Part 22

HERBERT. Certainly not. You would probably have a monster. It takes a cook of long experience, with the best materials, to make a dish "taste good;" and the "taste good" is the indefinable essence, the resulting balance or harmony which makes man or woman agreeable or beautiful or effective in the world.

THE YOUNG LADY. That must be the reason why novelists fail so lamentably in almost all cases in creating good characters. They put in real traits, talents, dispositions, but the result of the synthesis is something that never was seen on earth before.

THE FIRE-TENDER. Oh, a good character in fiction is an inspiration. We admit this in poetry. It is as true of such creations as Colonel Newcome, and Ethel, and Beatrix Esmond. There is no patchwork about them.

THE YOUNG LADY. Why was n't Thackeray ever inspired to create a noble woman?

THE FIRE-TENDER. That is the standing conundrum with all the women. They will not accept Ethel Newcome even. Perhaps we shall have to admit that Thackeray was a writer for men.

HERBERT. Scott and the rest had drawn so many perfect women that Thackeray thought it was time for a real one.

THE MISTRESS. That's ill-natured. Thackeray did, however, make ladies. If he had depicted, with his searching pen, any of us just as we are, I doubt if we should have liked it much.

MANDEVILLE. That's just it. Thackeray never pretended to make ideals, and if the best novel is an idealization of human nature, then he was not the best novelist. When I was crossing the Channel--

THE MISTRESS. Oh dear, if we are to go to sea again, Mandeville, I move we have in the nuts and apples, and talk about our friends.

III

There is this advantage in getting back to a wood-fire on the hearth, that you return to a kind of simplicity; you can scarcely imagine any one being stiffly conventional in front of it. It thaws out formality, and puts the company who sit around it into easy attitudes of mind and body,--lounging attitudes,--Herbert said.

And this brought up the subject of culture in America, especially as to manner. The backlog period having passed, we are beginning to have in society people of the cultured manner, as it is called, or polished bearing, in which the polish is the most noticeable thing about the man. Not the courtliness, the easy simplicity of the old-school gentleman, in whose presence the milkmaid was as much at her ease as the countess, but something far finer than this. These are the people of unruffled demeanor, who never forget it for a moment, and never let you forget it. Their presence is a constant rebuke to society. They are never "jolly;" their laugh is never anything more than a well-bred smile; they are never betrayed into any enthusiasm. Enthusiasm is a sign of inexperience, of ignorance, of want of culture. They never lose themselves in any cause; they never heartily praise any man or woman or book; they are superior to all tides of feeling and all outbursts of passion. They are not even shocked at vulgarity. They are simply indifferent. They are calm, visibly calm, painfully calm; and it is not the eternal, majestic calmness of the Sphinx either, but a rigid, self-conscious repression. You would like to put a bent pin in their chair when they are about calmly to sit down.

A sitting hen on her nest is calm, but hopeful; she has faith that her eggs are not china. These people appear to be sitting on china eggs. Perfect culture has refined all blood, warmth, flavor, out of them. We admire them without envy. They are too beautiful in their manners to be either prigs or snobs. They are at once our models and our despair. They are properly careful of themselves as models, for they know that if they should break, society would become a scene of mere animal confusion.

MANDEVILLE. I think that the best-bred people in the world are the English.

THE YOUNG LADY. You mean at home.

MANDEVILLE. That's where I saw them. There is no nonsense about a cultivated English man or woman. They express themselves sturdily and naturally, and with no subservience to the opinions of others. There's a sort of hearty sincerity about them that I like. Ages of culture on the island have gone deeper than the surface, and they have simpler and more natural manners than we. There is something good in the full, round tones of their voices.

HERBERT. Did you ever get into a diligence with a growling English-man who had n't secured the place he wanted?

[Mandeville once spent a week in London, riding about on the tops of omnibuses.]

THE MISTRESS. Did you ever see an English exquisite at the San Carlo, and hear him cry "Bwavo"?

MANDEVILLE. At any rate, he acted out his nature, and was n't afraid to.

THE FIRE-TENDER. I think Mandeville is right, for once. The men of the best culture in England, in the middle and higher social classes, are what you would call good fellows,--easy and simple in manner, enthusiastic on occasion, and decidedly not cultivated into the smooth calmness of indifference which some Americans seem to regard as the sine qua non of good breeding. Their position is so assured that they do not need that lacquer of calmness of which we were speaking.

THE YOUNG LADY. Which is different from the manner acquired by those who live a great deal in American hotels?

THE MISTRESS. Or the Washington manner?

