Blackwood's Edinburgh Magazine - Volume 62, No. 384, October 1847. Various
the earth in such abundance, at the almost unnumbered forms and colours of her vitality, at the wonderful harmony that subsisted amidst all those various hues and shapes. Never had the joys derivable from the sense of vision appeared of so much value as now that he gazed into the deep and delicious magnificence of nature. His sight, with a sort of luxurious abandonment, strayed over the contrasts, and penetrated into the distances of the landscape; his bosom swelled with the consciousness of a sympathy with that creation of which he felt himself to be but a kindred unit, or, at best, a sentient atom.
It was while absorbed in these sensations, that Cagliostro paused before the rustic dwelling-house towards which his steps had been involuntarily directed. The building was situated at a few paces from the pathway. There was nothing about it to arrest the attention of a passer-by, except, perhaps, all appearance of extreme but picturesque humility. The walls were riveted together with iron-bands in crossbars and zig-zags; the brickwork was decayed and crumbling away in blotches; the roof was low and thatched. Yet, in spite of these evidences of poverty, the scholar regarded the structure with a reverential aspect, with such an aspect as he might have presented had he contemplated the hut of Baucis and Philemon.
The threshold of this obscure edifice formed of itself a bower of greenery, thickly covered with the blooms of the honey-suckle. Under the porch was seated a man of a most venerable countenance. He was muffled in a gray coat of the coarsest texture, and his legs being crossed, a worsted stocking and a slipper of untanned leather betrayed the meanness of his under garments. His hair, brilliant with a whiteness like that of milk, was parted in the centre of the forehead, and fell over his shoulders in those negligent curls called oreilles de chien, which became fashionable long afterwards, during the days of the French Directory. Had the Alchemist remained profoundly ignorant as to the identity of the old man, he must still have observed with interest, features which were equally characterised by the pensiveness of the student and the paleness of the valetudinarian. He knew, however, instinctively, as he had done upon the two preceding occasions, that he beheld a personage of illustrious memory. And he knew rightly, for it was Milton. While the great plague was desolating the metropolis, he had escaped from his residence in the Artillery Walk, and sought security from the contagion by a temporary sojourn in Buckinghamshire.
Opposite the immortal sage stood a person of about the same years, but of a very different deportment—it was the dearest of his few friends, and the most ardent of his many worshippers, Richardson. The latter was leaning against the trunk of a great maple-tree that grew close to the parlour-lattice, stretching forth its enormous branches in all directions, and mingling its foliage with the smoke that issued from the chimney. Richardson had been reading aloud but a moment before, from a volume of Boccaccio; he had placed the book, however, upon the window-sill, in obedience to a movement from his companion, and continued, with his arms folded and his eyelids closed, a silent and almost inanimate portion of the domestic group. The quietude which ensued was so contagious that Cagliostro remarked with a feeling of listlessness, the details and accessories of the spectacle—the silk curtains of rusty green festooned before the open window, the tobacco-pipe lying among the manuscripts upon the table, even the slouched-hat hanging from the back of an arm-chair. The rambling meditations of Balsamo were soon concentrated upon a loftier theme, by the voice of Milton singing in a subdued tone the antistrophe of a favourite ode of Pindar. As the noble words of the Greek lyrist rolled with an indescribable gusto from the lips of Milton, it seemed to the Rosicrucian that he had never before comprehended the true euphony of the language. And the visage of the old bard responded to the strain of Pindar; it was illumined with a certain majesty of expression that imparted additional dignity to a countenance at all times beaming with wisdom. In appreciating the Pagan poet, the poet of Christianity appeared to glow with enthusiasm like that which entranced his whole soul in the moments of his own superb inspiration.15 Nor was the grandeur of the head diminished in any manner by the unpoetical proportions of the body, for, to the acknowledgment of his most partial biographer, Richardson, the stature of Milton was so much below the ordinary height, and so much beyond the ordinary bulk, that he might almost be described as "short and