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Page 81
"From what I have already observed," said Mr. Ellison, "you will
understand that I reject the idea, here expressed, of 'recalling the
original beauty of the country.' The original beauty is never so
great as that which may be introduced. Of course, much depends upon
the selection of a spot with capabilities. What is said in respect to
the 'detecting and bringing into practice those nice relations of
size, proportion and color,' is a mere vagueness of speech, which may
mean much, or little, or nothing, and which guides in no degree. That
the true 'result of the natural style of gardening is seen rather in
the absence of all defects and incongruities, than in the creation of
any special wonders or miracles,' is a proposition better suited to
the grovelling apprehension of the herd, than to the fervid dreams of
the man of genius. The merit suggested is, at best, negative, and
appertains to that hobbling criticism which, in letters, would
elevate Addison into apotheosis. In truth, while that merit which
consists in the mere avoiding demerit, appeals directly to the
understanding, and can thus be foreshadowed in Rule, the loftier
merit, which breathes and flames in invention or creation, can be
apprehended solely in its results. Rule applies but to the
excellences of avoidance -- to the virtues which deny or refrain.
Beyond these the critical art can but suggest. We may be instructed
to build an Odyssey, but it is in vain that we are told how to
conceive a 'Tempest,' an 'Inferno,' a 'Prometheus Bound,' a
'Nightingale,' such as that of Keats, or the 'Sensitive Plant' of
Shelley. But, the thing done, the wonder accomplished, and the
capacity for apprehension becomes universal. The sophists of the
negative school, who, through inability to create, have scoffed at
creation, are now found the loudest in applause. What, in its
chrysalis condition of principle, affronted their demure reason,
never fails, in its maturity of accomplishment, to extort admiration
from their instinct of the beautiful or of the sublime.
"Our author's observations on the artificial style of gardening,"
continued Mr. Ellison, "are less objectionable. 'A mixture of pure
art in a garden scene, adds to it a great beauty.' This is just; and
the reference to the sense of human interest is equally so. I repeat
that the principle here expressed, is incontrovertible; but there may
be something even beyond it. There may be an object in full keeping
with the principle suggested -- an object unattainable by the means
ordinarily in possession of mankind, yet which, if attained, would
lend a charm to the landscape-garden immeasurably surpassing that
which a merely human interest could bestow. The true poet possessed
of very unusual pecuniary resources, might possibly, while retaining
the necessary idea of art or interest or culture, so imbue his
designs at once with extent and novelty of Beauty, as to convey the
sentiment of spiritual interference. It will be seen that, in
bringing about such result, he secures all the advantages of interest
or design, while relieving his work of all the harshness and
technicality of Art. In the most rugged of wildernesses -- in the
most savage of the scenes of pure Nature -- there is apparent the art
of a Creator; yet is this art apparent only to reflection; in no
respect has it the obvious force of a feeling. Now, if we imagine
this sense of the Almighty Design to be harmonized in a measurable
degree, if we suppose a landscape whose combined strangeness,
vastness, definitiveness, and magnificence, shall inspire the idea of
culture, or care, or superintendence, on the part of intelligences
superior yet akin to humanity -- then the sentiment of interest is
preserved, while the Art is made to assume the air of an intermediate
or secondary Nature -- a Nature which is not God, nor an emanation of
God, but which still is Nature, in the sense that it is the handiwork
of the angels that hover between man and God."
It was in devoting his gigantic wealth to the practical embodiment of
a vision such as this -- in the free exercise in the open air, which
resulted from personal direction of his plans -- in the continuous
and unceasing object which these plans afford -- in the contempt of
ambition which it enabled him more to feel than to affect -- and,
lastly, it was in the companionship and sympathy of a devoted wife,
that Ellison thought to find, and found, an exemption from the
ordinary cares of Humanity, with a far greater amount of positive
happiness than ever glowed in the rapt day-dreams of De Stael.
~~~ End of Text ~~~
======
Maelzel's Chess-Player
PERHAPS no exhibition of the kind has ever elicited so general
attention as the Chess-Player of Maelzel. Wherever seen it has been
an object of intense curiosity, to all persons who think. Yet the
question of its _modus operandi is _still undetermined. Nothing has
been written on this topic which can be considered as decisive--and
accordingly we find every where men of mechanical genius, of great
general acuteness, and discriminative understanding, who make no
scruple in pronouncing the Automaton a _pure machine, _unconnected
with human agency in its movements, and consequently, beyond all
comparison, the most astonishing of the inventions of mankind. And
such it would undoubtedly be, were they right in their supposition.
Assuming this hypothesis, it would be grossly absurd to compare with
the Chess-Player, any similar thing of either modern or ancient days.
Yet there have been many and wonderful automata. In Brewster's
Letters on Natural Magic, we have an account of the most remarkable.
Among these may be mentioned, as having beyond doubt existed,
firstly, the coach invented by M. Camus for the amusement of Louis
XIV when a child. A table, about four feet square, was introduced,
into the room appropriated for the exhibition. Upon this table was
placed a carriage, six inches in length, made of wood, and drawn by
two horses of the same material. One window being down, a lady was
seen on the back seat. A coachman held the reins on the box, and a
footman and page were in their places behind. M. Camus now touched a
spring; whereupon the coachman smacked his whip, and the horses
proceeded in a natural manner, along the edge of the table, drawing
after them the carriage. Having gone as far as possible in this
direction, a sudden turn was made to the left, and the vehicle was
driven at right angles to its former course, and still closely along
the edge of the table. In this way the coach proceeded until it
arrived opposite the chair of the young prince. It then stopped, the
page descended and opened the door, the lady alighted, and presented
a petition to her sovereign. She then re-entered. The page put up the
steps, closed the door, and resumed his station. The coachman whipped
his horses, and the carriage was driven back to its original
position.
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