HERBERT. The last two are the same.

THE FIRE-TENDER. Not exactly. You think you can always tell if a man has learned his society carriage of a dancing-master. Well, you cannot always tell by a person's manner whether he is a habitui of hotels or of Washington. But these are distinct from the perfect polish and politeness of indifferentism.

IV

Daylight disenchants. It draws one from the fireside, and dissipates the idle illusions of conversation, except under certain conditions. Let us say that the conditions are: a house in the country, with some forest trees near, and a few evergreens, which are Christmas-trees all winter long, fringed with snow, glistening with ice-pendants, cheerful by day and grotesque by night; a snow-storm beginning out of a dark sky, falling in a soft profusion that fills all the air, its dazzling whiteness making a light near at hand, which is quite lost in the distant darkling spaces.

If one begins to watch the swirling flakes and crystals, he soon gets an impression of infinity of resources that he can have from nothing else so powerfully, except it be from Adirondack gnats. Nothing makes one feel at home like a great snow-storm. Our intelligent cat will quit the fire and sit for hours in the low window, watching the falling snow with a serious and contented air. His thoughts are his own, but he is in accord with the subtlest agencies of Nature; on such a day he is charged with enough electricity to run a telegraphic battery, if it could be utilized. The connection between thought and electricity has not been exactly determined, but the cat is mentally very alert in certain conditions of the atmosphere. Feasting his eyes on the beautiful out-doors does not prevent his attention to the slightest noise in the wainscot. And the snow-storm brings content, but not stupidity, to all the rest of the household.

I can see Mandeville now, rising from his armchair and swinging his long arms as he strides to the window, and looks out and up, with, "Well, I declare!" Herbert is pretending to read Herbert Spencer's tract on the philosophy of style but he loses much time in looking at the Young Lady, who is writing a letter, holding her portfolio in her lap,--one of her everlasting letters to one of her fifty everlasting friends. She is one of the female patriots who save the post-office department from being a disastrous loss to the treasury. Herbert is thinking of the great radical difference in the two sexes, which legislation will probably never change; that leads a woman always, to write letters on her lap and a man on a table,--a distinction which is commended to the notice of the anti-suffragists.

The Mistress, in a pretty little breakfast-cap, is moving about the room with a feather-duster, whisking invisible dust from the picture-frames, and talking with the Parson, who has just come in, and is thawing the snow from his boots on the hearth. The Parson says the thermometer is 15 deg., and going down; that there is a snowdrift across the main church entrance three feet high, and that the house looks as if it had gone into winter quarters, religion and all. There were only ten persons at the conference meeting last night, and seven of those were women; he wonders how many weather-proof Christians there are in the parish, anyhow.

The Fire-Tender is in the adjoining library, pretending to write; but it is a poor day for ideas. He has written his wife's name about eleven hundred times, and cannot get any farther. He hears the Mistress tell the Parson that she believes he is trying to write a lecture on the Celtic Influence in Literature. The Parson says that it is a first-rate subject, if there were any such influence, and asks why he does n't take a shovel and make a path to the gate. Mandeville says that, by George! he himself should like no better fun, but it wouldn't look well for a visitor to do it. The Fire-Tender, not to be disturbed by this sort of chaff, keeps on writing his wife's name.

Then the Parson and the Mistress fall to talking about the soup-relief, and about old Mrs. Grumples in Pig Alley, who had a present of one of Stowe's Illustrated Self-Acting Bibles on Christmas, when she had n't coal enough in the house to heat her gruel; and about a family behind the church, a widow and six little children and three dogs; and he did n't believe that any of them had known what it was to be warm in three weeks, and as to food, the woman said, she could hardly beg cold victuals enough to keep the dogs alive.

The Mistress slipped out into the kitchen to fill a basket with provisions and send it somewhere; and when the Fire-Tender brought in a new forestick, Mandeville, who always wants to talk, and had been sitting drumming his feet and drawing deep sighs, attacked him.

MANDEVILLE. Speaking about culture and manners, did you ever notice how extremes meet, and that the savage bears himself very much like the sort of cultured persons we were talking of last night?

THE FIRE-TENDER. In what respect?

MANDEVILLE. Well, you take the North American Indian. He is never interested in anything, never surprised at anything. He has by nature that calmness and indifference which your people of culture have acquired. If he should go into literature as a critic, he would scalp and tomahawk with the same emotionless composure, and he would do nothing else.

THE FIRE-TENDER. Then you think the red man is a born gentleman of the highest breeding?

