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It demands an effort to exchange our actual for our ideal identity, and to feel the pulse of our old transports revive very keenly, we must "jump" all our present comforts and connections. Our romantic and itinerant character is not to be domesticated. Dr. Johnson remarked how little foreign travel added to the facilities of conversation in those who had been abroad. In fact, the time we have spent there is both delightful and in one sense instructive; but it appears to be cut out of our substantial, downright existence, and never to join kindly on to it. We are not the same, but another, and perhaps more enviable individual, all the time we are out of our own country. We are lost to ourselves, as well as our friends. So the poet somewhat quaintly sings,

“Out of my country and myself I go."

Those who wish to forget painful thoughts, do well to absent themselves for a while from the ties and objects that recall them: but we can be said only to fulfil our destiny in the place that gave us birth. I should on this account like well enough to spend the whole of my life in travelling abroad, if I could anywhere borrow another life to spend afterwards at home!

ON A SUN-DIAL

mard 8, lain.

"To carve out dials quaintly, point by point."

SHAKESPEARE.

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Horas non numero nisi serenas is the motto of a sun-dial near Venice. There is a softness and a harmony in the words and in the thought unparalleled. Of all conceits it is surely the most classical. “I

count only the hours that are serene.

What a bland and care-dispelling feeling! How the shadows seem to fade on the dial-plate as the sky lours, and time presents only a blank unless as its progress is marked by what is joyous, and all that is not happy sinks into oblivion! What a fine lesson is conveyed to the mind to take no note of time but by its benefits, to watch only for the smiles and neglect the frowns of fate, to compose our lives of bright and gentle moments, turning always to the sunny side of things, and letting the rest slip from our imaginations, unheeded or forgotten! How different from the common art of self-tormenting! For myself, as I rode along the Brenta, while the sun shone hot upon its sluggish, slimy waves, my sensations were far from comfortable; but the reading this inscription on the side of a glaring wall in an instant restored me to myself; and still, whenever I think of or repeat it, it has the power of wafting me into the region of pure and blissful abstraction. I cannot help fancying it to be a legend of Popish superstition. Some monk of the dark ages must have invented and bequeathed it to us, who, loitering in trim gardens and watching the silent march of time, as his fruits ripened in the sun or his flowers scented the balmy air, felt a mild languor pervade his senses, and having little to do or to care for, determined (in imitation of his sun-dial) to efface that little from his thoughts or draw a veil over it, making of his life one long dream of quiet. Horas non

numero nisi serenas - he might repeat, when the heavens were overcast, and the gathering storm scattered the falling leaves, and turn to his books and wrap himself in his golden studies! Out of some such mood of mind, indolent,

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elegant, thoughtful, this exquisite device (speaking volumes) must have originated.

Of the several modes of counting time, that by the sun-dial is perhaps the most apposite and striking, if not the most convenient or comprehensive. It does not obtrude its observations, though it “morals on the time,” and, by its stationary character, forms a contrast to the most fleeting of all essences. It stands sub dio- under the marble air, and there is some connexion between the image of infinity and eternity. I should also like to have a sun-flower growing near it with bees fluttering round. It should be of iron to denote duration, and have a dull, leaden look. I hate a sun-dial made of wood, which is rather calculated to show the variations of the seasons, than the progress of time, slow, silent, imperceptible, chequered with light and shade. If our hours were all serene, we might probably take almost as little note of them as the dial does of those that are clouded. It is the shadow thrown across, that gives us warning of their flight. Otherwise our impressions would take the same undistinguishable hue; we should scarce be conscious of our existence. Those who have had none of the cares of this life to harass and disturb them, have been obliged to have recourse to the hopes and fears of the next to vary the prospect before them. Most of the methods for measuring the lapse of time have, I believe, been the contrivance of monks and religious recluses, who, finding time hang heavy on their hands, were at some pains to see how they got rid of it. The hour-glass is, I suspect, an older invention; and it is certainly the most defective of all. Its creeping sands are not indeed an unapt emblem of the minute, countless portions of our

existence; and the manner in which they gradually slide through the hollow glass and diminish in number till not a single one is left, also illustrates the way in which our years slip from us by stealth: but as a mechanical invention, it is rather a hindrance than a help, for it requires to have the time, of which it pretends to count the precious moments, taken up in attention to itself, and in seeing that when one end of the glass is empty, we turn it round, in order that it may go on again, or else all our labour is lost, and we must wait for some other mode of ascertaining the time before we can recover our reckoning and proceed as before. The philosopher in his cell, the cottager at her spinning-wheel must, however, find an invaluable acquisition in this “companion of the lonely hour," as it has been called, which not only serves to tell how the time goes, but to fill up its vacancies. What a treasure must not the little box seem to hold, as if it were a sacred deposit of the very grains and fleeting sands of life! What a business, in lieu of other more important avocations, to see it out to the last sand, and then to renew the process again on the instant, that there may not be the least flaw or error in the account! What a strong sense must be brought home to the mind of the value and irrecoverable nature of the time that is fled; what a thrilling incessant consciousness of the slippery tenure by which we hold what remains of it! Our very existence must seem crumbling to atoms, and running down (without a miraculous reprieve) to the last fragment. “Dust to dust and ashes to ashes" is a text that might be fairly inscribed on an hour-glass: it is ordinarily associated with the scythe of Time and a Death's-head, as a mement omori;

and has, no doubt, furnished many a tacit hint to the apprehensive and visionary enthusiast in favour of a resurrection to another life!

The French give a different turn to things, less sombre and less edifying. A common and also a very pleasing ornament to a clock, in Paris, is a figure of Time seated in a boat which Cupid is rowing along, with the motto, L'Amour fait passer le Temps which the wits again have travestied into Le Temps fait passer L'Amour. All this is ingenious and well; but it wants sentiment. I like a people who have something that they love and something that they hate, and with whom everything is not alike a matter of indifference or pour passer le temps. The French attach no importance to anything, except for the moment; they are only thinking how they shall get rid of one sensation for another; all their ideas are in transitu.3 Everything is detached, nothing is accumulated. It would be a million of years before a Frenchman would think of the Horas non numero nisi

Its impassioned repose and ideal voluptuousness are as far from their breasts as the poetry of that line in Shakespeare --- “How sweet the

moonlight sleeps upon this bank!” They never arrive at the classical — or the romantic. They blow the bubbles of vanity, fashion, and pleasure; but they do not expand their perceptions into refinement, or strengthen them into solidity. Where there is nothing fine in the groundwork of the imagination, nothing fine in the superstructure can be produced. They are light, airy, fanciful (to give them their due)

but when they attempt to be serious (beyond mere good sense) they are either dull or extravagant. When the volatile salt has flown off, nothing but a

serenas.

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