864. It
was written while the War was still in
progress; while the author, who
chaplain in the army and an attached
friend of the subject of the memoir, was
still amid the stress of the great con-
Aict; and he writes with the warmth of
personal affection and comradeship of
the career of a young American soldier.
It is a noble monument to the memory
of the author's friend; at the same time
it is a graphic chronicle of a soldier's
life in the field. The letters of Major
Camp interwoven with the narrative
reveal the man's study of himself in the
experiences of battle, prison, flight, re-
capture, liberation; and show him to be
indeed a knightly soldier. )
Twenty Years of Congress: From
Lincoln to Garfield, WITH A RE-
THE EVENTS WHICH LED
THE POLITICAL REVOLUTION OF 1860, by
James G. Blaine, with portraits. (2 vols.
1884-86. ) Mr. Blaine's unrivaled oppor-
of
work it an
contribution to history. It is clear, in-
teresting, and brilliantly written. A
large part of the first volume is de-
voted to a review of the events which
led up to the Civil War. Beginning
with the original compromises between
the North and the South embodied in
the Constitution, it proceeds with the
Missouri Compromises of 1820 and 1821,
the origin and development of the abo-
lition party, the character of the South-
ern leaders, the Mexican War, origin
and growth of the Republican party,
the Dred Scott decision, the debate
between Douglas and Lincoln, the
John Brown raid and Lincoln's elec-
tion. Then follow two chapters
Congress in the winter of 1860-61; after
which the course of affairs during the
War and down to the inauguration of
President Johnson occupies the rest of
the volume. Mr. Blaine shows himself
to be a warm admirer of Henry Clay,
contrasting him very favorably with
Webster, and saying of him: «In the
combination of qualities which
constitute at once the matchless leader
of party and the statesman of consum-
mate ability and inexhaustible resource,
he has never been surpassed by any
man speaking the English tongue. ) Of
General Grant he speaks in the most
appreciative terms. The picture of Lin-
coln's character is strongly drawn and
glowing. Volume ii. covers the period
from the beginning of Johnson's admin-
istration to the year 1881. The disband-
ment of the army, reconstruction, the
three amendments to the Constitution,
the government's financial legislation,
Johnson's impeachment, General Grant's
two terms, the Geneva award, Hayes's
administration, the fisheries question,
and Garfield's election, are among the
topics treated. In conclusion, the author
alludes to the unprecedented difficulty
of the legislative problems during the
War, and briefly notes' the course of
Congress in grappling with them, re-
views the progress of the people dur-
ing the twenty years, claiming credit
for Congress for the result, and asserts
that “No government of modern times
has encountered the dangers that beset
the United States, achieved the
triumphs wherewith the nation is
crowned. »
was
:
VIEW
OF
TO
or
inn itkis varike imekese period important Luckther sketchesney Street Markehavd
, by
for their subjects strange incidents of life
in the far West during the gold-fever
of '49.
The essential romance of that.
adventurous, lawless, womanless society
## p. 406 (#442) ############################################
406
SYNOPSES OF NOTED BOOKS
is embodied in these tales. Representa-
tive members of it, gamblers with the
melancholy air and intellectual abstrac-
tion of a Hamlet”; all-around scamps
with blond hair and Raphael faces;
men with pasts buried in the oblivion
east of the Mississippi; young men, bat-
tered men, decayed college graduates,
and ex-convicts, are brought together in
picturesque confusion, — their hot, fierce
dramas being played against the loneli-
ness of the Sierras, the aloofness of an
unconquerable nature. (The Luck of
Roaring Camp' is perhaps the
beautiful of the sketches; (The Outcasts
of Poker Flat) is scarcely less pathetic.
In Tennessee's Partner,' and in Mig-
gles,' humor and pathos are mingled.
The entire book is a wonderfully dra-
matic transcript . of a phase of Western
life forever passed away.
The environment in which she is placed
- fashionable England of the beginning
of the century — offered a great field for
the genius of Thackeray. He portrayed
it with marvelous, sustained skill through
the long, leisurely, many-chaptered novel.
Not a foible of fashionable life escaped
him: not one weakness of human nature,
not one fallacy of the gay world. His
satire plays like searching light upon
the canvas. His humanity does not miss
the pathos sometimes lurking under the
hard, bright surface of events. He does
not forget that some women are tender,
that some men are brave. Neither does
he pass eternal judgment upon his char-
acters. In his dealings with these fre-
quenters of Vanity Fair,' there is some-
thing of the indifference of the gods,
something, too, of their chivalry.
most
uo Vadis, the latest and perhaps the
Vanity Fair, by W. M. Thackeray Q“most popular proste a nohy Perkies Polish
a
(1847–48), is one of the few great
novels of the world, and perhaps the
only novel of society that ranks as
classic, as a perfect and complete em-
bodiment of those peculiar forces and
conditions embraced in the term "fash-
ionable. ) As the sub-title states, it is
<< without a hero); but not, however,
without a heroine. The central figure of
the book is that chef-d'œuvre, the im-
mortal, inimitable, magnificent Becky
Sharp, the transcendent type of social
strugglers, the cleverest, most unmoral
woman in the whole range of fiction.
From the hour when she tosses John-
son's Dictionary, the last gift of her
teacher, out of the window of the Sedley
coach, to her final appearance on the
stage of the novel, she never falters in
the bluff game she is playing with so-
ciety. Her victims are numerous, her
success, with slight exceptions, is unim-
peachable. In constant contrast to her is
pretty, pink-and-white, amiable Amelia,
all love and trust, Beckey's school inti-
mate and first protector.
On Amelia
and Amelia's family, Becky first climbs
towards the dizzy heights of an assured
social position. Rawdon Crawley is her
final prey, the successful victim of
her matrimonial ventures. Having se-
cured him, she is more at liberty to be
herself, to cease the strain of concealing
her real nature, in her home at least.
To the world she is still an actress, and
the world does not find her out until it
has suffered by her.
master in fiction, Henryk Sienkiewicz,
is, like the trilogy,” historical; it deals,
however, not with the history of Poland,
but with that of Rome in the time
of Nero. The magnificent spectacular
environment of the decaying Roman
empire, the dramatic qualities of the
Christian religion, then assuming a
world-wide significance, offer rich mate-
rial for the genius of Sienkiewicz. He
presents the background of his narrative
with marvelous vividness. Against it he
draws great figures: Petronius, the lordly
Roman noble, the very flower of pagan-
ism; Eunice and Lygia, diverse products
of the same opulent world; Nero, the
beast-emperor; the Christians seeking an
unseen kingdom in a city overwhelmed
by the symbols of earthly imperialism;
others typical of dying
Rome, or of that New Rome to be es-
tablished on the ruined throne of the
Cæsars. The novel as a whole is in-
tensely dramatic, sometimes melodra-
matic. Its curious title has reference to
an ancient legend, which relates that St.
Peter, fleeing from Rome and from
crucifixion, meets his Lord Christ on
the Appian Way. «Lord, whither goest
thou ? ) (Domine, quo vadis ? ) cries Peter.
