in colours vivid as if caught from the skies of the East, the great spread of Mahometanism, and the danger it menaced to Christian Europe – and drew up the Godfreys, and Tancreds, and Richards, as a league of the Age and Necessity, against the terrible progress of the sword and the Koran. "You call them madmen," cried my father, "but the frenzy of nations is the statesmanship of fate! How know you that – but for the terror inspired by the hosts who marched to Jerusalem – how know you that the Crescent had not waved over other realms than those which Roderic lost to the Moor? If Christianity had been less a passion, and the passion had less stirred up all Europe – how know you that the creed of the Arab (which was then, too, a passion) might not have planted its mosques in the forum of Rome, and on the site of Notre Dame? For in the war between creeds – when the creeds are embraced by vast races – think you that the reason of sages can cope with the passion of millions? Enthusiasm must oppose enthusiasm. The crusader fought for the tomb of Christ, but he saved the life of Christendom."
My father paused. Squills was quite passive; he struggled no more – he was drowned.
"So," resumed Mr Caxton, more quietly – "so, if later wars yet perplex us as to the good that the All-wise One draws from their evils, our posterity may read their uses as clearly as we now read the finger of Providence resting on the barrows of Marathon, or guiding Peter the Hermit to the battle-fields of Palestine. Nor, while we admit the evil to the passing generation, can we deny that many of the virtues that make the ornament and vitality of peace sprang up first in the convulsions of war!" Here Squills began to evince faint signs of resuscitation, when my father let fly at him one of those numberless waterworks which his prodigious memory kept in constant supply. "Hence," said he, "hence not unjustly has it been remarked by a philosopher, shrewd at least in worldly experience – (Squills again closed his eyes, and became exanimate) – 'It is strange to imagine that war, which of all things appears the most savage, should be the passion of the most heroic spirits. But 'tis in war that the knot of fellowship is closest drawn; It is in war that mutual succour is most given – mutual danger run, and common affection most exerted and employed; for heroism and philanthropy are almost one and the same!'"12
My father ceased, and mused a little. Squills, if still living, thought it prudent to feign continued extinction.
"Not," said Mr Caxton, resuming – "not but what I hold it our duty never to foster into a passion what we must rather submit to as an awful necessity. You say truly, Mr Squills – war is an evil; and woe to those who, on slight pretences, open the gates of Janus,
– 'The dire abode,
And the fierce issues of the furious god.'"
Mr Squills, after a long pause, (employed in some of the more handy means for the reanimation of submerged bodies, supporting himself close to the fire in a semi-erect posture, with gentle friction, self-applied, to each several limb, and copious recourse to certain steaming stimulants which my compassionate hands prepared for him,) stretches himself, and says feebly, "In short, then, not to provoke further discussion, you would go to war in defence of your country. Stop, sir – stop, for God's sake! I agree with you – I agree with you! But, fortunately, there is little chance now that any new Boney will build boats at Boulogne to invade us."
Mr Caxton. – I am not so sure of that, Mr Squills. (Squills falls back with a glassy stare of deprecating horror.) I don't read the newspapers very often, but the past helps me to judge of the present.
Therewith my father earnestly recommended to Mr Squills the careful perusal of certain passages in Thucydides, just previous to the outbreak of the Peloponnesian War, (Squills hastily nodded the most servile acquiescence,) and drew an ingenious parallel between the signs and symptoms foreboding that outbreak, and the very apprehension of coming war which was evinced by the recent Io pæans to peace. And, after sundry notable and shrewd remarks, tending to show where elements for war were already ripening, amidst clashing opinions and disorganised states, he wound up with saying, – "So that, all things considered, I think we had better just keep up enough of the bellicose spirit, not to think it a sin if we are called upon to fight for our pestles and mortars, our three per cents, goods, chattels, and liberties. Such a time must come, sooner or later, even though the whole world were spinning cotton, and printing sprigged calicoes. We may not see it, Squills, but that young gentleman in the cradle, whom you have lately brought into light, may."
"And if so," said my uncle abruptly, speaking for the first time – "if indeed it is for altar and hearth!"
My father suddenly drew in and pished a little, for he saw that he was caught in the web of his own eloquence.
Then Roland took down from the wall his son's sword. Stealing to the cradle, he laid it in its sheath by the infant's side, and glanced from my father to us with a beseeching eye. Instinctively Blanche bent over the cradle, as if to protect the Neogilos; but the child, waking, turned from her, and, attracted by the glitter of the hilt, laid one hand lustily thereon, and pointed with the other, laughingly, to Roland.
"Only on my father's proviso," said I hesitatingly. "For hearth and altar – nothing less!"
"And even in that case," said my father, "add the shield to the sword!" and on the other side of the infant he placed Roland's well-worn Bible, blistered in many a page with secret tears.
There we all stood, grouping round the young centre of so many hopes and fears – in peace or in war, born alike for the Battle of Life. And he, unconscious of all that made our lips silent, and our eyes dim, had already left that bright bauble of the sword, and thrown both arms round Roland's bended neck.
"Herbert," murmured Roland; and Blanche gently drew away the sword, – and left the Bible.
LYNMOUTH REVISITED
Nearly sixteen years ago, there appeared in the pages of Maga, descriptions of the scenery of Lynmouth, North Devon. As Sketcher, I then proposed to myself to analyse the impressions which landscape scenery makes upon the minds of artists and lovers of nature, and to show that there must be in the artist a higher aim than imitation; and that the pleasure of the unpractising admirer will be in proportion to his power of extracting from the insensitive matter of nature, the poetic life of thought; to rescue both art and nature from the degradation they suffer when disconnected with the higher senses; to show that nature, to be the worthy object of art, should be suggestive. Its charm is to elicit, to draw out finely, and to embellish what is already, in a ruder state, in the mind. If there be poverty within, there is no room for the reception of the riches so profusely surrounding us in the external world. Neither artists nor amateurs are generally sufficiently aware, that a previous education is necessary to make sketching effective and expressive. We find ourselves everywhere. Whatever be the scenery, the sketcher brings little back that he does not take with him. Hence the diversity in the character of sketches – of different sketchers – and the one character that pervades the portfolio of each. I have heard of an artist who visited our lakes, and brought back with him only cottages! Morland would have added, or rather made the principal, the stye and pigs; and even Gainsborough's sketch-book may have shown little more than ragged pollards, and groups of rustic children. To know what is in nature, you must know what is in yourself. If you are ignorant of art, your sketches can only be accidentally good. It is possible to be a very close observer, even of minute beauties, and yet be a very bad sketcher. One of an original genius will convert, and, by a bold dissimilitude in non-essentials, incorporate into his own previous conceptions whatever is before him; and thus, by preserving the great suggestive characteristics, represent nature with a far greater truth, exhibiting her very life and feeling, than they who aim at truth through exact and minute imitation.
Let this be exemplified in Salvator Rosa. Do his wild scenes of rock, and rugged rock-engendered trees, exist to the general eye, exactly in their form, and colour, and composition, as he has represented them? The exact sketcher would have found a less correspondence in branches and foliage – a less marked living feeling between the rocks and trees; he would have found much in the colouring, especially in the green leaves, where they are so few and scattered, of an inconsistent gaiety. These would have been distracting; but his educated eye, toned by a one bold feeling, rejected these, and