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remarkable words of Jesus Christ, and by the testimony of history.
The rich, therefore, are to be shunned and feared, till we know, by
positive proof, that they are worthy of our confidence and esteem, by
the possession of virtue and wisdom.
On the contrary, if a man is poor, we have reason to believe that
he is humble, and if humble, that he is virtuous. I know that this is not
the way that the world usually judge, but I know that it is true. If you
wish to find sympathy for sorrow or misfortune; or if you wish to find
those who will make sacrifices to alleviate your distress, you must go
to those who know sorrow and are acquainted with grief. You must
go to those who are in the humble walks of life, and have learnt
humility—an estimate of ourselves which makes us regard others as
our equals, and which renders us willing to do to them as we would
have them do to us. No man can feel the sorrow of others, unless he
has suffered himself.
“’Tis the poor man alone,
When he hears the poor’s moan,
Of his morsel a morsel will give.”
M. You seem to think, then, that men are to be judged according
to their character, and not by their circumstances.
R. Just so: you have stated the case exactly. When the Bible says
that God looketh on the heart, it means to affirm, that the wisest and
best of beings pays no respect to riches or poverty. In choosing his
friends, he does not consider what sort of a house a man lives in, or
how he is dressed; he looks to his heart, to his real character: and,
be he rich or poor, if he finds that selfishness, greediness, and
avarice, occupy the soul, he condemns him; but if he finds that he
has a humble heart, one that is kind, and full of love and charity, he
approves of him.
M. The great thing for a man to aim at, is to have a good heart, a
good character: you think a man should be more careful to be
humble, than to be rich.
R. Assuredly: and he is more likely to be humble if he is poor,
than if he is rich.
M. Should a man avoid riches, then?
R. No: I have said that riches are intended for good, and that in
the hands of the virtuous they are beneficial. But wealth is not
necessary to happiness; it is indeed a snare to thousands. Instead,
therefore, of seeking for it greedily as the first thing, we should only
regard it as secondary, and of infinitely less consequence than
virtue. And though we should seek to avoid poverty, if it come, we
may enjoy the reflection that it is safer to walk in the humble valley,
than to climb along the dizzy pinnacles of prosperity and power. At
all events, in wealth or poverty, in prosperity or adversity, let us
cultivate humility, and judge ourselves and others by looking on the
heart; let us consider that we are good or bad, respectable or
despicable, not according to our circumstances, but according to our
wisdom and our virtue.
M. I believe what you tell me, Paul, for you are wise, and all you
tell me sounds true; but it would be hard to make the world believe
that poverty and misfortune are desirable.
R. Perhaps not; but I could tell you a story of real life, in which it
would appear that misfortune, or what the world calls such, actually
promoted happiness.
M. Pray tell it to me.
R. I will do so to-morrow, if you desire it; you have heard enough
for to-day.
Here the conversation ended for the time. Raymond’s story, which
he entitled the School of Misfortune, I shall give to my readers in the
next chapter.
Origin of Words and Phrases.
CHAPTER VIII.
Catania.—Description of the city.—Danger of its situation.—Beauty
of the country.—Journey up Mount Ætna.—Great abundance
of lava.—Nicolosi.—Visit to the crater of Monti Rossi.—Grand
prospect of the mountain.—Continuation of the journey.—A
hut in the woods.—A night on the mountain.
CHAPTER IX.
A snow-storm on the mountain.—Trick of the guide.—Night’s lodging
at the Englishman’s house.—Sunrise.—Journey up the cone.
—Arrival at the top.—Description of the crater.
A robin was one summer evening sitting upon a tree and singing
its cheerful song right merrily. A critical sparrow was near by, and
when the robin had done, he exclaimed, “Bah! what a miserable
song! Why, it really seemed as if it would split my ears. How can you,
Mister Robin, pretend to sing, when there are those around who
understand music so much better?”
“Why, dear little sparrow,” said the robin, “I only sing simple
songs, such as nature has taught me; and here is my pretty mate at
my side, and she says my song gives her pleasure.”