« To Rome, to be crucified again,” is the
reply. The apostle thereupon turns back
to his martyrdom. While (Quo Vadis)
cannot rank with the trilogy,” it is in
many respects a remarkable novel. Its
merit is not, however, in the ratio of its
popularity.
and many
## p. 407 (#443) ############################################
SYNOPSES OF NOTED BOOKS
407
Indiana, by “George Sand” (Madame
Dudevant). A romantic tale pub-
lished in 1832, which is of interest
chiefly as being the first which brought
the distinguished author into note, and
also as portraying something of the au-
thor's own experience in married life.
The scene is alternately in the Castle
de Brie, the estate of the aged Colonel
Delmare, a retired officer of Napoleon's
army, where he lives with his youthful
Creole wife Indiana; and in Paris,
where the wife visits her aristocratic
aunt, and where lives Raymond de Ra-
mière, the heartless and reckless lover
first of her foster-sister and maid Noun,
and then of herself. Estranged from
her ill-matched husband, the young wife
is drawn into the fascinations of Ray-
mond, whose artfulness succeeds in de-
ceiving the Colonel, the wife, and all
the faithful English cousin, Sir
Ralph; who secretly loves Indiana, but
shields Raymond from discovery for fear
of the pain that would result to her.
Desperate situations and dire conflicts
of emotions follow, with much discourse
on love and marital duty, and frequent
discussions of the social ard political
questions of the day; the Colonel repre-
senting the Napoleonic idea of empire,
Raymond the conservative legitimist,
and Sir Ralph the modern republican.
The descriptions of nature are vivid,
and the characters are skillfully drawn,
however untrue they may seem to actual
life.
to force them into submission to the
house of Hapsburg. But a band of the
free-born Swiss gathered together on
the Rütli, that famous meadow on the
lake of Lucerne, even now an objective
point of pilgrimage to the traveler in
Switzerland. They swore a solemn oath
to overthrow the Austrian tyranny, and
to free their country. But even while
they were maturing their plans, one of
the oppressors, Gessler, came to his
death. He had forced William Tell to
shoot an apple from the head of his
son, as a punishment for disregarding a
ridiculous ordinance. Tell, one of the
best marksmen far and wide, hit the
core of the apple without so much as
touching a hair of his son's head. Yet
he swore vengeance, and at the next
opportunity he shot Gessler. This deed
was the signal for a general uprising of
the people. The Austrian officials were
driven out of the country, their castles
destroyed, and Switzerland
more free. Although the play is named
after Tell, he is merely the nominal
hero. The real protagonists are the
whole people.
save
was
once
William Tell, the last completed
drama of Schiller, - his swan-
song, was written in 1804, one year
before his death. It is considered one
of his finest works, being the most ma-
ture expression of that idea of freedom
with which he had opened his poetic
career in (The Robbers, twenty years
before. But whereas Karl Moor was
warring against the existing order of
things, the Swiss people were fighting
for the preservation of their ancient
rights. The drama deals with what one
might call the rebellion of the three
Swiss counties, Schwyz, Uri, and Unter-
walden, against the duke Albrecht of
Austria, who at the same time
German Emperor under the name Al-
brecht I. , reigning 1298-1308. His
bailiffs, Hermann Gessler von Bruneck
and Beringer von Landenberg, harassed
the people in all possible ways, in order
Yemassee, The: A ROMANCE OF Caro-
LINA, by William
Gilmore Sims.
This is an American romance, the lead-
ing events of which are strictly true.
told him he shall not perish till Birnam guised Edgar, and the Fool, insanity
wood shall come to Dunsinane, and that sets in and never leaves him until he
no one of woman born shall have mor- dies at Dover by the dead body of Cor-
tal power over him.
But the enemy,
delia. In a hurricane of fearful events
as they approach, cut branches from the action now rushes on: Gloster's eyes
Birnam wood to shadow the number of are plucked out, and he wanders away to
their host. This strikes terror to Mac- Dover, where Cordelia, now Queen of
beth's heart; but relying on the other France, has landed with an army to re-
assurance of the witches, he rushes forth store her father to his rights. Thither,
to battle. He meets the enraged Mac- too, the stricken Lear is borne at night.
duff, learns from him that he (Macduff) The joint queens, most delicate friends,
was ripped untimely from his mother's lust after Edmund. Regan, made
womb, and so is not strictly of woman widow by the death of Cornwall, is
born. With the energy of despair Mac- poisoned by Goneril. Cordelia and Lear
beth attacks him, but is overcome and taken prisoner, and Cordelia is
beheaded.
hanged by Edmund's order. Edmund
LEAR. Shakespeare's great drama, is slain in the trial by combat. Lear
(King Lear,' was written between 1603 dies; Gloster and Kent broken-
and 1606. The bare historical outline of hearted and dying; Regan has stabbed
the story of the King he got probably herself; Edgar and Albany alone sur-
from Holinshed or from an old play, the vive. The Fool in Lear) is a man of
(Chronicle History of Leir); the sad tender feeling, and clings to his old
story of Gloster was found in Sir Philip comrade, the King, as to a brother. His
Sidney's Arcadia. ' The motifs of the jests are like smiles seen through tears;
drama are the wronging of children by they relieve the terrible strain on our
parents and of parents by children. feelings. Edmund is a shade better
a
are
are
## p. 397 (#433) ############################################
SYNOPSES OF NOTED BOOKS
397
OF
than lago; his bastardy, with its rank-
ling humiliations, is an assignable cause,
though hardly a palliation of his guilt.
TIMON OF ATHENS is by Shakespeare,
either in whole or in part. It is a bitter
satire on friendship and society, written
in the stern sarcastic vein of Juvenal.
The sources of the plot seem to have
been Paynter's Palace of Pleasure,'
Plutarch's (Life of Antony, and
Lucian's Dialogue on Timon. Shakes-
peare's (Timon' is unique both in his os-
tentations and indiscriminate prodigality
and in the bitterness of his misanthropy
after his wealth was gone. Yet he was
of the noblest heart. His sublime faith
that his friends were as generous as he,
and that they were all brothers, com-
manding one another's fortunes, was a
practical error, that was all.
Men were
selfish wolves; he thought them angels.
His bounty was measureless: if a friend
praised a horse 'twas his; if one wanted
a little loan of £5,000 or so, 'twas a
trifle; he portioned his servants and paid
his friends' debts; his vaults wept with
drunken spilth of wine, and every room
blazed with lights and brayed with
minstrelsy; at parting each guest re-
ceived some jewel as a keepsake. When
all was gone, full of cheerful faith he
sent out to his friends to borrow, and
they all with one accord began to make
Not a penny could he get.
Feast won, fast lost.
The smiling,
smooth, detested parasites left him to his
clamorous creditors and to ruin. The
crushing blow to his ideals maddened
him; his blood turned to gall and
vinegar. Yet he determined on one last
banquet. The surprised sycophants
thought he was on his feet again, and
with profuse apologies assembled at his
house. The covered dishes are brought
in. «Uncover dogs, and lap! ) cries the
enraged Timon. The dishes are found
to be full of warm water, which he
throws in their faces, then pelts them
with stones and drives them forth with
execrations, and rushes away to the
woods to henceforth live in a cave and
subsist on roots and berries and curse
mankind. In digging he finds gold.
His old acquaintances visit him in turn,
-Alcibiades, the cynical dog Apemantus,
his faithful steward Flavius, a poet,
a painter, senators of Athens. He curses
them all, flings gold at them, telling
them he gives it that they may use it
for the bale of man, pronounces his
weeping steward the only honest man in
the world, builds his everlasting man-
sion on the beached verge of the salt
food, where «vast Neptune may weep
for aye on his low grave, on faults for-
given, writes his epitaph, and lies down
in the tomb and dies.
