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PAILLASSE. " Aloxbiadbs, you bito like a...
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ALBERT SMITH ON MONT BLANC. "When Madame...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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The Haythorne Papers. No. Ii. — The Deve...
matter some time since with a learned professor , I illustrated my position thus :- — -You admit that there is no apparent relationship between a circle and an hyperbola . The one is a finite curve ; the other is an infinite one . A H parts of the one are alike ; of the other no two parts are alike . The one incloses a space ; the other will not inclose a space , though produced for ever . Yet opposite as are these curves in all their properties ^ , they may be co nnected together by a series of intermediate curves , rib one of which differs from the adjacent ones in any appreciaole degree . Thus , if a cone be cut by a plane at right angles to its axis we geta circle . If , instead of being perfectly at right angles , the plane subtends with the axis an angle f
of 89 ° 59 , we have an ellipse which no human eye , even when aided by an accurate pair of compasses can distinguish from a circle . Decreasing the angle minute by minute the ellipse becomes first perceptibly eccentric , then manifestly so , and by and by acquires so immensely elongated a form , as to bear no recognisable resemblance to a circle . By continuing this process the ellipse passes insensibly into a parabola ¦¦; and ultimately , by still further diminishing the angle , into an hyperbola . Now here we have four different species of curve- —circle , ellipse , parabola , and hyperbola—each having its peculiar properties , and its separate equation , and the first and last of which are quite op posite in nature , connected together as members of one series , all producible by a single process of insensible modification .
But the blindness of those who think it absurd to suppose that complex organic forms may have arisen by successive modifications out of simple ones , becomes astonishing 1 when we remember that complex organic forms are daily being thus produced . A tree differs from a . seed immeasurably in every respect—in bulk , in structure , in colour , in form , in specific gravity , in chemical composition ; differs so greatly that no visible resemblance of any kind can be pointed out between them . Yet is the
one changed in the course of a few years into the other- —changed so gradually , that at no moment can it be said—Now the seed ceases to be , and the tree exists . What can be more widely contrasted than a newly-born child and the small , semi-transparent , gelatinous spherule constituting the human ovum ? The infant is so complex in structure that a cyelopEedia is needed to describe its constituent parts . The germinal vesicle is so simple that a line will contain all that can be said of it . Nevertheless a few
months suffices to develop the one out of the other , and that , too , by a series of modifications so small that were the embryo examined at successive minutes not even a microscope would disclose any sensible changes . That the uneducated and the ill-educated should think the hypothesis that all races of beings , man inclusivei may in process of time have been evolved from the simplest monad , a ludicrous one , is n 6 t to be wondered at . But for the physiologist , who knows that every individual being is so evolved ,
—who knows further , that in their earliest condition the germs of all plants and animals whatever are so similar , " that there is no appreciable distinction amongst them which would enable it to be determined whether a particular molecule is the germ of a conferva or of an oak , of a zoophyte or of a man'" *— -for him to make a difficulty of the matter is inexcusable . Surely , if a single structureless cell may , when subjected to certain influences , become a man in the space of twenty years , there is nothing absurd in the hypothesis that under certain other influences , a cell may in the
course of millions of years give origin to the human race . The two processes are generically the same , and differ only in length and complexity . We have , indeed , in the part taken by many scientific men in this controversy of " Law versus Miracle , " a good illustration of the tenacious vitality of superstitions . Ask one of our leading geologists or physiologists whether he believes in the Mosaic account of the creation , and he will take the question as next to an insult . Either he rejects the narrative entirely , or understands it in some vague non-natural sense . Yet one part of it he unconsciously adopts ; and that , too , literally . For , whence has he got
this notion of " special creations , "' which he thinks so reasonable , and fights for so vigorously . Evidently he can trace it back to no other source than this myth which he repudiates . He has not a single fact in nature to quote in proof of it ; nor is he prepared with any chain of abstract reasoning by which it may be established . Catechise him , and he will bo forced to confess that the notion was put into his mind in childhood as part of a story which he now thinks absurd . And why , after rejecting all the rest of this story , he should strenuously defend this last remnant of it as though he had received it on valid authority , he woiM be puzzled to say .
The Haythorne Papers. No. Ii. — The Deve...
* Oovpontor's Principles of Physiology . 8 rd od . p , 807 .
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Paillasse. " Aloxbiadbs, You Bito Like A...
