in this storm of many elements. No, it must be tight, and fit to the form of man, to live at all; as a shell must dictate the architecture of a house founded on the sea. The soul of man must be the type of our scheme, just as the body of man is the type after which a dwelling-house is built. Adaptiveness is the peculiarity of human nature. We are golden averages, volitant stabilities, compensated or periodic errors, houses founded on the sea. The wise sceptic wishes to have a near view of the best game, and the chief players; what is best in the planet; art, and nature, places and events, but mainly

men.

Everything that is excellent in mankind, a form of grace, an arm of iron, lips of persuasion, a brain of resources, every one skilful to play and win, — he will see and judge.

The terms of admission to this spectacle, are, that he have a certain solid and intelligible way of living of his own; some method of answering the inevitable needs of human life; proof that he has played with skill and success; that he has evinced the temper, stoutness, and the range of qualities which, among his contemporaries and countrymen, entitle him to fellowship and trust. For, the secrets of life are not shown except to sympathy and likeness. Men do not confide themselves to boys, or coxcombs, or pedants, but to their peers. Some wise limitation, as the modern phrase is; some condition between the extremes, and having itself a positive quality; some stark and sufficient man, who is not salt or sugar, but sufficiently related to the world to do justice to Paris or London, and, at the same time, a vigorous and original thinker, whom cities cannot overawe, but who uses them, is the fit person to occupy this ground of speculation.

These qualities meet in the character of Montaigne. And yet, since the personal regard which I entertain for Montaigne may be unduly great, I will, under the shield of this prince of egotists, offer, as an apology for electing him as the representative of scepticism, a word or two to explain how my love began and grew for this admirable gossip.

A single odd volume of Cotton's translation of the Essays remained to me from my father's library, when a boy. It lay long neglected, until, after many years, when I was newly escaped from college, I read the book, and procured the remaining volumes. I remember the delight and wonder in which I lived with it. It seemed to me as if I had myself written the book, in some former life, so sincerely it spoke to my thought and experience. It happened, when in Paris, in 1833, that, in

the cemetery of Père la Chaise, I came to a tomb of Auguste Collignon, who died in 1830, aged sixty-eight years, and who, said the monument, "lived to do right, and had formed himself to virtue on the Essays of Montaigne." Some years later, I became acquainted with an accomplished English poet, John Sterling; and, in prosecuting my correspondence, I found that, from a love of Montaigne, he had made a pilgrimage to his chateau, still standing near Castellan, in Perigord, and, after two hundred and fifty years, had copied from the walls of his library the inscriptions which Montaigne had written there. That Journal of Mr. Sterling's, published in the Westminster Review, Mr. Hazlitt has reprinted in the Prolegomena to his edition of the Essays. I heard with pleasure that one of the newly discovered autographs of William Shakespeare was in a copy of Florio's translation of Montaigne. It is the only book which we certainly know to have been in the poet's library. And, oddly enough, the duplicate copy of Florio, which the British Museum purchased, with a view of protecting the Shakespeare autograph, (as I was informed in the Museum,) turned out to have the autograph of Ben Jonson in the flyleaf. Leigh Hunt relates of Lord Byron, that Montaigne was the only great writer of past times whom he read with avowed satisfaction. Other coincidences, not needful to be mentioned here, concurred to make this old Gascon still new and immortal for me.

In 1571, on the death of his father, Montaigne, then thirtyeight years old, retired from the practice of law, at Bordeaux, and settled himself on his estate. Though he had been a man of pleasure, and sometimes a courtier, his studious habits now grew on him, and he loved the compass, staidness, and independence of the country gentleman's life. He took up his economy in good earnest, and made his farms yield the most. Downright and plain dealing, and abhorring to be deceived or to deceive, he was esteemed in the country for his sense and probity. In the civil wars of the League, which converted every house into a fort, Montaigne kept his gates open, and his house without defence. All parties freely came and went, his courage and honor being universally esteemed. The neighboring lords and gentry brought jewels and papers to him for safe-keeping. Gibbon reckons, in these bigoted times, but two men of liberality in France, Henry IV. and Montaigne.

Montaigne is the frankest and honestest of all writers. His French freedom runs into grossness; but he has antici

pated all censure by the bounty of his own confessions. In his times, books were written to one sex only, and almost all were written in Latin; so that, in a humorist, a certain nakedness of statement was permitted, which our manners, of a literature addressed equally to both sexes, do not allow. But, though a Biblical plainness, coupled with a most uncanonical levity, may shut his pages to many sensitive readers, yet the offence is superficial. He parades it: he makes the most of it nobody can think or say worse of him than he does. pretends to most of the vices; and, if there be any virtue in him, he says, it got in by stealth. There is no man, in his opinion, who has not deserved hanging five or six times; and he pretends no exception in his own behalf. "Five or six as ridiculous stories," too, he says, can be told of me, as of any man living." But, with all this really superfluous frankness, the opinion of an invincible probity grows into every reader's mind.