thick." Yet, notwithstanding these peculiarities of the frame, an august radiance seemed to envelope the brow—a brow, hoary alike from years and from misfortunes—and to invest with a sublime air the figure of that old man huddled in that old gray coat. Cagliostro gazed with profound interest upon Milton as the rolling melody of Pindar streamed into his ears, when suddenly the song ceased, and the face of the singer was raised to the resplendent light of the heavens. Alas! those eyes turned vacantly in their sockets—those eyes which had once looked so sorrowfully on the sightless Galileo—those eyes which had mourned over the ashes of Lycidas, and rained upon them tears transmuted by poetry into a shower of precious stones! The misery of his blindness recurred to Milton himself at that same instant. A cloud of grief descended upon his countenance. He experienced one of those poignant feelings of regret which, in our own day, occasionally oppress the heart of Augustin Thierry—for with the sensibility of a poet he knew that the hour was beautiful. Never had Cagliostro seen human face express such exquisite but patient suffering; it seemed to be listening to the loveliness of the earth; it seemed to be inhaling the glories of nature, as it were, through those channels which were not obliterated. The stirring of the leaves, the scent of the woodbine, the pattering of the winged seeds of the maple upon the pages of Boccaccio, the fitful twittering of the birds—all ascended as offerings of recompense to the blind man, but they only tended to enhance the sense of his affliction. He caught but the skirts of the goddess of that creation whose glories he had chanted in his celestial epic; and yet no murmur escaped from the dejected lip of Milton!
Again darkness surrounded the Rosicrucian—again the awful voice resounded in his imagination.
"Behold!" it said, "the sorrows of the great and virtuous when the light is quenched: behold the divine prerogative of those who see! And know, Balsamo, that such are the boons thou hast contemned—such are the faculties thou hast polluted."
MIRABEAU
After a scarcely perceptible pause, the Voice resumed: "The miseries of those who have abused or lost the powers of seeing, of tasting, or of feeling, have been revealed to thee, O sceptic! Thine eyes have penetrated into the dim retrospections of the past. Look onwards, Balsamo, and thou shalt discern the things that are germinating in the womb of the future."
Cagliostro had scarcely heard this assurance when the curtain hitherto impenetrable to mortal, was raised—the dread shadows of the future were dispelled. He found himself in the upper apartment of one of the most distinguished mansions in Paris. The chamber, which was lofty and spacious, was enriched with the most costly furniture, and the most gorgeous decorations. Pilasters, incrusted with marble, and enamelled with lapis-lazuli, broke the monotony of the walls and supported the ceiling with their capitals. Between these pilasters were pedestals surmounted with statuary and busts; and these, again, were reflected in the mirrors hung about the room in profusion. An almost oriental luxury characterised the Turkish carpets, as soft as the greensward, and the draperies of velvet which concealed the windows, and fell in graceful folds about a bed at the opposite end of the apartment. An antique candelabrum stood upon the mantelpiece and shed a rosy and voluptuous light over this domestic pomp, while some odorous gums crackled in a chafing-dish upon the hearth and loaded the air with their fragrance.
Familiar as the Rosicrucian was with splendour, his glance roved over these appurtenances with delight, for he had never before seen the evidences of wealth so enhanced by the evidences of refinement. He thought that the possession of such a dwelling would be something towards the realisation of happiness. In the very conception of that ignoble thought, however, he received a solemn and effectual admonition. Before him, in the silent chamber, on either side of it groups of attendants and men robed in the costumes of the court and the barracks, was a deathbed. It was the deathbed of an extraordinary being, the owner of all this grandeur. It was the deathbed of Honoré-Gabriel de Mirabeau.
The patrician demagogue reposed upon the pillows in the final stage of dissolution, and his broad forehead was already damp with the sweat of his last agony. Cagliostro surveyed the dying tribune with emotion, for in the very hideousness of his countenance there was a subtle and indefinable
It is impossible for anyone devoted to the study of "Paradise Lost," of "Comus," even of "Sampson Agonistes," and especially of "Il Pensoroso" and "L'Allegro," to doubt that their writer was carried away at times by the