Harper's New Monthly Magazine, No. IX.—February, 1851.—Vol. II.Various
General
Harper's New Monthly Magazine, No. IX.—February, 1851.—Vol. II.
Various
American literature -- Periodicals; Civilization -- Periodicals; Culture -- Periodicals
carried headlong into hostility by the martial instincts of his nature,
the uneasiness of doubt or insecurity was swallowed up by his joy in the
anticipation of victory, or even of contest; while to myself, whose
exultation was purely official and ceremonial, as due by loyalty and
legal process from a cadet of the belligerent house, no such
compensation existed. The enemy was no enemy in _my_ eyes; his affronts
were but retaliations; and his insults were so inapplicable to my
unworthy self, being of a calibre exclusively meant for the use of my
brother, that from me they recoiled, one and all, as cannon-shot from
cotton bags.
[Footnote 2: "_Bridge of sighs_:"--Two men of memorable genius, Hood
last, and Lord Byron by many years previously, have so appropriated
this phrase, and re-issued it as English currency, that many readers
suppose it to be theirs. But the genealogies of fine expressions
should be more carefully preserved. The expression belongs
originally to Venice. This _jus postliminii_ becomes of real
importance in a case like that of Shakspeare. It is a most
remarkable fact that he is made to seem a robber of the lowest order
by mere dint of suffering robbery. Purely through their own jewelly
splendor, have many hundreds of his phrases forced themselves into
usage so general, under the vulgar infirmity of seeking to
strengthen weak prose by shreds of poetic quotation, that at length
the majority of careless readers came to look upon these phrases as
belonging to the language, and traceable to no distinct proprietor
any more than proverbs: and thus, on afterward observing them in
Shakspeare, they regard him in the light of one accepting alms (like
so many meaner persons) from the common treasury of the universal
mind, on which treasury he had himself conferred them as original
donations of his own. Many expressions in the "Paradise Lost," in
"Il Penseroso," and in "L'Allegro," are in the same predicament:
from glorifying their author, so long as they were consciously
referred to him _as_ their author, they have, at least, ended in
tarnishing his glory. As creations, they were marks of power; as
tributes levied upon a common stock, they become arguments of
weakness.]
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