FIFTY SUGGESTIONS. BY EDGAR A. POE. 1. It is observable that, while among all nations the omni-color, white, has been received as an emblem of the Pure, the no-color, black, has by no means been generally admitted as sufficiently typical of Impurity. There are blue devils as well as black; and when we think very ill of a woman, and wish to blacken her character, we merely call her "a bluestocking" and advise her to read, in Rabelais' "Gargantua," the chapter "de ce qui est signifié par les couleurs blanc et bleu." There is far more difference between these "couleurs," in fact, than that which exists between simple black and white. Your "blue," when we come to talk of stockings, is black in issimo —“nigrum nigrius nigro"—like the matter from which Raymond Lully first manufactured his alcohol. As far as I can understand the "loving our enemies," it implies the hating our friends. 4. our Christianity; yet, so far as the spirit of Christianity is concerned, we are immeasurably behind the ancients. Mottoes and proverbs are the indices of national character; and the Anglo-Saxons are disgraced in having no proverbial equivalent to the “De mortuis nil nisi bonum." Moreover—where, in all statutary Christendom, shall we find a law so Christian as the "Defuncti injuriâ ne afficiantur" of the Twelve Tables? The simple negative injunction of the Latin law and proverb-the injunction not to do ill to the dead seems at a first glance, scarcely susceptible of improvement in the delicate respect of its terms. I cannot help thinking, however, that the sentiment, if not the idea intended, is more forcibly conveyed in an apopthegm by one of the old English moralists, James Puckle. By an ingenious figure of speech he contrives to imbue the negation of the Roman command with a spirit of active and positive beneficence. "When speaking of the dead," he says, in his "Grey Cap for a Green Head," "so fold up your discourse that their virtues may be outwardly shown, while their vices are wrapped up in silence." 10. I have no doubt that the Fourierites honestly fancy "a nasty poet fit for nothing" to be the true trans In commencing our dinners with gravy soup, no lation of "poeta nascitur non fit." doubt we have taken a hint from Horace. Da, he says, si grave non est, Quæ prima iratum ventrem placaverit isca. 5. Of much of our cottage architecture we may safely say, I think, (admitting the good intention,) that it would have been Gothic if it had not felt it its duty to be Dutch. 6. James's multitudinous novels seem to be written upon the plan of "the songs of the Bard of Schiraz," in which, we are assured by Fadladeen, "the same beautiful thought occurs again and again in every possible variety of phrase." 7. Some of our foreign lions resemble the human brain in one very striking particular. They are without any sense themselves and yet are the centres of sensation. 8. Mirabeau, I fancy, acquired his wonderful tact at foreseeing and meeting contingencies, during his residence in the stronghold of If. 9. Cottle's "Reminiscences of Coleridge" is just such a book as damns its perpetrator forever in the opinion of every gentleman who reads it. More and more every day do we moderns pavoneggiarsi about 11. There surely cannot be "more things in Heaven and Earth than are dreamt of” (oh, Andrew Jackson Davis) "in your philosophy." 12. "It is only as the Bird of Paradise quits us in taking wing," observes, or should observe, some poet, "that we obtain a full view of the beauty of its plumage ;" and it is only as the politician is about being "turned out" that-like the snake of the Irish Chronicle when touched by St. Patrick-he "awakens to a sense of his situation." 13. Newspaper editors seem to have constitutions closely similar to those of the Deities in "Walhalla," who cut each other to pieces every day, and yet got up perfectly sound and fresh every morning. 14. As far as I can comprehend the modern cant in favor of "unadulterated Saxon," it is fast leading us to the language of that region where, as Addison has it, "they sell the best fish and speak the plainest English." 15. The frightfully long money-pouches-"like the Cucumber called the Gigantic"-which have come in vogue among our belles-are not of Parisian origin, as many suppose, but are strictly indigenous here. The fact is, such a fashion would be quite out of place in Paris, where it is money only that women keep in a purse. The purse of an American lady, however, must be large enough to carry both her money and the soul of its owner. 16. I can see no objection to gentlemen "standing for Congress"-provided they stand on one side-nor to their "running for Congress"-if they are in a very great hurry to get there-but it would be a blessing if some of them could be persuaded into sitting still, for Congress, after they arrive. 17. If Envy, as Cyprian has it, be "the moth of the soul," whether shall we regard Content as its Scotch snuff or its camphor? 