MANDEVILLE. I think he is calm.

THE FIRE-TENDER. How is it about the war-path and all that?

MANDEVILLE. Oh, these studiously calm and cultured people may have malice underneath. It takes them to give the most effective "little digs;" they know how to stick in the pine-splinters and set fire to them.

HERBERT. But there is more in Mandeville's idea. You bring a red man into a picture-gallery, or a city full of fine architecture, or into a drawing-room crowded with objects of art and beauty, and he is apparently insensible to them all. Now I have seen country people, --and by country people I don't mean people necessarily who live in the country, for everything is mixed in these days,--some of the best people in the world, intelligent, honest, sincere, who acted as the Indian would.

THE MISTRESS. Herbert, if I did n't know you were cynical, I should say you were snobbish.

HERBERT. Such people think it a point of breeding never to speak of anything in your house, nor to appear to notice it, however beautiful it may be; even to slyly glance around strains their notion of etiquette. They are like the countryman who confessed afterwards that he could hardly keep from laughing at one of Yankee Hill's entertainments,

THE YOUNG LADY. Do you remember those English people at our house in Flushing last summer, who pleased us all so much with their apparent delight in everything that was artistic or tasteful, who explored the rooms and looked at everything, and were so interested? I suppose that Herbert's country relations, many of whom live in the city, would have thought it very ill-bred.

MANDEVILLE. It's just as I said. The English, the best of them, have become so civilized that they express themselves, in speech and

## action, naturally, and are not afraid of their emotions.

THE PARSON. I wish Mandeville would travel more, or that he had stayed at home. It's wonderful what a fit of Atlantic sea-sickness will do for a man's judgment and cultivation. He is prepared to pronounce on art, manners, all kinds of culture. There is more nonsense talked about culture than about anything else.

HERBERT. The Parson reminds me of an American country minister I once met walking through the Vatican. You could n't impose upon him with any rubbish; he tested everything by the standards of his native place, and there was little that could bear the test. He had the sly air of a man who could not be deceived, and he went about with his mouth in a pucker of incredulity. There is nothing so placid as rustic conceit. There was something very enjoyable about his calm superiority to all the treasures of art.

MANDEVILLE. And the Parson reminds me of another American minister, a consul in an Italian city, who said he was going up to Rome to have a thorough talk with the Pope, and give him a piece of his mind. Ministers seem to think that is their business. They serve it in such small pieces in order to make it go round.

THE PARSON. Mandeville is an infidel. Come, let's have some music; nothing else will keep him in good humor till lunch-time.

THE MISTRESS. What shall it be?

THE PARSON. Give us the larghetto from Beethoven's second symphony.

The Young Lady puts aside her portfolio. Herbert looks at the young lady. The Parson composes himself for critical purposes. Mandeville settles himself in a chair and stretches his long legs nearly into the fire, remarking that music takes the tangles out of him.

After the piece is finished, lunch is announced. It is still snowing.

FOURTH STUDY

It is difficult to explain the attraction which the uncanny and even the horrible have for most minds. I have seen a delicate woman half fascinated, but wholly disgusted, by one of the most unseemly of reptiles, vulgarly known as the "blowing viper" of the Alleghanies. She would look at it, and turn away with irresistible shuddering and the utmost loathing, and yet turn to look at it again and again, only to experience the same spasm of disgust. In spite of her aversion, she must have relished the sort of electric mental shock that the sight gave her.

I can no more account for the fascination for us of the stories of ghosts and "appearances," and those weird tales in which the dead are the chief characters; nor tell why we should fall into converse about them when the winter evenings are far spent, the embers are glazing over on the hearth, and the listener begins to hear the eerie noises in the house. At such times one's dreams become of importance, and people like to tell them and dwell upon them, as if they were a link between the known and unknown, and could give us a clew to that ghostly region which in certain states of the mind we feel to be more real than that we see.

