Over the Teacups. Oliver Wendell HolmesЧитать онлайн книгу.
and, in the year 1863, died at the house of his brother George. I read his death in the paper; but, having seen and heard very little of him during his life, should not have been much impressed by the fact, but for the following occurrence: between the time of Grenville Phillips's death and his burial, I was looking in upon my brother, then living in the house in which we were both born. Some books which had been my father's were stored in shelves in the room I used to occupy when at Cambridge. Passing my eye over them, an old dark quarto attracted my attention. It must be a Bible, I said to myself, perhaps a rare one,—the “Breeches” Bible or some other interesting specimen. I took it from the shelves, and, as I did so, an old slip of paper fell out and fluttered to the floor. On lifting it I read these words:
The name is Grenville Tudor.
What was the meaning of this slip of paper coming to light at this time, after reposing undisturbed so long? There was only one way of explaining its presence in my father's old Bible;—a copy of the Scriptures which I did not remember ever having handled or looked into before. In christening a child the minister is liable to forget the name, just at the moment when he ought to remember it. My father preached occasionally at the Brattle Street Church. I take this for granted, for I remember going with him on one occasion when he did so. Nothing was more likely than that he should be asked to officiate at the baptism of the younger son of his wife's first cousin, Judge Phillips. This slip was handed him to remind him of the name: He brought it home, put it in that old Bible, and there it lay quietly for nearly half a century, when, as if it had just heard of Mr. Phillips's decease, it flew from its hiding-place and startled the eyes of those who had just read his name in the daily column of deaths. It would be hard to find anything more than a mere coincidence here; but it seems curious enough to be worth telling.
The second of these two last stories must be told in prosaic detail to show its whole value as a coincidence.
One evening while I was living in Charles Street, I received a call from Dr. S., a well-known and highly respected Boston physician, a particular friend of the late Alexander H. Stephens, vice-president of the Southern Confederacy. It was with reference to a work which Mr. Stephens was about to publish that Dr. S. called upon me. After talking that matter over we got conversing on other subjects, among the rest a family relationship existing between us,—not a very near one, but one which I think I had seen mentioned in genealogical accounts. Mary S. (the last name being the same as that of my visitant), it appeared, was the great-great-grandmother of Mrs. H. and myself. After cordially recognizing our forgotten relationship, now for the first time called to mind, we parted, my guest leaving me for his own home. We had been sitting in my library on the lower floor. On going up-stairs where Mrs. H. was sitting alone, just as I entered the room she pushed a paper across the table towards me, saying that perhaps it might interest me. It was one of a number of old family papers which she had brought from the house of her mother, recently deceased.
I opened the paper, which was an old-looking document, and found that it was a copy, perhaps made in this century, of the will of that same Mary S. about whom we had been talking down-stairs.
If there is such a thing as a purely accidental coincidence this must be considered an instance of it.
All one can say about it is that it seems very unlikely that such a coincidence should occur, but it did.
I have not tried to keep my own personality out of these stories. But after all, how little difference it makes whether or not a writer appears with a mask on which everybody can take off,—whether he bolts his door or not, when everybody can look in at his windows, and all his entrances are at the mercy of the critic's skeleton key and the jimmy of any ill-disposed assailant!
The company have been silent listeners for the most part; but the reader will have a chance to become better acquainted with some cf them by and by.
II
TO THE READER.
I know that it is a hazardous experiment to address myself again to a public which in days long past has given me a generous welcome. But my readers have been, and are, a very faithful constituency. I think there are many among them who would rather listen to an old voice they are used to than to a new one of better quality, even if the “childish treble” should betray itself now and then in the tones of the overtired organ. But there must be others,—I am afraid many others,—who will exclaim: “He has had his day, and why can't he be content? We don't want literary revenants, superfluous veterans, writers who have worn out their welcome and still insist on being attended to. Give us something fresh, something that belongs to our day and generation. Your morning draught was well enough, but we don't care for your evening slip-slop. You are not in relation with us, with our time, our ideas, our aims, our aspirations.”
Alas, alas! my friend,—my young friend, for your hair is not yet whitened,—I am afraid you are too nearly right. No doubt,—no doubt. Teacups are not coffee-cups. They do not hold so much. Their pallid infusion is but a feeble stimulant compared with the black decoction served at the morning board. And so, perhaps, if wisdom like yours were compatible with years like mine, I should drop my pen and make no further attempts upon your patience.
But suppose that a writer who has reached and passed the natural limit of serviceable years feels that he has some things which he would like to say, and which may have an interest for a limited class of readers,—is he not right in trying his powers and calmly taking the risk of failure? Does it not seem rather lazy and cowardly, because he cannot “beat his record,” or even come up to the level of what he has done in his prime, to shrink from exerting his talent, such as it is, now that he has outlived the period of his greatest vigor? A singer who is no longer equal to the trials of opera on the stage may yet please at a chamber concert or in the drawing-room. There is one gratification an old author can afford a certain class of critics: that, namely, of comparing him as he is with what he was. It is a pleasure to mediocrity to have its superiors brought within range, so to speak; and if the ablest of them will only live long enough, and keep on writing, there is no pop-gun that cannot reach him. But I fear that this is an unamiable reflection, and I am at this time in a very amiable mood.
I confess that there is something agreeable to me in renewing my relations with the reading public. Were it but a single appearance, it would give me a pleasant glimpse of the time when I was known as a frequent literary visitor. Many of my readers—if I can lure any from the pages of younger writers will prove to be the children, or the grandchildren, of those whose acquaintance I made something more than a whole generation ago. I could depend on a kind welcome from my contemporaries,—my coevals. But where are those contemporaries? Ay de mi! as Carlyle used to exclaim,—Ah, dear me! as our old women say,—I look round for them, and see only their vacant places. The old vine cannot unwind its tendrils. The branch falls with the decay of its support, and must cling to the new growths around it, if it would not lie helpless in the dust. This paper is a new tendril, feeling its way, as it best may, to whatever it can wind around. The thought of finding here and there an old friend, and making, it may be, once in a while a new one, is very grateful to me. The chief drawback to the pleasure is the feeling that I am submitting to that inevitable exposure which is the penalty of authorship in every form. A writer must make up his mind to the possible rough treatment of the critics, who swarm like bacteria whenever there is any literary material on which they can feed. I have had as little to complain of as most writers, yet I think it is always with reluctance that one encounters the promiscuous handling which the products of the mind have to put up with, as much as the fruit and provisions in the market-stalls. I had rather be criticised, however, than criticise; that is, express my opinions in the public prints of other writers' work, if they are living, and can suffer, as I should often have to make them. There are enough, thank Heaven, without me. We are literary cannibals, and our writers live on each other and each other's productions to a fearful extent. What the mulberry leaf is to the silk-worm, the author's book, treatise, essay, poem, is to the critical larva; that feed upon it. It furnishes them with food and clothing. The process may not be agreeable