18. M-, having been "used up" in the Review," goes about town lauding his critic-as an epicure lauds the best London mustard-with the tears in his eyes. 19. "Con tal que las costumbres de un autor sean puras y castas," says the Catholic Don Tomas de las Torres, in the Preface to his "Amatory Poems," "importo muy poco qui no sean igualmente severas sus obras:" meaning, in plain English, that, provided the personal morals of an author are pure, it matters little what those of his books are. | vivid perception of Right-of justice-of proportion -in a word, of Toxov. But one thing is clearthat the man who is not "irritable," (to the ordinary apprehension,) is no poet. 23. Let a man succeed ever so evidently-ever so demonstrably-in many different displays of genius, the envy of criticism will agree with the popular voice in denying him more than talent in any. Thus a poet who has achieved a great (by which I mean an effective) poem, should be cautious not to distinguish himself in any other walk of Letters. In especial-let him make no effort in Science-unless anonymously, or with the view of waiting patiently the judgment of posterity. Because universal or even versatile geniuses have rarely or never been known, therefore, thinks the world, none such can ever be. A "therefore" of this kind is, with the world, conclusive. But what is the fact, as taught us by analysis of mental power? Simply, that the highest genius-that the genius which all men instantaneously acknowledge as such-which acts upon individuals, as well as upon the mass, by a species of magnetism incomprehensible but irresistible and never resisted-that this genius which demonstrates itself in the simplest gesture-or even by the absence of all-this genius which speaks without a voice and flashes from the unopened eyeis but the result of generally large mental power existing in a state of absolute proportion—so that no one faculty has undue predominance. That factitious "genius"-that "genius" in the popular sense For so unprincipled an idea, Don Tomas, no doubt, is still having a hard time of it in Purgatory; and, by way of most pointedly manifesting their disgust at his philosophy on the topic in question, many-which is but the manifestation of the abnormal modern theologians and divines are now busily squaring their conduct by his proposition exactly conversed. predominance of some one faculty over all the others and, of course, at the expense and to the detri ment, of all the others-is a result of mental disease or rather, of organic malformation of mind:-it is this and nothing more. Not only will such "genius" fail, if turned aside from the path indicated by its predominant faculty; but, even when pursuing this path-when producing those works in which, certainly, it is best calculated to succeed-will give unmistakeable indications of unsoundness, in respect to general intellect. Hence, indeed, arises the just idea that "Great wit to madness nearly is allied." I say "just idea ;" for by "great wit," in this case, the poet intends precisely the pseudo-genius to which I refer. The true genius, on the other hand, is necessarily, if not universal in its manifestations, at least capable of universality; and if, attempting all things, it succeeds in one rather better than in another, this is merely on account of a certain bias by which Taste leads it with more earnestness in the one direction than in the other. With equal zeal, it would succeed equally in all. That poets (using the word comprehensively, as including artists in general) are a genus irritabile, is well understood; but the why, seems not to be commonly seen. An artist is an artist only by dint of his exquisite sense of Beauty-a sense affording him rapturous enjoyment, but at the same time implying, or involving, an equally exquisite sense of Deformity of disproportion. Thus a wrong-an injustice-done a poet who is really a poet, excites him to a degree which, to ordinary apprehension, appears disproportionate with the wrong. Poets see injustice-never where it does not exist-but very often where the unpoetical see no injustice whatever. Thus the What the world calls "genius" is the state of poetical irritability has no reference to "temper" in mental disease arising from the undue predominance the vulgar sense, but merely to a more than usual clear- of some one of the faculties. The works of such sightedness in respect to Wrong:-this clear-sighted-genius are never sound in themselves and, in especial, ness being nothing more than a corollary from the always betray the general mental insanity. To sum up our results in respect to this very simple, but much vexata questio :— HISTORY OF THE The proportion of the mental faculties, in a case where the general mental power is not inordinate, gives that result which we distinguish as talent: and the talent is greater or less, first, as the general mental power is greater or less; and, secondly, as the proportion of the faculties is more or less absolute. The proportion of the faculties, in a case where the mental power is inordinately great, gives that result which is the true genius (but which, on account of the proportion and seeming simplicity of its works, is seldom acknowledged to be so;) and the genius is greater or less, first, as the general mental power is more or less inordinately great; and, secondly, as the proportion of the faculties is more or less absolute. An objection will be made :-that the greatest excess of mental power, however proportionate, does not seem to satisfy our idea of genius, unless we have, in addition, sensibility, passion, energy. The HISTORY OF THE COSTUME OF MEN, DURING THE EIGHTEENTH AND THE BEGINNING OF THE NINETEENTH CENTURY. BY FAYETTE ROBINSON. (Concluded from page 266.) people, antiques and moderns all danced. The chapel of the old Carmelite convent became a ballroom, and the Jesuits' college a place of festivity, as did also the convents of Saint-Sulpice of the Filles de Saint-Marie. In the guinguettes and in the most elegant society all danced. "If the traces of crime and degradation were seen every where else," says a writer of that age, "a man of taste had at least the consolation to find in these brilliant assemblages society not unlike that which made Paris once the wonder of the world. The winter-balls are the asylum of good taste, elegance and propriety. In them a young man may purify himself by the spectacle of triumphant VIRTUE." Yet the only requisite