Continental Monthly, Vol. III, No IV, April 1863 - Various 3 стр.

but a still loftier meaning did it acquire when the Christ employed it as descriptive of the splendors of the 'better land' of the glories and beauties of the land Beulah.

But, look out, fellow strollers, for we are off in a tangent!

What a curiously humble origin has 'literature,' contrasted with the magnitude of its present import. It is just 'litteral' letters in their most primitive sense; and γραμματα is nought other. Nor can even all the pomposity of the 'belles-lettres' carry us any farther than the very fine 'letters' or litteral; while even Solomon So-so may take courage when he reflects (provided Solomon be ever guilty of reflecting) that the 'literati' have 'literally' nothing more profound about them than the knowledge of their 'letters.' The Latins were prolific in words of this kind; thus they had the literatus and the literator making some such discrimination between them as we do between 'philosopher' and 'philosophe.'

'Unlettered,' to be sure, is one who is unacquainted even with his 'letters;' but what is 'erudite?' It is merely E, out of, a RUDIS, rude, chaotic, ignorant state of things; and thus in itself asserts nothing very tremendous, and makes no very prodigious pretensions. Surely these words had their origin at an epoch when 'letters' stood higher in the scale of estimation than they do now; when he who knew them possessed a spell that rendered him a potent character among the 'unlettered.'

A 'spell' did we say? Perhaps that is not altogether fanciful; for 'spell' itself in the Saxon primarily imports a word; and we know that the runes or Runic letters were long employed in this way. For instance, Mr. Turner thus informs us ('History of the Anglo-Saxons,' vol. i, p. 169): 'It was the invariable policy of the Roman ecclesiastics to discourage the use of the Runic characters, because they were of pagan origin, and had been much connected with idolatrous superstitions.' And if any one be incredulous, let him read this from Sir Thomas Brown: 'Some have delivered the polity of spirits, that they stand in awe of charms, spells, and conjurations; letters, characters, notes, and dashes.' And have not the Α and Ω something mystic and cabalistic about them even to us?

While on this, let us note that 'spell' gives us the beautiful and cheering expression 'gospel,' which is precisely God's-spell the 'evangile,' the good God's-news!

To resume:

'Graphical' (γρφω) is just what is well delineated literally, 'well written,' or, as our common expression corroboratively has it, like a book!

'Style' and 'stiletto' would, from their significations, appear to be radically very different words; and yet they are something more akin than even cousins-german. 'Style' is known to be from the στλος, or stylus, which the Greeks and Romans employed in writing on their waxen tablets; and, as they were both sharp and strong, they became in the hands of scholars quite formidable instruments when used against their schoolmasters. Afterward they came to be employed in all the bloody relations and uses to which a 'bare bodkin' can be put, and hence our acceptation of 'stiletto.' Cæsar himself, it is supposed, got his 'quietus' by means of a 'stylus;' nor is he the first or last character whose 'style' has been his (literary, if not literal) damnation.

'Volume,' too, how perfectly metaphorical is it in its present reception! It is originally just a volumen, that is, a 'roll' of parchment, papyrus, or whatever else the 'book' (i. e., the bark the 'liber') might be composed of. Nor can we regard as aught other such terms as 'leaf' or 'folio,' which is also 'leaf.' 'Stave,' too, is suggestive of the staff on which the runes were wont to be cut. Indeed, old almanacs are sometimes to be met with consisting of these long sticks or 'staves,' on which the days and months are represented by the Runic letters.

'Charm,' 'enchant,' and 'incantation' all owe their origin to the time when spells were in vogue. 'Charm' is just carmen, from the fact that 'a kind of Runic rhyme' was employed in diablerie of this sort; so 'enchant' and 'incantation' are but a singing to a true 'siren's song;' while 'fascination' took its rise when the mystic terrors of the evil eye threw its withering blight over many a heart.

