marked by the same exquisite finish as the Elegy, is equally happy in its train of allusion and imagery, and will probably be fresher to most readers. As for what is called the school of Dryden and Pope, no specimens whatever will be found in the volume. This is not because their workmanship is not held to be excellent in its way; but because specimens could not be given without excluding other pieces that seemed fitter for the particular use had in view. It was deemed needful to have somewhat in the way of explanatory foot-notes. And, indeed, in a considerable portion of the pieces this was hardly less than indispensable. But just how much of such annotation it might be needful or desirable to have, is a hard matter to decide: probably no two judgments would strike together. I have but to say that as, in such cases, I always find it easier to make notes than to abstain from making them; so I have here been on my guard rather against making too many than too few. As something very like an apology has been made for admitting a few of the authors now living, of course none can be offered for leaving out the rest. As already said, no literary workmanship, short of the best there is to be had, should be drawn upon for use in school. For the natural alliance of taste and morals is much closer than most people suppose. Now, for the due approval of excellence in literary art, a longer time than the individual life is commonly required. Of the popular writers now living, probably not one in five hundred will be heard of thirty years hence. I have myself outlived two generations of just such immortal writers, whole regiments of them. Of course there are fashions in literature, as in other things. These are apt to be anywhere; but the bad enough at the best, bad enough school is just the last place, except the church, where they ought to be encouraged. Be assured that, in the long run, it will not pay to have your children in school making acquaintance with the fashionable writers of the day. For, long before the pupils now in school reach maturity, another set of writers will be in popular vogue; their tenure to be equally transient in turn. Unquestionably the right way in this matter is, to start the young with such authors as have been tested and approved by a large collective judgment. For it is not what pleases at first, but what pleases permanently, that the human mind cares to keep alive. What has thus withstood the wear of time carries solid proof of having strength and virtue in it. For example, poetry that has no holiness in it may be, for it often has been, vastly popular in its day; but it has and can have no lasting hold on the heart of man. And that a new author seems to us good, may be in virtue of some superficial prepossession which a larger trial will utterly explode. We need better assurance than that. It is indeed sometimes urged that, if the young be thus trained up with old authors, they will be in danger of falling behind the age. But surely it is not so. The surest way of coming at such a result is by pre-engaging them with the literary freaks and fashions and popularities of the day. To hold them aloof from such flitting popularities, to steep their minds in the efficacy of such books as have always been, and are likely to be, above the fashion of the day, this is the true course for setting them in advance of the time; and, unless they be set in advance of it, they will certainly fail to keep abreast with it. For the wisdom that has had the long and strong approval of the past, is most likely to be the wisdom of the future; and the way to keep pace with the age is by dwelling with its wisdom, not with its folly. In fact, a taste for the shifting literary fashions and popularities of the hour springs from shallowness and leads to shallowness. And to knit your pupils up close with old standards, is the best thing you can do for them, both mentally and morally. Besides, I confess I like to see the young growing enthusiastic over the treasured wisdom and eloquence of their forefathers. This is a natural and wholesome inspiration, and such as the soul can hardly drink in or catch without being lifted and expanded by it. Worth much for the knowledge it furthers, it is worth far more for the manhood it quickens. I quote from our Mr. Dana: "So long as we suffer our minds to have their natural play, that which existed long before we came into being will call out something of filial respect. He who has been back into the past comes down again into the present, and is prepared to travel on into the future, laden with the experience of ages gone, and made wise by the observation of principles in their beginnings, their workings, and their remote results. He has found out just how short-lived and little worth are expedients and contrivings, and that, in the main, even temporary and particular ends are best reached through permanent and general principles." And all this is just what we now need; for our life is working quite too much for immediate results, and therefore working by arts which a larger outlook would forbid. In short, we need More of ennobling impulse from the past, We covet as supreme. To love worthy objects, and in a worthy manner, is indeed the top and crown of earthly good; ay, and of heavenly good also. And, surely, no greater blessing can be conferred on the young than by making them familiar with things that will still be sweet and noble to them as they grow old. But, in the present, the louder noises of its folly commonly drown the voice of its wisdom. So, let our youth breathe and listen an hour or two, now and then, in the old intellectual Fatherland, where the foul noises have long since died away, leaving the music to sound up full and clear. Finally, no man having drunk the wine of old books straightway desireth the new; for he saith, the old is better. So, old wine, old books, old friends, old songs, "the precious music of the heart," are the wine, the books, the friends, the songs, for me! CONTENTS. THE figures annexed to the authors' names, and placed at the end of the pieces, mark as ADDISON, JOSEPH: 1672-1719. Dreams Reading a Dance ATTERBURY, FRANCIS, BISHOP: 1662-1731. An Appeal to the House of Lords BACON, FRANCIS, LORD ST. ALBAN'S: 1561-1626. PAGE 171 395 179 53 289 46 121 255 323 7 81 169 363 40 268 291 346 415 55 57 174 177 |