to admission to these balls was a subscription of 96 francs, (about $19 20.) A cotemporary thus describes one of the most celebrated of these reunions, that at the Hotel Richelieu, in a manner to make us skeptical about the virtue. "It is," says he, "an arch of transparent robes of lace, head-dresses of gold and diamonds. A subscription is required, and the visiter is ushered into the society of perfumed goddesses, crowned with flowers, who float about in Athenian robes, and receive the lisping flattery of the incroyables, who prate of their parole d'honneur." It need not be said this is a mere phase of Parisian society, fortunately not reflected by the rest of the world. WHEN Parisian society had passed the dread ordeal | vaded all society. High and low, aristocrats and which bears the name of the Reign of Terror, through continual scenes of blood and tears, it seemed by a strange and almost unaccountable impulse to be impelled to mirth and festivity. On the day after the disappearance of the guillotine French frivolity resumed its sway with a thousand whims and vagaries, to which the stern muse of history would pay no attention, but to which, in this sketch of the follies of humanity, we may aptly attend. One of the whimsicalities peculiar to the day is that in memory of the sad toilette of the guillotine, when the hair was cropped by the shears of the executioner, a similar coiffure was the mode. Women laid aside their luxuriant locks for a coiffure à la victime, and wore a band of blood-red velvet around the neck, as if in derision of the fall of the axe. This fashion, emanating in France, where recklessness had been produced by the constant presence of danger, went the round of the world, and the coiffure à la victime was worn by both sexes in quiet neighborhoods, which had learned only by report of the fearful atrocities committed in the capital of civilization. Balls à la victime also became the vogue, and none were at first admitted to them except those who had lost relations on the scaffold. To some of these balls it was requisite not to have lost collaterals only, but a parent, or brother, sister, husband or wife. There were exclusives even there, and a new nobility of the scaffold was created. This was the era of corsets à la justice and bonnets à la humanité. Away with care! Bring in the violin and minstrels! was the cry. A mania for the dance per The ball of the Opera was revived, and to it we must look for the most striking specimens of costume. The plain black domino exclusively worn at such places during the monarchy had disappeared, and was replaced by a similar garment of the most striking colors. Turks, Chinese and the old traditional characters were exiled to the places of popular amusement, and the great room of the Opera was filled with Caius Marius, Dentatus, Cicero, Mutius Scævola, Pericles, Lycurgus, Cymon and Herodotus. The charm, however, was gone; the new society had no traditions; the people composing it were almost ignorant of each other, and the playful badinage of which the old balls had been the scene was lost forever. The Jeunesse Dorée, as the courtiers of the Directory and Consulate were called, frequented these balls most faithfully, but the old prestige was destroyed, and families were not seen as they had been in the days of old. It is strange with what rapidity from the epoch of the Directory a taste for luxury and pleasure sprung up in the minds of the people. Music again resumed its sway, and a hundred places of public amusement were opened. One of the most significant evidences that the late or present French Revolution is not yet over, is the fact that as yet public amusements do not thrive, and that the people look elsewhere for excitement than to the stage and concert. The most curious of all spectacles is the stormy deliberation of the Assembly, and the artistes of the Executive power the most attractive of all performers. Gradually a disposition to make a figure inoculated society. As the Revolution became distant luxury increased. Yet it was not the faste of old monarchy, but a new splendor, which the persons left on the surface of society by the bouleversement of all orders threw around them. The women in the lowness of the bosoms of their dresses descended below even the modesty required by the Regency, and the incroyables became more fantastic than the marquis. The following was the costume they adopted, and a more tasteless one can scarcely be conceived: HISTORY OF THE COSTUME OF MEN. 321 They were not so richly dressed as their prede- | this recklessness may we attribute the fact of the cessors, nor were they so elegant and graceful, but great increase of the expense of dress in every grade their manners were quite as affected. Then came of society over all the civilized world. again the taste for gallant acrostics and love songs, which caused the poetry of the Cheniers to be forgotten for fantasies addressed to the popular actresses. This prodigality was the more criminal because it had a contrast in alarming want. The Revolution did not make France more rich, nor did the hecatombs slain in defence of the liberty of the country make the cornfields and vineyards more fruitful. French prodigality was imitated everywhere, and to The mode of wearing the hair for men had long become fixed; it was cropped and au naturel, and has thus remained to our own day. The male costume became every day more and more inelegant. Frocks were worn short, loose and broad; pantaloons loose as a sailor's lasted to a late day of the empire. This costume had but one merit, simplicity, a quality inspection of the following engraving will show it to have possessed in a great degree. |