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He

"When I the most strictly and religiously confess myself, I find that the best virtue I have has in it some tincture of vice; and I am afraid that Plato, in his purest virtue, (I, who am as sincere and perfect a lover of virtue of that stamp as any other whatever,) if he had listened, and laid his ear close to himself, would have heard some jarring sound of human mixture; but faint and remote, and only to be perceived by himself.”

Here is an impatience and fastidiousness at color or pretence of any kind. He has been in courts so long as to have conceived a furious disgust at appearances; he will indulge himself with a little cursing and swearing; he will talk with sailors and gypsies, use flash and street ballads: he has stayed in-doors till he is deadly sick; he will to the open air, though it rain bullets. He has seen too much of gentlemen of the long robe, until he wishes for cannibals; and is so nervous, by factitious life, that he thinks, the more barbarous man is, the better he is. He likes his saddle. You may read theology, and grammar, and metaphysics elsewhere. Whatever you get here, shall smack of the earth and of real life, sweet, or smart, or stinging. He makes no hesitation to entertain you with the records of his disease; and his journey to Italy is quite full of that matter. He took and kept this position of equilib rium. Over his name, he drew an emblematic pair of scales, and wrote Que sçais je? under it. As I look at his effigy opposite the title-page, I seem to hear him say, 'You may play

old Poz, if you will; you may rail and exaggerate, I stand here for truth, and will not, for all the states, and churches, and revenues, and personal reputations of Europe, overstate the dry fact, as I see it; I will rather mumble and prose about what I certainly know, - my house and barns; my father, my wife, and my tenants; my old lean bald pate; my knives and forks; what meats I eat, and what drinks I prefer; and a hundred straws just as ridiculous, than I will write, with a fine crow-quill, a fine romance. I like gray days, and autumn and winter weather. I am gray and autumnal myself, and think an undress, and old shoes that do not pinch my feet, and old friends who do not constrain me, and plain topics where I do not need to strain myself and pump my brains, the most suitable. Our condition as men is risky and ticklish enough. One cannot be sure of himself and his fortune an hour, but he may be whisked off into some pitiable or ridiculous plight. Why should I vapor and play the philosopher, instead of ballasting, the best I can, this dancing balloon? So, at least, I live within compass, keep myself ready for action, and can shoot the gulf, at last, with decency. If there be anything farcical in such a life, the blame is not mine: let it lie at fate's and nature's door.'

The Essays, therefore, are an entertaining soliloquy on every random topic that comes into his head; treating_everything without ceremony, yet with masculine sense. There have

been men with deeper insight; but, one would say, never a man with such abundance of thoughts: he is never dull, never insincere, and has the genius to make the reader care for all that he cares for..

The sincerity and marrow of the man reaches to his sentences. I know not anywhere the book that seems less written. It is the language of conversation transferred to a book. Cut these words and they would bleed; they are vascular and alive. One has the same pleasure in it that we have in listening to the necessary speech of men about their work, when any unusual circumstance gives momentary importance to the dialogue. For blacksmiths and teamsters do not trip in their speech; it is a shower of bullets. It is Cambridge men who correct themselves, and begin again at every half-sentence, and, moreover, will pun, and refine too much, and swerve from the matter to the expression. Montaigne talks with shrewdness, knows the world, and books, and himself, and uses the positive degree: never shrieks, or protests, or prays: no

weakness, no convulsion, no superlative: does not wish to jump out of his skin, or play any antics, or annihilate space or time; but is stout and solid; tastes every moment of the day; likes pain, because it makes him feel himself, and realize things, as we pinch ourselves to know that we are awake. He keeps the plain; he rarely mounts or sinks; likes to feel solid ground, and the stones underneath. His writing has no enthusiasms, no aspiration; contented, self-respecting, and keeping the middle of the road. There is but one exception,

in

his love for Socrates. In speaking of him, for once his cheek flushes, and his style rises to passion.

Montaigne died of a quinsy, at the age of sixty, in 1592. When he came to die, he caused the mass to be celebrated in his chamber. At the age of thirty-three, he had been married. "But," he says, "might I have had my own will, I would not have married Wisdom herself, if she would have had me but 't is to much purpose to evade it, the common custom and use of life will have it so. Most of my actions are guided by example, not choice." In the hour of death, he gave the same weight to custom. Que sçais je? What do I

know?

This book of Montaigne the world has indorsed, by translating it into all tongues, and printing seventy-five editions of it in Europe: and that, too, a circulation somewhat chosen, namely, among courtiers, soldiers, princes, men of the world, and men of wit and generosity.

Shall we say that Montaigne has spoken wisely, and given the right and permanent expression of the human mind, on the conduct of life?

We are natural believers. Truth, or the connection between cause and effect, alone interests us. We are persuaded that a

thread runs through all things: all worlds are strung on it, as beads and men, and events, and life, come to us, only because of that thread: they pass and repass, only that we may know the direction and continuity of that line. A book or statement which goes to show that there is no line, but random and chaos, a calamity out of nothing, a prosperity and no account of it, a hero born from a fool, a fool from a hero, dispirits us. Seen or unseen, we believe the tie exists. Talent makes counterfeit ties; genius finds the real ones. hearken to the man of science, because we anticipate the

We