PERICLES, PRINCE TYRE, a play
written in part by Shakespeare. His
part in it begins with the magnificent
storm scene in Act iii. ,—«Thou god of
this great vast, rebuke these surges, ” —
« The seaman's whistle is as a whisper
in the ears of death, unheard, etc. The
play was very popular with the masses
for a hundred years. Indeed the roman-
tic plot is enough to make it perennially
interesting and pathetic; the deepest
springs of emotion and of tears are
touched by the scenes in which Pericles
recovers his lost wife and his daughter.
– After certain strange adventures Peri-
cles, Prince of Tyre, arrives with ships
loaded with grain at Tarsus, and feeds
the starving subjects of King Cleon and
Queen Dionyza. Afterwards shipwrecked
by Pentapolis, he recovers from the
waves his suit of armor, and buying a
horse with a jewel, goes to King Simon-
ides's court and jousts for his daughter
Thaisa's love. He marries her, and in
returning to Tyre his wife gives birth,
in the midst of a terrible storm, to a
daughter whom he names Marina. The
mother, supposed dead, is laid by Peri-
cles in a water-tight bitumened chest,
with jewels and spices, etc. , and is thrown
overboard by the sailors, but cast ashore
at Ephesus and restored to life by the
wise and good physician Cerimon. Peri-
cles lands with his infant daughter at
Tarsus, where he leaves her with his old
friends Cleon and Dionyza. The pretty
Marina grows up, and so excites the
hatred of the queen by outshining her
own daughter, that she tries to kill her;
but the girl is rescued by pirates, who
carry her to Mitylene, where she is
bought by the owner of a disreputable ,
house, but escapes to take service as a
kind of companion in an honest family.
The fame of her beauty and accomplish-
ments spreads through the city. One
festal day comes Pericles, sad and ill, in
his ship to Mitylene, and meeting with
Marina, learns from her her story. His
joy is so great that he fears death. By
Diana's command, revealed to him in a
vision, he goes to Ephesus to co ss
before the people and before her
excuse.
## p. 398 (#434) ############################################
398
SYNOPSES OF NOTED BOOKS
»
priestess the story of his life. The of-
ficiating priestess turns out to be his
wife Thaisa, who went from the physi-
cian's house to become a ministrant in
the temple of the goddess of chastity.
ANTONY AND CLEOPATRA, written about
1607, is the second of Shakespeare's Ro-
man plays. Julius Cæsar) being the
first. For breadth of treatment and
richness of canvas it excels the latter.
There is a splendid audacity and self-
conscious strength, almost diablerie, in
it all. In Cleopatra, the gipsy sorceress
queen, the gorgeous Oriental voluptuous-
ness is embodied; in the strong-thewed
Antony, the stern soldier-power of Rome
weakened by indulgence in lust. There
is no
more affecting scene in Shakes-
peare than the death, from remorse, of
Enobarbus. In the whole play the poet
follows North's (Plutarch for his facts.
The three rulers of the Roman world
are Mark Antony, Octavius Cæsar, and
their weak tool, Lepidus. While Antony
is idling away the days in Alexandria
with Cleopatra, and giving audience to
Eastern kings, in Italy things are all
askew. His
wife Fulvia has died.
Pompey is in revolt with a strong force
on the high seas. At last Antony is
shamed home to Rome. Lepidus and
other friends patch up a truce between
him and Cæsar, and it is cemented by
Antony marrying Cæsar's sister Octavia,
to the boundless vexation of Cleopatra.
What a contrast between the imperial
Circe, self-willed, wanton, spell-weaving,
and the sweet, gentle Octavia, wifely and
loyal! From the time when Antony first
met his “serpent of old Nile, in that
rich Venetian barge of beaten gold,
wafted by purple sails along the banks of
the Cydnus, up to the fatal day of Ac-
tium, when in her great trireme she fed
from Cæsar's ships, and he shamefully
fied after her, he was infatuated over
her, and she led him to his death. After
the great defeat at Actium, Enobarbus
and other intimate followers deserted the
waning fortunes of Antony. Yet once
more he tried the fortune of battle, and
on the first day was victorious, but on
the second was defeated by sea and
land. Being falsely told that Cleopatra
is dead, Antony falls on his sword.
Cleopatra has taken refuge in her monu-
ment, and she and her women draw up
the dying lover to its top. But the
monument is forced by Cæsar's men,
and the queen put under a guard. She
has poisonous asps smuggled in a basket
of figs, and applies one to her breast
and another to her arm, and so dies,
looking in death like sleep,” and
"As she would catch another Antony
In her strong toil of grace. ”
CORIOLANUS, a powerful drama of
Shakespeare's later years (written about
1609), retells from North's (Plutarch, in
terse sinewy English, the fate that over-
took the too haughty pride of a Roman
patrician,-generous, brave, filial, but a
mere boy in discretion, his soul a dyna-
mo always overcharged with a voltage
current of scorn and rage, and playing
out its live lightnings on the least prov-
ocation. See his fierce temper reflected
in his little boy, grinding his teeth as
he tears a butterfly to pieces: «Oh, I war-
rant how he mammocked it! ) Mark his
strength: Death, that dark spirit, in's
nervy arm doth lie. ” “What an arm he
has! he turned me about with his finger
and thumb as one would set up a top. ”
In battle he was a thing of blood,
whose every motion was timed with
dying cries. ” In the Volscian war, at
the gates of Corioli, this Caius Marcius
performed such deeds of derring-do that
he was nigh worshiped; and there he got
his addition of Coriolanus. ) His scorn
of the rabble, their cowardice, vacillation,
dirty faces, and uncleaned teeth, was
boundless, The patricians were
with
him: if the plebeians rose in riot, accus-
ing the senatorial party of «still cup-
boarding the viand, but never bearing
labor like the rest, Menenius could put
them down with the apologue of the
belly and the members,— the belly, like
the Senate, indeed receiving all, but only
to distribute it to the rest. Coriolanus
goes further, and angers the tribunes by
roundly denying the right of the cowardly
plebs to a distribution of grain in time
of scarcity: The tribunes stir up the
people against him; and when he returns
from the war, wearing the oaken gar-
land and covered with wounds, and seeks
the consulship, they successfully tempt
his temper by taunts, accuse him of
treason, and get him banished by de-
In a towering rage he cries, “You
common cry of curs, I banish you! ” and
taking an affecting farewell of his wife,
and of Volumnia his mother (type of the
stern and proud Roman matron), he
goes disguised to Antium and offers his
services against Rome to his hitherto
cree.
## p. 399 (#435) ############################################
SYNOPSES OF NOTED BOOKS
399
mortal foe and rival, Tullus Sufidius. with Pisanio, who discloses all, gets her
The scene with the servants forms the to disguise herself in men's clothes and
sole piece of humor in the play. But seek to enter the service of Lucius, the
his destiny pursues him still: his worser Roman ambassador. She loses her way,
genius, like the Little Master in (Sin- and arrives at the mountain cave in
tram,' whispers him to his ruin; his old Wales where dwell, unknown to her, her
stiff-necked arrogance of manner again two brothers, Guiderius and Arviragus,
appears. The eyes of all the admirant stolen in infancy. Imogen is hospitably
Volscians are
on him.
