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of the pure and chosen souls . They will shuffle, and crow, crook, and hide, feign to confess here, only that they may brag and conquer there, and not a thought has enriched either party, and not an emotion of bravery, modesty, or hope. So neither should you put yourself in a false position with your contemporaries, by indulging a vein of hostility and bitterness. Though your views are in straight antagonism to theirs, assume an identity of sentiment, assume that you are saying precisely that which all think, and in the flow of wit and love roll out your paradoxes in solid column, with not the infirmity of a doubt. So at least shall you get an adequate deliverance. The natural motions of the soul are so much better than the voluntary ones, that you will never do yourself justice in dispute. The thought is not then taken hold of by the right handle, does not show itself proportioned, and in its true bearings, but bears extorted, hoarse, and half witness. But assume a consent, and it shall presently be granted, since, really, and underneath their external diversities, all men are of one heart and mind. Wisdom will never let us stand with any man or men on an unfriendly footing. We refuse sympathy and intimacy with people, as if we waited for some better sympathy and intimacy to come. But whence and when To-morrow will be like to-day. Life wastes itself whilst we are preparing to live. Our friends and fellow-workers die off from us. Scarcely can we say, we see new men, new women, approaching us. We are too old to regard fashion, too old to expect patronage of any greater or more powerful. Let us suck the sweetness of those affections and consuetudes that grow near us. These old shoes are easy to the feet. Undoubtedly, we can easily pick faults in our company, can easily whisper names prouder, and that tickle the fancy more. Every man's imagination hath its friends; and life would be dearer with such companions. But, if you cannot have them on good mutual terms, you cannot have them. If not the Deity, but our ambition, hews and shapes the new relations, their virtue escapes, as strawberries lose their flavor in garden-beds. Thus truth, frankness, courage, love, humility, and all the virtues, range themselves on the side of prudence, or the art of securing a present well-being. I do not know if all matter will be found to be made of one element, as oxygen or hydrogen, at last, but the world of manners and actions is wrought of one stuff, and, begin where we will, we are pretty sure in a short space to be mumbling our ten commandments.

H E R O Is M.

“Paradise is under the shadow of swords.” MAHOMET.

Ruby wine is drunk by knaves,
Sugar spends to fatten slaves,
Rose and vine-leaf deck buffoons;
Thunder-clouds are Jove's festoons,
Drooping oft in wreaths of dread
Lightning-knotted round his head;
The hero is not fed on sweets,
Daily his own heart he eats;
Chambers of the great are jails,
And head-winds right for royal sails.

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N the elder English dramatists, and mainly in the plays of Beaumont and Fletcher, there is a constant recognition of gentility, as if a noble behavior were as easily marked in the society of their age, as color is in our American population. When any Rodrigo, Pedro, or Valerio enters, though he be a stranger, the duke or governor exclaims, This is a gentleman, — and proffers civilities without end; but all the rest are slag and refuse. In harmony with this delight in personal advantages, there is in their plays a certain heroic cast of character and dialogue, – as in Bonduca, Sophocles, the Mad Lover, the Double Marriage, – wherein the speaker is so earnest and cordial, and on such deep grounds of character, that the dialogue, on the slightest additional incident in the plot, rises naturally into poetry. Among many texts, take the following. The Roman Martius has conquered Athens, – all but the invincible spirits of Sophocles, the duke of Athens, and Dorigen, his wife. The beauty of the latter inflames Martius, and he seeks to save her husband; but Sophocles will not ask his life, although assured that a word will save him, and the execution of both proceeds. “Valerius. Bid thy wife farewell. Soph. No, I will take no leave. My Dorigen, Yonder, above, ’bout Ariadne's crown, My spirit shall hover for thee. Prithee, haste. Dor. Stay, Sophocles, – with this tie up my sight; Let not soft nature so transformed be, And lose her gentler sexed humanity, To make me see my lord bleed. So, "t is well; Never one object underneath the Sun Will I behold before my Sophocles: Farewell; now teach the Romans how to die. Mar. Dost know what "t is to die? Soph. Thou dost not, Martius,

And, therefore, not what "t is to live; to die
Is to begin to live. It is to end

An old, stale, weary work, and to commence
A newer and a better. 'T is to leave
Deceitful knaves for the society
Of gods and goodness. Thou thyself must part
At last from all thy garlands, pleasures, triumphs,
And prove thy fortitude what then 't will do.
Val. But art not grieved nor vexed to leave thy life thus?
Soph. Why should I grieve or vex for being sent
To them I ever loved best? Now I’ll kneel,
But with my back toward thee; ’t is the last duty
This trunk can do the gods. - +.
Mar. Strike, strike, Valerius,
Or Martius' heart will leap out at his mouth:
This is a man, a woman! Kiss thy lord,
And live with all the freedom you were wont.
O love! thou doubly hast afflicted me
With virtue and with beauty. Treacherous heart,
My hand shall cast thee quick into my urn,
Ere thou transgress this knot of piety.
Wal. What ails my brother?
Soph. Martius, O Martius,
Thou now hast found a way to conquer me.
Dor. O star of Rome! what gratitude can speak
Fit words to follow such a deed as this
Mar. This admirable duke, Valerius,
With his disdain of fortune and of death,
Captived himself, has captivated me, -
And though my arm hath ta'en his body here,
His soul hath subjugated Martius' soul.
By Romulus, he is all soul, I think;
He hath no flesh, and spirit cannot be gyved;
Then we have vanquished nothing; he is free,
And Martius walks now in captivity.”

I do not readily remember any poem, play, sermon, novel,

or oration, that our press vents in the last few years, which goes to the same tune. We have a great many flutes and flageolets, but not often the sound of any fife. Yet, Wordsworth's Laodamia, and the Ode of “Dion,” and some sonnets,

have a certain noble music ; and Scott will sometimes draw a stroke like the portrait of Lord Evandale, given by Balfour of

Burley. Thomas Carlyle, with his natural taste for what is manly and daring in character, has suffered no heroic trait in his favorites to drop from his biographical and historical pictures. Earlier, Robert Burns has given us a song or two. In the Harlein Miscellanies, there is an account of the battle of Lutzen, which deserves to be read. And Simon Ockley's History of the Saracens recounts the prodigies of individual valor with admiration, all the more evident on the part of the narrator, that he seems to think that his place in Christian Oxford requires of him some proper protestations of abhorrence.

But, if we explore the literature of Heroism, we shall quickly come to Plutarch, who is its Doctor and historian. To him

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