We are all familiar with the old fable of The Town Mouse and the Country Mouse. We will vouch that the following read us as luminous a comment thereon as may be desired: 'Polite,' 'urbane,' 'civil,' 'rustic,' 'villain,' 'savage,' 'pagan,' 'heathen.' Let us seek the moral:

'Polite,' 'urbane,' and 'civil' we of course recognize as being respectively from πλις, urbs, and civis, each denoting the city or town la grande ville. 'Polite' is city-like; while 'urbanity' and 'civility' carry nothing deeper with them than the graces and the attentions that belong to the punctilious town. 'Rustic' we note as implying nothing more uncultivated than a 'peasant,' which is just pays-an, or, as we also say, a 'countryman.' 'Savage,' too, or, as we ought to write it, salvage,9 is nothing more grim or terrible than one who dwells in sylvis, in the woods a meaning we can appreciate from our still comparatively pure application of the adjective sylvan. A 'backwoodsman' is therefore the very best original type of a savage! 'Savage' seems to be hesitating between its civil and its ethical applications; 'villain,' 'pagan,' and 'heathen,' however, have become quite absorbed in their moral sense and this by a contortion that would seem strange enough were we not constantly accustomed to such transgressions. For we need not to be informed that 'villain' primarily and properly implies simply one who inhabits a ville or village. In Chaucer, for example, we see it without at least any moral signification attached thereto:

So a 'pagan,' or paganus, is but a dweller in a pagus, or village; precisely equivalent to the Greek κωμτης, with no other idea whatever attached thereto; while 'heathen' imported those who lived on the heaths or in the country, consequently far away from civilization or town-like-ness.

From all of which expressions we may learn the mere conventionality and the utter arbitrariness of even our most important ethical terms. How prodigiously cheap is the application of any such epithets, considering the terrible abuse they have undergone! And how poor is that philosophy that can concentrate 'politeness' and 'civility' in the frippery and heartlessness of mere external city-forms; and convert the man who dwells in the woods or in the village into a savage or a villain! How fearful a lack do these numerous words and their so prolific analogues manifest of acknowledgment of that glorious principle which Burns has with fire-words given utterance to and to which, would we preserve the dignity of manhood, we must hold on

Ah! it is veritably enough to make us atrabiliar! Here we see words in their weaknesses and their meannesses, as elsewhere in their glory and beauty. And not so much their meanness and weakness, as that of those who have distorted these innocent servants of truth to become tools of falsehood and the abject instruments of the extinction of all honesty and nobleness.

The word 'health' wraps up in it for, indeed, it is hardly metaphorical a whole world of thought and suggestion. It is that which healeth or maketh one to be whole, or, as the Scotch say, hale; which whole or hale (for they are one word) may imply entireness or unity; that is to say, perfect 'health' is that state of the system in which there is no disorganization no division of interest but when it is recognized as a perfect one or whole; or, in other words, not recognized at all. And this meaning is confirmed by our analogue sanity, which, from sanus, and allied to σος, has underneath it a similar basis.

Every student of Carlyle will remember the very telling use to which he puts the idea contained in this word speaking of the manifold relations of physical, psychal, and social health. Reference is made to his employment of it in the 'Characteristics' itself one of the most authentic and veracious pieces of philosophy that it has been our lot to meet with for a long time; yet wherein he proves the impossibility of any, and the uselessness of all philosophies. Listen while he discourses thereon: 'So long as the several elements of life, all fitly adjusted, can pour forth their movement like harmonious tuned strings, it is melody and unison: life, from its mysterious fountains, flows out as in celestial music and diapason which, also, like that other music of the spheres, even because it is perennial and complete, without interruption and without imperfection, might be fabled to escape the ear. Thus, too, in some languages, is the state of health well denoted by a term expressing unity; when we feel ourselves as we wish to be, we say that we are whole.'

But our psychal and social wholeness or health, as well as our physical, is yet, it would appear, in the future, in the good time coming

Even that, however, is encouraging that it is in prospectu. For we know that right before us lies this great promised land this Future, teeming with all the donations of infinite time, and bursting with blessings. And for us, too, there are in waiting μακρων νσοι, or Islands of the Blest, where all heroic doers and all heroic sufferers shall enjoy rest forever!

In conclusion, take the benediction of serene old Miguel de Cervantes Saavedra, in his preface to 'Don Quixote' (could we possibly have a better?): 'And so God give you health, not forgetting me. Farewell!'

THE CHECH

PICTURES FROM THE NORTH