Sufidius, now received by them under the name of Fi-
bitterly jealous, regrets his sharing of dele. While they are at the chase she
the command; and when, softened by the partakes of a box of drugged medicine
entreaties of weeping wife and mother, which the wicked queen had prepared,
Coriolanus spares Rome and returns with and sinks into a trance resembling
the Volscians to Antium, his rival and death. Her brothers sing her requiem.
a band of conspirators (stain all their In the end Cloten is killed, the paternity
edges” in his blood, and he falls, like of the youths revealed, Iachimo confesses
the great Julius, the victim of his own his crime, and Imogen recovers both her
willful spirit.
husband and her brothers.
CYMBELINE was written by Shakes- A WINTER's TALE, probably the last
peare late in his life, probably about dramatic piece from Shakespeare's pen,
1609. A few facts about Cymbeline and has the serene and cheerful wisdom of
his sons he took from Holinshed; but Cymbeline) and The Tempest. It is
the story of Imogen forms the ninth based on Greene's Pandosto) (1568). In
novel of the second day of Boccaccio's this story, as in Shakespeare, Bohemia
(Decameron. ) These two stories Shakes- is made a maritime country and Del-
peare has interwoven; and the atmo- phos an island. The name "Winter's
sphere of the two is not dissimilar: there Tale) derives partly from the fact that
is a tonic moral quality in Imogen's un- the play opens in winter, and partly
assailable virtue like the bracing mount- from the resemblance of the story to a
ain air in which the royal youths have marvelous tale told by a winter's fire.
been brought up. The beautiful song Like (Othello,' it depicts the tragic re-
(Fear No More the Heat o' the Sun) sults of jealousy, in this case long
a great favorite with Tennyson. years of suffering for both husband and
Cymbeline wanted his daughter Imogen wife, and the purification of the soul of
to marry his stepson Cloten, a boorish the former through remorse, and his
lout and cruel villain, but she has se- final reconciliation with his wronged
cretly married a brave and loyal private queen. Leontes, king of Sicily, unlike
gentleman, Posthumus Leonatus, and he Othello, has a natural bent toward jeal-
is banished for it. In Italy one lachimo ousy; he suspects without good cause,
wagers him ten thousand ducats to his and is grossly tyrannical in his persecu-
diamond ring that he can seduce the tions of the innocent. Hermione, in her
honor of Imogen. He miserably fails, sweet patience and sorrow, is the most
even by the aid of lies as to the disloy- divinely compassionate matron Shakes-
alty of Posthumus, and then pretends he peare has delineated. Polixenes, king
was but testing her virtue for her hus- of Bohemia, has been nine months a
band's sake. She pardons him, and re- guest of his boyhood's friend Leontes,
ceives into her chamber, for safe-keeping, and is warmly urged by both king and
a trunk, supposed to contain costly plate queen
to stay longer. Hermione's
and jewels, but which really contains warm hospitality and her lingering hand
lachimo himself, who emerges from it in pressures are construed by the king as
the dead of night; slips the bracelet proof of criminality: he sees himself
from her arm; observes the mole, cinque- laughed at for a cuckold; a deep fire of
spotted with crimson, on her breast; and rage burns in his heart; he wants Ca-
notes down in his book the furniture millo to poison Polisenes; but this good
and ornaments of the room. He returns man flies with him to Bohemia. Leon-
to Italy. Posthumus despairingly yields tes puts his wife in prison, where she is
himself beaten, and writes to his serv- delivered of a daughter. He compels
ant Pisanio to kill Imogen; to facilitate Antigonus to swear to expose it in a
the deed, he sends her word to meet desert place, and then proceeds with the
him at Milford Haven. Thither she flies formal trial of his wife. His messen-
was
## p. 400 (#436) ############################################
400
SYNOPSES OF NOTED BOOKS
a
was
gers to Delphi report her guiltless. She THE TEMPEST, one of Shakespeare's
swoons away, and Paulina gives out very latest plays (1611), written in the
that she is dead. But she is secretly mellow maturity of his genius, is prob-
conveyed away, after the funeral, and ably based on a lost Italian novella or
revived. Her little son dies from grief. play, though certain incidents are bor-
Sixteen years now elapse, and we are rowed from three pamphlets on the Ber-
across seas in Bohemia, near the palace mudas and Virginia and from Florio's
of Polixenes, and near where Hermi- Montaigne. The scene is said to be
one's infant daughter was exposed, but laid in the haunted island of Lampe-
rescued (with a bundle containing rich dusa in the Mediterranean. In the
bearing cloth, gold, jewels, etc. ) by an opening lines we see a ship laboring in
old shepherd. Antigonus and his ship's heavy seas near the shore of an island,
crew were all lost, so no trace of the in- whose sole inhabitants, besides the
fant could be found. But here she is, spirits of earth and air typified in the
the sweetest girl in Bohemia and named dainty ye powerful sprite Ariel, are
Perdita (“the lost one”). A sheep- Prospero and his lovely daughter Mi-
shearing feast at the old shepherd's cot- randa, and their slave, the deformed
tage is in progress. His son has gone boor Caliban, an aborigine of the is-
for sugar and spices and rice, and had land.
The grave and good Prospero is
his pocket picked by that rogue of
luckier castaway than Robinson
rogues, that snapper-up of unconsidered Crusoe, in that his old friend Gonzalo
trifles, Autolycus. The dainty Perdita put into the boat with him not only his
moves about under the green trees as infant daughter, but clothes, and some
the hostess of the occasion, giving to books of magic, by the aid of which
each guest a bunch of sweet flowers and both men and spirits, and the very ele-
a welcome. Polixenes and Camillo are ments, are subject to the beck of his
here in disguise, to look after Polix- wand. He was the rightful Duke of
enes's son Florizel. After dancing, and Milan, but
supplanted by his
some songs from peddler Autolycus, brother Antonio, who with his confeder-
Florizel and Perdita are about to be be- ate, the king of Naples, and the lat-
trothed when Polixenes discovers him- ter's son Ferdinand and others, is cast
self and threatens direst punishment to ashore on the island. The shipwreck
the rustics. The lovers fly to Sicily, occurs full in the sight of the weeping
with a feigned story for the ear of Miranda; but all hands are saved, and
Leontes; and the old shepherd and his the ship too. The humorous characters
son get aboard Florizel's ship to show are the butler Stephano, and the court
the bundle and fairy gold” found with jester Trinculo, both semi-drunk, their
Perdita, expecting thus to save their speech and songs caught from the sail-
lives by proving that they are not re- ors, and savoring of salt and tar.
sponsible for
her doings. Polixenes Throughout the play the three groups of
and Camillo follow the fugitives, and at personages, — the royal retinue with the
Leontes's court is great rejoicing at the irrepressible and malapropos old Gon-
discovery of the king's daughter; which zalo, the drunken fellows and Caliban,
joy is increased tenfold by Paulina, who and Prospero with his daughter and
restores Hermione to her repentant hus- Ferdinand, - move leisurely to and fro,
band's arms. Her device for gradually the whole action taking up only three
and gently possessing him of the idea of hours. The three boors, fuddled with
Hermione's being alive, is curious and their fine liquor and bearing the bark
shrewd. She gives out that she has in bottle, rove about the enchanted island,
her gallery a marvelous statue of Her- fall into the filthy-mantled pool, and are
mione by Julio Romano, so recently stoutly pinched by Prospero's goblins for
finished that the red paint on the lips is theft. The murderous plot of Antonio
yet wet.