Recently, when we were, so to say, sitting around the borders of the supernatural late at night, MANDEVILLE related a dream of his which he assured us was true in every particular, and it interested us so much that we asked him to write it out. In doing so he has curtailed it, and to my mind shorn it of some of its more vivid and picturesque features. He might have worked it up with more art, and given it a finish which the narration now lacks, but I think best to insert it in its simplicity. It seems to me that it may properly be called,

A NEW "VISION OF SIN"

In the winter of 1850 I was a member of one of the leading colleges of this country. I was in moderate circumstances pecuniarily, though I was perhaps better furnished with less fleeting riches than many others. I was an incessant and indiscriminate reader of books. For the solid sciences I had no particular fancy, but with mental modes and habits, and especially with the eccentric and fantastic in the intellectual and spiritual operations, I was tolerably familiar. All the literature of the supernatural was as real to me as the laboratory of the chemist, where I saw the continual struggle of material substances to evolve themselves into more volatile, less palpable and coarse forms. My imagination, naturally vivid, stimulated by such repasts, nearly mastered me. At times I could scarcely tell where the material ceased and the immaterial began (if I may so express it); so that once and again I walked, as it seemed, from the solid earth onward upon an impalpable plain, where I heard the same voices, I think, that Joan of Arc heard call to her in the garden at Domremy. She was inspired, however, while I only lacked exercise. I do not mean this in any literal sense; I only describe a state of mind. I was at this time of spare habit, and nervous, excitable temperament. I was ambitious, proud, and extremely sensitive. I cannot deny that I had seen something of the world, and had contracted about the average bad habits of young men who have the sole care of themselves, and rather bungle the matter. It is necessary to this relation to admit that I had seen a trifle more of what is called life than a young man ought to see, but at this period I was not only sick of my experience, but my habits were as correct as those of any Pharisee in our college, and we had some very favorable specimens of that ancient sect.

Nor can I deny that at this period of my life I was in a peculiar mental condition. I well remember an illustration of it. I sat writing late one night, copying a prize essay,--a merely manual task, leaving my thoughts free. It was in June, a sultry night, and about midnight a wind arose, pouring in through the open windows, full of mournful reminiscence, not of this, but of other summers,--the same wind that De Quincey heard at noonday in midsummer blowing through the room where he stood, a mere boy, by the side of his dead sister, --a wind centuries old. As I wrote on mechanically, I became conscious of a presence in the room, though I did not lift my eyes from the paper on which I wrote. Gradually I came to know that my grandmother--dead so long ago that I laughed at the idea--was in the room. She stood beside her old-fashioned spinning-wheel, and quite near me. She wore a plain muslin cap with a high puff in the crown, a short woolen gown, a white and blue checked apron, and shoes with heels. She did not regard me, but stood facing the wheel, with the left hand near the spindle, holding lightly between the thumb and forefinger the white roll of wool which was being spun and twisted on it. In her right hand she held a small stick. I heard the sharp click of this against the spokes of the wheel, then the hum of the wheel, the buzz of the spindles as the twisting yarn was teased by the whirl of its point, then a step backwards, a pause, a step forward and the running of the yarn upon the spindle, and again a backward step, the drawing out of the roll and the droning and hum of the wheel, most mournfully hopeless sound that ever fell on mortal ear. Since childhood it has haunted me. All this time I wrote, and I could hear distinctly the scratching of the pen upon the paper. But she stood behind me (why I did not turn my head I never knew), pacing backward and forward by the spinning-wheel, just as I had a hundred times seen her in childhood in the old kitchen on drowsy summer afternoons. And I heard the step, the buzz and whirl of the spindle, and the monotonous and dreary hum of the mournful wheel. Whether her face was ashy pale and looked as if it might crumble at the touch, and the border of her white cap trembled in the June wind that blew, I cannot say, for I tell you I did NOT see her. But I know she was there, spinning yarn that had been knit into hose years and years ago by our fireside. For I was in full possession of my faculties, and never copied more neatly and legibly any manuscript than I did the one that night. And there the phantom (I use the word out of deference to a public prejudice on this subject) most persistently remained until my task was finished, and, closing the portfolio, I abruptly rose. Did I see anything? That is a silly and ignorant question. Could I see the wind which had now risen stronger, and drove a few cloud-scuds across the sky, filling the night, somehow, with a longing that was not altogether born of reminiscence?

In the winter following, in January, I made an effort to give up the use of tobacco,--a habit in which I was confirmed, and of which I have nothing more to say than this: that I should attribute to it almost all the sin and misery in the world, did I not remember that the old Romans attained a very considerable state of corruption without the assistance of the Virginia plant.

On the night of the third day of my abstinence, rendered more nervous and excitable than usual by the privation, I retired late, and later still I fell into an uneasy sleep, and thus into a dream, vivid, illuminated, more real than any event of my life. I was at home, and fell sick. The illness developed into a fever, and then a delirium set in, not an intellectual blank, but a misty and most delicious wandering in places of incomparable beauty. I learned subsequently that our regular physician was not certain to finish me, when a consultation was called, which did the business. I have the satisfaction of knowing that they were of the proper school. I lay sick for three days.