“The more fool she,” said the sparrow, smartly, “to be captivated
with such humdrum stuff. If you want to hear music, you must listen
to the catbird, who has been to foreign countries, and the macaws,
that are dressed so fine. They have introduced a new style of music,
and it’s all the fashion; and your lackadaisical songs are now out of
vogue, and none but the vulgar can bear them.”
“Very well, if it be so,” said the robin quietly. “I know my songs are
of a very humble kind, but they are still pleasing to me and mine; and
I doubt not that my simple melodies give more true pleasure than the
more fashionable of these foreign minstrels. One thing proves it, and
that is this: when any one of the birds sings our native woodnotes
wild, there is a silence all around, and every one has a look of
delight. But when one of the fashionable musicians is singing,
though the birds roll up their eyes and say, ‘exquisite!’ and
‘enchanting!’ and all that, they look all the time as if they were in the
greatest distress. It seems to me very silly for people to praise a
thing they dislike or do not understand, merely because it has come
into fashion.”
The Mysterious Artist.
(Continued.)
It was night, and the studio of Murillo, the most celebrated painter
in Seville—this studio, which, during the day, was so animated and
cheerful—was now silent as the grave. A single lamp burned upon a
marble table, and a young boy, whose sable hue harmonized with
the surrounding darkness, but whose eyes sparkled like diamonds at
midnight, leaned against an easel, immovable and still. He was so
deeply absorbed in his meditations that the door of the studio was
opened by one, who several times called him by name, and who, on
receiving no answer, approached and touched him. Sebastian raised
his eyes, which rested on a tall and handsome mulatto.
“Why do you come here, father?” said he, in a melancholy tone.
“To keep you company, Sebastian.”
“There is no need, father; I can watch alone.”
“But what if the Zombi should come?”
“I do not fear him,” replied the boy, with a pensive smile.
“He may carry you away, my son, and then the poor negro Gomez
will have no one to console him in his slavery.”
“Oh, how sad, how dreadful it is to be a slave!” exclaimed the boy,
weeping bitterly.
“It is the will of God,” replied the negro, with an air of resignation.
“God!” ejaculated Sebastian, as he raised his eyes to the dome of
the studio, through which the stars glittered—“God! I pray constantly
to him, father, (and I hope he will one day listen to me,) that we may
no longer be slaves. But go to bed, father; go, go; and I shall go to
mine there in that corner, and I shall soon fall asleep. Good night,
father, good night.”
“Are you really not afraid of the Zombi, Sebastian?”
“My father, that is a superstition of our country. Father Eugenio
has assured me that God does not permit supernatural beings to
appear on earth.”
“Why then, when the pupils asked you who sketched the figures
they find here every morning, did you say it was the Zombi?”
“To amuse myself, father, and to make them laugh; that was all.”
“Then good night, my son;” and, having kissed the boy, the
mulatto retired.
The moment Sebastian found himself alone, he uttered an
exclamation of joy. Then, suddenly checking himself, he said,
“Seventy-five lashes to-morrow if I do not tell who sketched these
figures, and perhaps more if I do. O my God, come to my aid!” and
the little mulatto threw himself upon the mat, which served him for a
bed, where he soon fell fast asleep.
Sebastian awoke at daybreak; it was only three o’clock. Any other
boy would probably have gone to sleep again; not so Sebastian, who
had but three hours he could call his own.
“Courage, courage, Sebastian,” he exclaimed, as he shook
himself awake; “three hours are thine—only three hours—then profit
by them; the rest belong to thy master, slave! Let me at least be my
own master for three short hours. So begin; these figures must be
effaced;” and, seizing a brush, he approached the virgin, which,
viewed by the soft light of the morning dawn, appeared more
beautiful. than ever.
“Efface this!” he exclaimed, “efface this! no! I will die first—efface
this—they dare not—neither dare I. No! that head—she breathes—
she speaks—it seems as if her blood would flow if I should offer to
efface it, and I should be her murderer. No, no, no; rather let me
finish it.”