When the curtain is drawn by and the courtier Sebastian is exposed at
Paulina, husband and daughter gaze the phantom banquet of the harpies.
greedily on the statue, and to their Spellbound in the linden grove, all the
amazement it is made to step down guilty parties come forward into
from its pedestal and speak. They per- charmed circle and take a lecture from
ceive it to be warm with life, and to be Prospero. General reconciliation. Then
indeed Hermione herself, - let us hope, to finally, Miranda and Ferdinand are dis-
have less strain on her charity thereafter. covered playing chess before Prospero's
a
## p. 401 (#437) ############################################
SYNOPSES OF NOTED BOOKS
401
on
a
or
cell, and learn that to-morrow they set
sail for Naples to be married.
Two NOBLE KINSMEN. – A most no-
ble and pathetic drama, founded
Chaucer's (Knighte's Tale, and first
printed in 1634, with the names of
Shakespeare and Fletcher on the title-
page as authors. The grand passages
show the very style of Coriolanus)
and of The Tempest,' and are wholly
beyond Fletcher's powers: e. g. , the
magnificent description of Arcite's horse,
worthy of the Panathenaic frieze; the
Meissonier portraits of the champion
Knights' assistants,— the stern, brown-
faced prince with long, black, shining
hair and lion mien, the massive-thewed
blond, and the rest; the portrait of
Arcite himself, his eye like a sharp
weapon on soft sheath, of most
fiery sparkle and soft sweetness);
of Palamon's brown manly face and
thought-lined brow. And how Shakes-
pearean that phrase applied to old men
nearing death,—the gray approachers !
And who but Shakespeare would have
written the lines (so admired by Ten-
nyson) on Mars,-
« Who dost pluck
with hand omnipotent from forth blue clouds
The mason'd turrets"?
The under-plot about the jailer's
daughter, who goes mad for Palamon's
love, is a weak and repulsive imitation
of the Ophelia scenes in (Hamlet. )
The play is about the tribulations of
two noble youths who both love the
sweet girl, «fresher than
the
May, - Emilia, sister of Hippolyta,
wife of Theseus. Their love separates
them; they were a miracle of friend-
ship, they become bitterest foes. By
Theseus's command they select each
three friends, and in a trial by combat
of the eight champions, Arcite wins
Emilia, but is at once killed by his
horse falling on him, and Palamon
secures the prize after all.
Henry VIII. , a historical drama by
Shakespeare, based on Edward Hall's
(Union of the Families of Lancaster
and York,' Holinshed's Chronicles,' and
Fox's 'Acts and Monuments of the
Church. ) The key-idea is the muta-
bility of earthly grandeur, and by one
or another turn of Fortune's wheel, the
overthrow of the mighty - i. e. , of the
Duke of Buckingham, of Cardinal Wol-
sey, and
of Queen arine. The
action covers a period of sixteen years,
XXX-2Ć
from the field of the Cloth of Gold, in
1520, described in the opening pages,
to the death of Queen Katharine in
1536. It is the trial and divorce of this
patient, queenly, and unfortunate woman,
that forms the main subject of the
drama. She was the daughter of Ferdi-
nand and Isabella of Castile, and born
in 1485. She had been married when
seventeen to Arthur, eldest son of Henry
VII. Arthur lived only five months after
his marriage, and when at seventeen
years Henry VIII. came to the throne
(that most hateful ruffian and tyrant),
he married Katharine, then twenty-four.
She bore him children, and he never
lost his respect for her and her unblem-
ished life. But twenty years after his
marriage he met Anne Bullen at a merry
ball at Cardinal Wolsey's palace, and
fell in love with her, and immediately
conceived conscientious scruples against
the legality of his marriage. Queen
Katharine is brought to trial before a
solemn council of nobles and churchmen.
With fine dignity she appeals to the
Pope and leaves the council, refusing
then and ever after to attend any of
their courts. The speeches are master-
pieces of pathetic and noble defense.
In all his facts the poet follows history
very faithfully. The Pope goes against
her, and she is divorced and sequestered
at Kimbolton, where presently she dies
heart-broken, sending a dying message
of love to Henry. Intertwined with the
sad fortunes of the queen the
equally crushing calamities that overtake
Cardinal Wolsey. His high-blown pride,
his oppressive exactions in amassing
wealth greater than the king's, his ego
et rex meus, his double dealing with
Henry in securing the Pope's sanction
to the divorce,- these and other things
are the means whereby his many ene-
mies work his ruin. He is stripped of
all his dignities and offices, and wanders
away, an old man broken with the storms
of State, to lay his bones in Leicester
Abbey. The episode of the trial of
Archbishop Cranmer is so pathetically
handled as to excite tears. He is brought
to trial for heresy by bis enemy Gardi-
ner, bishop of Winchester, but has pre-
viously been moved to tears of gratitude
by Henry's secretly bidding him be of
good cheer, and giving him his signet
ring as a talisman to conjure with if too
hard pressed by his enemies. Henry is
so placed as to oversee (himself unseen)
are
same
## p. 402 (#438) ############################################
402
SYNOPSES OF NOTED BOOKS
Cranmer's trial and the arrogant perse-
cution of Gardiner. Cranmer produces
the ring just as they are commanding
him to be led away to the Tower; and
Henry steps forth to first rebuke his
enemies and then command them to be
at peace. He does Cranmer the high
honor of asking him to become a god-
father to the daughter (Elizabeth) of
Anne Bullen; and after Cranmer's elo-
quent prophecy at the christening, the
curtain falls. The setting of this play
is full of rich and magnificent scenery
and spectacular pomp.
not work, japers, and mynstralles »
that sell "glee. ” They are, or nearly so,
the same beings Chaucer assembled at
the « Tabard » inn, on the eve of his pil-
grimage to Canterbury.
This crowd has
likewise a pilgrimage to make.
« They journey through abstract coun-
tries, they follow mystic roads
in search of Truth and of Supreme
Good. »
This search is the subject of an elab-
orate allegory, in the course of which
the current abuses in Church and State
are vigorously attacked. The poet in-
veighs especially against the greed and
insincerity of his age, personifying these
qualities in Lady Meed, who leads men
astray, and tricks them into sin. The
poem throws much light upon social and
religious institutions of the day. These
revelations must, however, be sought for
among the strange mist-shapes of alle-
gory.
The poet's vocabulary is similar to
that of Chaucer. Several dialects are
combined in it, the Midland dia
dominating The metre is alliterative,
long lines, divided into half-lines by a
pause. Each line contains strong, or ac-
cented, syllables in fixed number, and
weak or unaccented syllables in varying
number.
About Piers Plowman) there has
grown up a considerable body of editor-
ial commentary. The work of Thomas
Wright and of Skeat in this field is
noteworthy.
The Vision
of Piers Plowman, an
English poem of the fourteenth cen-
tury, is ascribed, chiefly on the ground
of internal evidence, to William Lang-
land or Longland, a monk of Malvern,
in spirit a Thomas Carlyle of the Middle
Ages, crying out against abuses, insist-
ing upon sincerity as the first of virtues.