PAILLASSE . " Aloxbiadbs , you bito like a woman , " said the dirty-faced Athenian youth to his impetuous playfellow . '"No , " replied Aloibiades , " I bite iiico a hon ! ' In a similar spirit of perfect self-appreciation , I declare that on Auuday nighfc I cried like a man , at Paillasse , —! cried till my head « wuea . ilns is not the highest ; praise to bo given to a drama . The purport ot Art is not to sot cambric in a fluttor , and to redden tho noses of us elegant young follows in tho stalls ; but if not the highest praise , tv 5 7 n ° . wlno & Cfta raroly bo given , and is earned by the exquisite wutu ot * r < 5 deno and Olarisso in thoir representation of human suffering . aiiaic Bpearo never makes us cry ; Goetho never makes us cry : but writers
of mediocre talent have repeatedly drawn floods of tears . The reason is simple : the avenue to tears is through domestic sorrows , and it requires little art to travel on that path . To interest us in the representation of an heroic nature storm-tost in dark perplexities , moved to its heights and depths by the incidents of fate , or by the consequences of its own errors- — to raise our sympathy for & Hamlet , a Lear , an Othello , is inconceivably difficult , because the dramatist must make us , who are on a lower , level , raise ourselves , to the height of his great argument j but it is an easy task : to arrest our sympathy for a dying child , a bereaved mother , a wronged husband , or any of the thousand and one domesticities of the drama . That it is not oftener done is the fault of the actor , who spoils , hy the
unreality of his acting , the effect of the scene . That fault certainly is not attributable to Clarisse , "who played the anxious , mute-despairing mother , with a minute truthfulness , an overpowering pathos not witnin the reach of any actress on our stage . As & whole , her part wanted relief , perhaps ; but the fault does not rightl y lie with her so much as with the authors . Very noticeable was her oye-S lay , so foil of pathetic ^ significance ; and never once did she let drop the Task to show us the Actress underneath—she was the Persona of the wife , never relapsing into Mdlle . Clarisse , conscious of boxes , pit , and stalls . And w-ha , t . shall I say of Frederic LemaitreP If last week I had to make severe objections to certain portions of his Don Cisar , to-day I have
nothing but unqualified applause to add to my silent tribute of tears . From first to last his acting was free , bold , picturesque , elaborate , and pathetic . Sis soul had passed into the mountebank ' s body . The minute touches were such as only an actor of genius could conceive , while at the same' time the broad outline of the portrait was never lost in the details . The look and tone with which he asks his wife whether she blushes for him , now that she is discovered to be a fine lady—the attitude and look , as he leans against the rope , in that fearful second act , when despairing thoughts of suicide hurry across his brain—the natural pride with which he lays out the shawl he has bought for his wife—his agony of mind * at her ma-hi—atid the mtenselv rathetic manner in which , in the last act , he
looks at and fondles his child , who is now blooming and healthy , and whom he must renounce , that the bloom and health may continue ;—these are touches which belong to the actor , not to the authors of the piece , and they are touches no one will forget . Much as I admire Frederic , I never admired him with the same untnisgiving fervor as on Friday night . I have said nothing of the piece , Webster having made it familiar through . BelpJiegor . It is a work of little merit beyond the scope given i ; o Lemaitre's varied powers . It has , indeed some domestic touches that almost amount to ^ poetry ; but they are worked into a tissue of melodramatip commonplace . Next week I shall have to tell you of Ruy Bias * said to be Frederic ' s greatest part t is not that a temptation—the greatest part of the greatest living actor !
Albert Smith On Mont Blanc. "When Madame...
ALBERT SMITH ON MONT BLANC . "When Madame de Stael asked Talleyrand if Napoleon had more esprit than she had , the wit replied , " Madame , VJEmpereur a avtant d'esprit qzee votts—mais volis ites plus intrepide ; " so I will say of Albert Smith ; there are cleverer men , but none more intrepid ! His atidaeity is feverish . He runs a muck against whatever is less rattling and vivacious than himself . He laughs at High Art , and " can't abide" the manifold delights of Bigwigs . You would as soon find him at luncheon reading Aristotle ' s Topics as listening to a Beethoven quartett at night . Shakspeare is all very well in the closet ( where one doesn't read him !) but Dumas and Maquet are the boys ! Philosophy slow ; High Art slow ; History fearfully slow ; Politics slow ; Private Theatricals slow ; Boyal Institution lectures slow ; Sermons' slow!—he is the great Iconoclast of the fast school , smashing with relentless laughter all the solemn shams moving around him , frankly avowing his own want of appreciation of many things which others admire , and inclined to disbelieve that any one does sincerely admire them ; and thus , as tho most intrepid of Iconoclasts , ho comes before a public , a largo portion of which heartily admires him , another portion of which does not do him justice . I claim for Albert Smith over and above your recognition of his popular qualities , tho priceless quality of frankness . He accepts no sham . He pretends to admire nothing ho does not in his soul admire . He pretends to be nothing that ho is not . Beethoven bores him , and he says so ; how many are as wearied as he , but dare not confess it P I may object to the
Iconoclastic forvour of his avowal , and refuse to accept his taste as my standard , but I applaud his intrepid sincerity in not pi'etending to admire that which has no power to please him . O , if men would but recognise this virtue of intrepidity ! If men would but coaso lying in traditionary formulas—pretending to admire , protending to believe , and all in sheer respectability ! But I am not going to suffer my vagabond pen to wander into a discussion on Albert ' s general character , nor on tho hypocrisy of our ago ; I shall have enough to do to set down my impressions of his entertainment at Egyptian Hall , under the title of Ascent of Mont Blanc . You read in the papora last summer , how the intrepid Albert did make that perilous ascent ; ana you lmvo probably read in BlacJcwood his narrative of the journey . But
nothing you have road or heard will convey a true conception of the variety and amusement afforded by his Entertainment , which a crammed audience seemed to think filled tjio plousantcsfc two hours that could anywhere bo spent . Tho scenery is painted by that accomplished and poetical artist , W . Beverloy , and is , not only remarkable for its exquisite artistic effects , but , as I am informed hy a gontloman who has , made the ascont , for its life-life accuracy ; so that tho spectator may be said to make the ascent of Mont Blanc , while cosily Boated in Egyptian Hall . The onl y scene X should wish omitted is that of tho Frenc-n Itestaurant , which , is singularly unlike a Restaurant , and has a Quantity of figures out of all drawing , and without character . ( I should add that these figures aro not Beyorley ' s ) . All the rest aro masterpieces of scenic effVct . The snowy solitudes of those mountainous recesses are presented with enchanting vraisemblanco ; and tho aorial distances font illusion . Very remarkable is tho unceasing
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Citation
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Leader (1850-1860), March 20, 1852, page 21, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_20031852/page/21/
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