The Atlantic Monthly, Volume 05, No. 30, April, 1860. Various
circumference as may be expressed by a continued fraction composed wholly of the figure 1. It is, then, true, that all the beauty of the vegetable world which depends on the arrangement of parts—the graceful symmetry or more graceful apparent disregard of symmetry in the general form of plants, all the charm of the varying forms of forest trees, which adds such loveliness to the winter landscape, and such a refined source of pleasure to the exhilaration of the winter morning walk—is the result of the simplest variations in a simple numerical law; and is thus clearly brought under our fundamental canon. It is the perception of this unity in diversity, of this similarity of plan, for instance, in all tree-like forms, however diverse,—the sprig of mignonette, the rose-bush, the fir, the cedar, the fan-shaped elm, the oval rock-maple, the columnar hickory, the dense and slender shaft of the poplar,—which charms the eye of those who have never heard in what algebraic or arithmetical terms this unity may be defined, in what geometrical or architectural figures this diversity may be expressed.
When we look at the animal kingdom, we recognize there also the presence of simple, all-pervading laws. The four great types of animal structures are readily discerned by the dullest eye: no man fails to see the likeness among all vertebrates, or the likeness among all articulates, the likeness among alt mollusks, or the likeness among all radiates. These four types show, moreover, a certain unity, even to the untaught eye: we call them all by one name, animals, and feel that there is a likeness between them deeper than the widest differences in their structure; there are analogies where there are not homologies.
The difference between the four types of animals is marked at a very early period in the embryo,—the embryo taking one of four different forms, according to the department to which it belongs; and Peirce has shown that these four forms are all embodiments of one single law of position. If, then, one single algebraic law of form includes the four diverse forms of the four great branches of the animal kingdom, is it extravagant to suppose that the diversities in each branch are also capable of being included in simple generalizations of form? Is it unreasonable to believe that the exceeding beauty of animated forms, and of the highest, the human form, arises from the fact that these forms are the result of some simple intellectual law, a simple conception of the Divine Geometer, assuming varied developments in the great series of animated beings? It is the unity of the form, arising from the simplicity of its law, and the multiplicity of its manifestations or details, arising from the generality of its law, that, intuitively perceived by the eye, although the intellect may not apprehend them, give the charm to the figures of the animate creation.
The subject, even in the narrow limits which we have imposed upon ourselves, would admit of a much longer discussion. The various animals might, for instance, be compared with each other, and the beauty of the most beautiful could be clearly shown to be owing to the greater variety in the outline, or the greater variety of position, which they included in equal unity of general effect. And should we step outside the bounds which we have prescribed to ourselves, we should find that in other things than questions of mere form the general canon holds true, that laws produce beauty in proportion to their own simplicity and to the variety of their effects. As a single example, take the most beautiful of the fine arts, the art which is free from the laws of space, and subject only to those of time, and in which, therefore, we find a beauty removed as far as possible from that of curvilinear outlines. How exceedingly simple are the fundamental laws of music, of simple rhythm and simple harmony yet how infinitely varied, and how inexpressibly touching are its effects! In studying music as a mere matter of intellectual science, all is simple; it is only an easy chapter in acoustics. But in studying it on the side of the emotions, in studying the laws of counterpoint and of musical form, which are governed by the effect upon the ear and the heart, we find intricacy and difficulties, increased beyond our power of understanding.
So in the harmony of the spheres, in the varied beauty which clothes the earth and pervades the heavens, in the beauty which addresses itself to eye and ear, and in the beauty which addresses only the inward sense,—the harmonious arrangements of the social world, and the adjustment of domestic, civil, and political relations,—there is an infinite diversity of result, infinitely varied in its effect upon the observer. But could we behold the Kosmos as it is beheld by its Creator, we should perchance find the whole encyclopedia of our science resting upon a few great, but simple laws; we should see that the whole universe, in all its infinite complication, is the fulfilment of perhaps a single simple thought of the Divine Mind, and that it is this unity pervading the diversity which makes it the Kosmos, Beauty.
FOUND AND LOST
And he sold his birth-right unto Jacob. Then Jacob gave Esau bread and pottage of lentiles.
GEN. xxv. 33, 34.
……So! I let fall the curtain; he was dead. For at least half an hour I had stood there with the manuscript in my hand, watching that face settling in its last stillness, watching the finger of the Composer smoothing out the deeply furrowed lines on cheek and forehead,—the faint recollection of the light that had perhaps burned behind his childish eyes struggling up through the swarthy cheek, as if to clear the last world's-dust from the atmosphere surrounding the man who had just refound his youth. His head rested on his hand,—and so satisfied and content was his quiet attitude, that he looked as if resting from a long, wearisome piece of work he was glad to have finished. I don't know how it was, but I thought, oddly enough, in connection with him, of a little school-fellow of mine years ago, who one day, in his eagerness to prove that he could jump farther than some of his companions, upset an ink-stand over his prize essay, and, overcome with mortification, disappointment, and vexation, burst into tears, hastily scratched his name from the list of competitors, and then rushed out of doors to tear his ruined essay into fragments; and we found him that afternoon lying on the grass, with his head on his hand, just as he lay now, having sobbed himself to sleep.
I dropped the curtains of the bed, drew those of the window more closely, to exclude the shrill winter wind that was blowing the slant sleet against the clattering window-panes, broke up the lump of cannel coal in the grate into a bright blaze that subsided into a warm, steady glow of heat and light, drew an arm-chair and a little table up to the cheerful fire, and sat down to read the manuscript which the quiet man behind the curtains had given me. Why shouldn't I (I was his physician) make myself as comfortable as was possible at two o'clock of a stormy winter night, in a house that contained but two persons beside my German patient,—a half-stupid serving-man, doubtless already asleep down-stairs, and myself? This is what I read that night, with the comfortable fire on one side, and Death, holding strange colloquy with the fitful, screaming, moaning wind, on the other.
As I wish simply to relate what has happened to me, (thus the manuscript began,) what I attempted, in what I sinned, and how I failed, I deem no introduction or genealogies necessary to the first part of my life. I was an only child of parents who were passionately fond of me,—the more, perhaps, because an accident that had happened to me in my childhood rendered me for some years a partial invalid. One day, (I was about five years old then,) a gentleman paid a visit to my father, riding a splendid Arabian horse. Upon dismounting, he tied the horse near the steps of the piazza instead of the horseblock, so that I found I was just upon the level with the stirrup, standing at a certain elevation. Half as an experiment, to try whether I could touch the horse without his starting, I managed to get my foot into the stirrup, and so mounted upon his back. The horse, feeling the light burden, did start, broke from his fastening, and sped away with me on his back at the top of his speed. He ran several miles without stopping, and finished by pitching me off his back upon the ground, in leaping a fence. This fall produced some disease of the spine, which clung to me till I was twelve years old, when it was almost miraculously cured by an itinerant Arab physician. He was generally pronounced to be a quack, but he certainly effected many wonderful cures, mine among others.
I had always been an imaginative child; and my long-continued sedentary life compelling me (a welcome compulsion) to reading as my chief occupation and amusement, I acquired much knowledge beyond my years.
My reading generally had one peculiar tone: a certain kind of mystery was an essential ingredient in the fascination that books which I considered interesting had for me. My earliest fairy tales were not those unexciting stories in which the good genius appears at the beginning of the book, endowing the hero with such an invincible talisman that suspense is banished from the