This poem belongs to the class of the
dream-poem, a characteristic product of
his century. Dante had seen all heaven
and hell in vision. Gower and the au-
thor of Pearl had dreamed dreams.
(The Vision of Piers Plowman) is a cu-
rious amalgamation of fantastic allegory
and clear-cut fact, of nebulous dreams
and vivid pictures of the England of the
day. The author is at once as realistic
as Chaucer and as mystical as Guil-
laume de Lorris, the observant man of
the world and the brooding anchorite;
his poem reflects both the England of
the fourteenth century and the visionary,
child-like mediæval mind.
Internal evidence fixes its date about
1362. Forty manuscript copies of it, be-
longing for the most part to the latter
end of the fourteenth century, attest its
popularity. Three distinct versions are
extant, known as Texts A, B, and C.
The probable date of Text A is 1362-63;
of Text B, 1376–77; of Text C, 1398–99.
The variations in these texts are consid-
erable. An imitation of the poem called
(Piers Plowman's Crede) appeared about
1393. The author of Piers Plowman)
represents himself as falling asleep on
Malvern Hills, on a beautiful May morn-
ing: In his dreams he beholds a vast
plain, «a feir feld ful of folk,” repre-
senting indeed the whole of humanity:
knights, monks, parsons, workmen sing-
ing French songs, cooks crying hot pies !
Hote pyes, hote! ” pardoners, pilgrims,
preachers, beggars, jongleurs who will
1
on
Sartor Resartus, by Thomas Carlyle,
first appeared in Fraser's Magazine,
in 1833-34, and later in book form. It
is divided into three parts, - introduc-
tory, biographical, and philosophical.
The first part describes an imaginary
book (Clothes: Their Origin and
Influence) by Diogenes Teufelsdröckh,
Professor of Things in General at
Weissnichtwo in Germany. The book,
the editor complains, is uneven in style
and matter, and extraordinarily difficult
to comprehend, but of such vigor in
places that he is impelled to translate
parts of it. The book begins with a
history of clothes: they are co-existent
with civilization, and are the source of
all social
and
political distinction.
Aprons, for example, are of all sorts,
from the smith's iron sheet to the
bishop's useless drapery. The re
church is shown in the paper aprons
## p. 403 (#439) ############################################
SYNOPSES OF NOTED BOOKS
403
men.
as
a
of the Paris cooks; future historians man and of the freedom of thought.
will talk, not of church, but of jour-Religion is the basis of society: every
nalism, and of editors instead of states- society may be described as a church
Man is apt to forget that he is which is audibly preaching or prophesy-
not a mere clothed animal, - that to ing, or which is not yet articulate, or
the eye of pure reason he is a soul. which is dumb with old age. Religion
Still Teufelsdröckh does not counsel a has entirely abandoned the clothes pro-
return to the natural state, for he rec- vided for her by modern society, and
ognizes the utility of clothes the sits apart making herself new ones. All
foundation of society. Wonder, at him- symbols are valuable as keeping some-
self or at nature, every man must feel thing silent, and, at the same time, as
in order to worship. Everything ma- revealing something of the Infinite.
terial is but an emblem of something Society now has no proper symbols,
spiritual; clothes are such emblems, and owing to over-utilitarianism and over-
are thus worthy of examination.
independence. Still a new society is form-
The autobiographic details sent to the ing itself to rise, Phænix-like, from the
editor which fill Book ii. came to him on ashes of the old. Mankind, like nature,
loose scraps of paper in sealed paper is one, not an aggregate of units. The
bags, with no attempt at arrangement future church for the worship of these
anywhere. A mysterious stranger left mysteries will be literature, as already
Teufelsdröckh, when he was a helpless suggested by the prophet Goethe. Cus-
infant, at the house of Andreas Futteral, tom makes nature, time, and space, which
a veteran and farmer. Andreas and his are really miracles, seem natural, but
wife Gretchen brought the boy up hon- we must feel wonder and reverence at
estly and carefully. As child he them. Our life is through mystery to
roamed out-doors, listened to the talk of mystery, from God to God. The chief
old men, and watched the sunset light points, in concluding, to be remembered
play over
the valley. At school he are: All life is based on wonder; all
learned little, and at the gymnasiums clothes, or symbols, are forms or mani-
less. At the university he received no festations of the spiritual or infinite;
instruction, but happened to prefer read- cant and hypocrisy everywhere should
ing to rioting, and so gained a great deal be replaced by clear truth.
of information. Then he was thrust into
the world to find out what his capability
was by himself. He withdrew from the riet Waters Preston, is an account
law, in which he had begun, and tried of the poetry of Provence, old and new.
to start out for himself.
The woman The earlier essays describe the work
whom he loved married another, and he of the two best-known of the <Fé-
was plunged into the depths of despair. libres, as the school of modern poets
Doubt, which he had felt in the univer- of the South of France is called: men
sity, became unbelief in God and even who write in the old (langue d'oc,”
the Devil, — in everything but duty, could or Provençal dialect, in opposition to
he have known what duty was.
He was
the langue d'oil,” or French tongue,
a victim to a curious fear, until one day which they do not acknowledge as their
his whole spirit rose, and uttering the language. Miss Preston makes many
protest of the everlasting no, asserted translations of their verse, which give
its own freedom. After that he wan- a vivid presentment of the fire and
dered in a «Centre of Indifference, color and naïve simplicity of the ori-
not caring much, but interested in cities, ginals. Another poet of the South of
fields, and books. Life came to mean France, neither Provençal nor French,
freedom to him; he felt impelled to was Jacques Jasmin, who wrote in the
look through the shows of things to the peculiar Gascon dialect, with all the
things themselves,» — to find the Ideal wit and gayety of his race. The fore-
in the midst of the Actual.
runners of all these men were the old
The third book, which deals with the troubadours, who fourished from the
philosophy itself, is much less continuous driving out of the Saracens to the end
and clear. In the first chapter, he of the crusades, during the age of
praises George Fox's suit of leather as chivalry,” and who spent their lives
the most remarkable suit of its century, making love songs for the ladies of their
since it was a symbol of the equality of preference. Their chansons, or songs, so
Troubadours and Trouveres, by Har-
>>
## p. 404 (#440) ############################################
404
SYNOPSES OF NOTED BOOKS
sec
simple and so perfect, were invariably on
the one theme of love; occasionally they
wrote longer pieces, called “sirventes,
which were narrative or satiric. Many
charming translations illustrate their
manner. The book closes with a chap-
ter on the Arthurian legends, showing
what these owe to Geoffrey of Mon-
mouth, to unknown French romances,
to Sir Thomas Malory, and finally
to Tennyson. Miss Preston's excellent
scholarship and rare literary gift com-
bine to make a most entertaining book.
own
ambitions. Leaving the actors, he be-
comes acquainted with some landed pro-
prietors belonging to the lesser nobility
of the country. And here the
ond period of his apprenticeship begins.
Meeting people of culture and position
in society, he comes into closer touch
with real life, and is initiated into the
ways of the world. His development is
further hastened by finding his son Fe-
lix, whom he has never acknowledged.
What women and society are still unable
to teach him, he now learns from his
child. The awakening sense of
his parental responsibilities is the final
touchstone of his fully developed man-
hood. Having thus completed his ap-
prenticeship to life in a series of bitter
experiences, he now marries a lady of
rank, and turns landed proprietor. The
scheme of the novel gave Goethe oppor-
tunity to bring in the most varied phases
of society, especially the nobility of his
time, and the actors. He also discusses
different æsthetic principles, especially
the laws of dramatic art as exemplified
in (Hamlet. ) He also touches on ques-
tions of education, and religious contro-
versy, and satirizes somewhat the secret
societies, just then beginning to spring
up in Germany. (Wilhelm Meister,' in
short, gives a richly colored picture of
the life of Goethe's time.
Wilhelm Meister's Apprenticeship.
The first part of Wilhelm Meis-
ter) was finished in 1796, after having
occupied Goethe's attention for twenty
years.
The central idea of this great
novel is the development of the individ-
ual by means of the most varied expe-
riences of life. There is no plot proper,
but in a series of brilliant episodes the
different stages of the hero's spiritual
growth are brought before the reader.
Wilhelm Meister is a young man with
many admirable qualities of character,
but passionate and emotional, somewhat
unstable, lacking reflection and proper
knowledge of the world. The son of a
well-to-do business man in a small Ger-
man town is traveling for his father's
house when he falls in with a troupe of
strolling comedians. From earliest boy-
hood he has been devoted to the theatre,
a passion which has been nourished by
puppet-plays and much reading of dra-
matic literature and romances. Disgusted
with the routine of business, and eager
for new experiences, he joins the players,
determined to become an actor himself,
His apprenticeship to life falls into two
periods. The first comprises the lessons
he learned while among the players.
Brought up in comfort in a respectable,
somewhat philistine household, he enjoys
at first the free and easy life of his new
companions, though as a class they had
at that period hardly any standing in
society. He becomes passionately at-
tached to Marianne, a charming young
actress, who returns his love, but whom
he leaves after a while, because of un-
grounded jealousy. For a time he thinks
he has found his true vocation in the
pursuit of the actor's art. But ill-success
on the stage, and closer acquaintance
with this bohemian life of shams and
gilded misery, disillusions him, and re-
veals the insubstantiality of his youthful
Scarlet Letter, The, the novel which
established Nathaniel Hawthorne's
fame, and which he wrote in the ancient
environment of Salem, was published in
1850, when he was forty-six years old.
Its simple plot of Puritan times in New
England is surrounded with an air of
mystery and of weird imaginings. The
scene is in Boston, two hundred years
ago: the chief characters are Hester
Prynne; her lover, Arthur Dimmes-
dale, the young but revered minister of
the town; their child, Pearl; and her
husband Roger Chillingworth, an aged
scholar, a former resident of Amster-
dam, who, resolving to remove to the
New World, had, two years previously,
sent his young wife Hester on before
him. When the book opens, he arrives
in Boston, to find her upon the pillory,
her babe in her arms; upon her breast
the Scarlet Letter “A” (“Adulteress”),
which she has been condemned to wear
for life. She refuses to reveal the
name of her partner in guilt, and takes
up her lonely abode on the edge of the
## p. 405 (#441) ############################################
SYNOPSES OF NOTED BOOKS
405
on
rare
wilderness. Here Pearl grows up a wild
elf-like child; here Hester makes atone-
ment by devoting her life to deeds of
mercy.
Her husband, whose identity
she has sworn to conceal, remains in the
town, and in the guise of a physician,
pries into and tortures the minister's
remorse-haunted soul. Hester, knowing
this, forgetting aught but love, proposes
fight with him. He wills to remain,
to reveal his guilt publicly. Confessing
all, after a sermon of great power, he
dies in Hester's arms, upon the plat-
form where she once stood condemned.
A wonderful atmosphere of the Puritan
society bathes this book, its moral in-
tensity, its sensitiveness to the unseen
powers; while forever pressing in upon
the seething little community is the
mystery of the new-world wilderness,
the counterpart of the spiritual wilder-
ness in which Hester and Arthur wan-
der. This great creation is one of the
few classics » that the nineteenth cen-
tury has added to literature.
Knightly Soldier, The, by H. Clay
Trumbull, is a biography of Major
Henry Ward Camp of the Tenth Con-
necticut Volunteers, who fell in one of
the battles before Richmond in 1864. It
was written while the War was still in
progress; while the author, who
chaplain in the army and an attached
friend of the subject of the memoir, was
still amid the stress of the great con-
Aict; and he writes with the warmth of
personal affection and comradeship of
the career of a young American soldier.
It is a noble monument to the memory
of the author's friend; at the same time
it is a graphic chronicle of a soldier's
life in the field. The letters of Major
Camp interwoven with the narrative
reveal the man's study of himself in the
experiences of battle, prison, flight, re-
capture, liberation; and show him to be
indeed a knightly soldier. )
Twenty Years of Congress: From
Lincoln to Garfield, WITH A RE-
THE EVENTS WHICH LED
THE POLITICAL REVOLUTION OF 1860, by
James G. Blaine, with portraits. (2 vols.
1884-86. ) Mr. Blaine's unrivaled oppor-
of
work it an
contribution to history. It is clear, in-
teresting, and brilliantly written. A
large part of the first volume is de-
voted to a review of the events which
led up to the Civil War. Beginning
with the original compromises between
the North and the South embodied in
the Constitution, it proceeds with the
Missouri Compromises of 1820 and 1821,
the origin and development of the abo-
lition party, the character of the South-
ern leaders, the Mexican War, origin
and growth of the Republican party,
the Dred Scott decision, the debate
between Douglas and Lincoln, the
John Brown raid and Lincoln's elec-
tion. Then follow two chapters
Congress in the winter of 1860-61; after
which the course of affairs during the
War and down to the inauguration of
President Johnson occupies the rest of
the volume. Mr. Blaine shows himself
to be a warm admirer of Henry Clay,
contrasting him very favorably with
Webster, and saying of him: «In the
combination of qualities which
constitute at once the matchless leader
of party and the statesman of consum-
mate ability and inexhaustible resource,
he has never been surpassed by any
man speaking the English tongue. ) Of
General Grant he speaks in the most
appreciative terms. The picture of Lin-
coln's character is strongly drawn and
glowing. Volume ii. covers the period
from the beginning of Johnson's admin-
istration to the year 1881. The disband-
ment of the army, reconstruction, the
three amendments to the Constitution,
the government's financial legislation,
Johnson's impeachment, General Grant's
two terms, the Geneva award, Hayes's
administration, the fisheries question,
and Garfield's election, are among the
topics treated. In conclusion, the author
alludes to the unprecedented difficulty
of the legislative problems during the
War, and briefly notes' the course of
Congress in grappling with them, re-
views the progress of the people dur-
ing the twenty years, claiming credit
for Congress for the result, and asserts
that “No government of modern times
has encountered the dangers that beset
the United States, achieved the
triumphs wherewith the nation is
crowned. »
was
:
VIEW
OF
TO
or
inn itkis varike imekese period important Luckther sketchesney Street Markehavd
, by
for their subjects strange incidents of life
in the far West during the gold-fever
of '49.
The essential romance of that.
adventurous, lawless, womanless society
## p. 406 (#442) ############################################
406
SYNOPSES OF NOTED BOOKS
is embodied in these tales. Representa-
tive members of it, gamblers with the
melancholy air and intellectual abstrac-
tion of a Hamlet”; all-around scamps
with blond hair and Raphael faces;
men with pasts buried in the oblivion
east of the Mississippi; young men, bat-
tered men, decayed college graduates,
and ex-convicts, are brought together in
picturesque confusion, — their hot, fierce
dramas being played against the loneli-
ness of the Sierras, the aloofness of an
unconquerable nature. (The Luck of
Roaring Camp' is perhaps the
beautiful of the sketches; (The Outcasts
of Poker Flat) is scarcely less pathetic.
In Tennessee's Partner,' and in Mig-
gles,' humor and pathos are mingled.
The entire book is a wonderfully dra-
matic transcript . of a phase of Western
life forever passed away.
The environment in which she is placed
- fashionable England of the beginning
of the century — offered a great field for
the genius of Thackeray. He portrayed
it with marvelous, sustained skill through
the long, leisurely, many-chaptered novel.
Not a foible of fashionable life escaped
him: not one weakness of human nature,
not one fallacy of the gay world. His
satire plays like searching light upon
the canvas. His humanity does not miss
the pathos sometimes lurking under the
hard, bright surface of events. He does
not forget that some women are tender,
that some men are brave. Neither does
he pass eternal judgment upon his char-
acters. In his dealings with these fre-
quenters of Vanity Fair,' there is some-
thing of the indifference of the gods,
something, too, of their chivalry.
most
uo Vadis, the latest and perhaps the
Vanity Fair, by W. M. Thackeray Q“most popular proste a nohy Perkies Polish
a
(1847–48), is one of the few great
novels of the world, and perhaps the
only novel of society that ranks as
classic, as a perfect and complete em-
bodiment of those peculiar forces and
conditions embraced in the term "fash-
ionable. ) As the sub-title states, it is
<< without a hero); but not, however,
without a heroine. The central figure of
the book is that chef-d'œuvre, the im-
mortal, inimitable, magnificent Becky
Sharp, the transcendent type of social
strugglers, the cleverest, most unmoral
woman in the whole range of fiction.
From the hour when she tosses John-
son's Dictionary, the last gift of her
teacher, out of the window of the Sedley
coach, to her final appearance on the
stage of the novel, she never falters in
the bluff game she is playing with so-
ciety. Her victims are numerous, her
success, with slight exceptions, is unim-
peachable. In constant contrast to her is
pretty, pink-and-white, amiable Amelia,
all love and trust, Beckey's school inti-
mate and first protector.
On Amelia
and Amelia's family, Becky first climbs
towards the dizzy heights of an assured
social position. Rawdon Crawley is her
final prey, the successful victim of
her matrimonial ventures. Having se-
cured him, she is more at liberty to be
herself, to cease the strain of concealing
her real nature, in her home at least.
To the world she is still an actress, and
the world does not find her out until it
has suffered by her.
master in fiction, Henryk Sienkiewicz,
is, like the trilogy,” historical; it deals,
however, not with the history of Poland,
but with that of Rome in the time
of Nero. The magnificent spectacular
environment of the decaying Roman
empire, the dramatic qualities of the
Christian religion, then assuming a
world-wide significance, offer rich mate-
rial for the genius of Sienkiewicz. He
presents the background of his narrative
with marvelous vividness. Against it he
draws great figures: Petronius, the lordly
Roman noble, the very flower of pagan-
ism; Eunice and Lygia, diverse products
of the same opulent world; Nero, the
beast-emperor; the Christians seeking an
unseen kingdom in a city overwhelmed
by the symbols of earthly imperialism;
others typical of dying
Rome, or of that New Rome to be es-
tablished on the ruined throne of the
Cæsars. The novel as a whole is in-
tensely dramatic, sometimes melodra-
matic. Its curious title has reference to
an ancient legend, which relates that St.
Peter, fleeing from Rome and from
crucifixion, meets his Lord Christ on
the Appian Way. «Lord, whither goest
thou ? ) (Domine, quo vadis ? ) cries Peter.
« To Rome, to be crucified again,” is the
reply. The apostle thereupon turns back
to his martyrdom. While (Quo Vadis)
cannot rank with the trilogy,” it is in
many respects a remarkable novel. Its
merit is not, however, in the ratio of its
popularity.
and many
## p. 407 (#443) ############################################
SYNOPSES OF NOTED BOOKS
407
Indiana, by “George Sand” (Madame
Dudevant). A romantic tale pub-
lished in 1832, which is of interest
chiefly as being the first which brought
the distinguished author into note, and
also as portraying something of the au-
thor's own experience in married life.
The scene is alternately in the Castle
de Brie, the estate of the aged Colonel
Delmare, a retired officer of Napoleon's
army, where he lives with his youthful
Creole wife Indiana; and in Paris,
where the wife visits her aristocratic
aunt, and where lives Raymond de Ra-
mière, the heartless and reckless lover
first of her foster-sister and maid Noun,
and then of herself. Estranged from
her ill-matched husband, the young wife
is drawn into the fascinations of Ray-
mond, whose artfulness succeeds in de-
ceiving the Colonel, the wife, and all
the faithful English cousin, Sir
Ralph; who secretly loves Indiana, but
shields Raymond from discovery for fear
of the pain that would result to her.
Desperate situations and dire conflicts
of emotions follow, with much discourse
on love and marital duty, and frequent
discussions of the social ard political
questions of the day; the Colonel repre-
senting the Napoleonic idea of empire,
Raymond the conservative legitimist,
and Sir Ralph the modern republican.
The descriptions of nature are vivid,
and the characters are skillfully drawn,
however untrue they may seem to actual
life.
to force them into submission to the
house of Hapsburg. But a band of the
free-born Swiss gathered together on
the Rütli, that famous meadow on the
lake of Lucerne, even now an objective
point of pilgrimage to the traveler in
Switzerland. They swore a solemn oath
to overthrow the Austrian tyranny, and
to free their country. But even while
they were maturing their plans, one of
the oppressors, Gessler, came to his
death. He had forced William Tell to
shoot an apple from the head of his
son, as a punishment for disregarding a
ridiculous ordinance. Tell, one of the
best marksmen far and wide, hit the
core of the apple without so much as
touching a hair of his son's head. Yet
he swore vengeance, and at the next
opportunity he shot Gessler. This deed
was the signal for a general uprising of
the people. The Austrian officials were
driven out of the country, their castles
destroyed, and Switzerland
more free. Although the play is named
after Tell, he is merely the nominal
hero. The real protagonists are the
whole people.
save
was
once
William Tell, the last completed
drama of Schiller, - his swan-
song, was written in 1804, one year
before his death. It is considered one
of his finest works, being the most ma-
ture expression of that idea of freedom
with which he had opened his poetic
career in (The Robbers, twenty years
before. But whereas Karl Moor was
warring against the existing order of
things, the Swiss people were fighting
for the preservation of their ancient
rights. The drama deals with what one
might call the rebellion of the three
Swiss counties, Schwyz, Uri, and Unter-
walden, against the duke Albrecht of
Austria, who at the same time
German Emperor under the name Al-
brecht I. , reigning 1298-1308. His
bailiffs, Hermann Gessler von Bruneck
and Beringer von Landenberg, harassed
the people in all possible ways, in order
Yemassee, The: A ROMANCE OF Caro-
LINA, by William
Gilmore Sims.
This is an American romance, the lead-
ing events of which are strictly true.
