An analysis of harriet e wilsons book sketches from the life of a free black

Pure Shores Make waves this month as a medley of bold prints, neon brights and clashing patterns takes us into spring in superb style P h o t o g r a p h y: Oldham proved his eye for talent once again, when the portraits developed into important album covers for the group. The exhibition of images spansrevealing the Stones as relaxed or posed, youthful or as experienced performers. They were a class act and their exquisite artefacts became revered by major global museums — yet they were held as hidden treasures due to their delicacy.

An analysis of harriet e wilsons book sketches from the life of a free black

An analysis of harriet e wilsons book sketches from the life of a free black

Tuis book has but little to do with Heine the poet, Heine the fantasist, with the Heine of the Neuc Gedichte, the Buch der Lieder, the Romanzero, whose words go so well together with Schuberts music.

Yet without this book you have but half of Heine, you have the singer only, you have nothing of the man. In ninety-nine cases out of a hundred, if not even in the hundredth, it will be found that a mans destinies complete his talent; and that whilst one part of all he produces springs from an interior source, the rest is derived from without.

Now, Heine being granted, with his impres- sible character, his sarcastic humor, and the rudeness of his German nature, the exterior cause of his talent lies in one word, France. If France had not existed, Voltaire would have invented it; but not so the nephew of the Jew banker of Hamburg.

If France had not existed, Heine would not have been Heine; and we might have had a few very beauti- ful lyrics, worthy of a place even between those of Schiller and of Goethe, but of the strange, powerful, unlovable, and in his way complete individual, whose least word preoccupied Germany for years, and who only the other day left off dying by inches upon his mattress-grave in the Rue dAmster- VOL.

Lut6ce is not, as some critics have thought proper to call it, a daguerreotype of the political and social scenes exhibited by France under the reign of Louis Philippe; for a daguerre- otype is the mere reflection of an object, which object bor- rows nothing from the surface that reflects it, whereas the picture in question owes half its value to the medium through which it becomes manifest.

If it were not Heine that spoke them, you would, however true, find much less to in- terest you in the words that are spoken, and many of the judgments acquire their sole importance from the quality of the judge.

They are as it were a prophecy of the past. As you refer to the date, you cannot help recurring also to the fact that this conjurer Merlin, as he somewhere styles himself, was walk- ing about among ordinary people with this magic mirror al- ways before him, and clearly seeing what to you and your purblind brethren was invisible.

What guessed our country- men and countrywomen, when they were presented to Louis Philippe in the Hall of Marshals at the Tuileries, of the totter- ing foundations of the whole governmental edifice?


Or, when they flocked to Colonel Thorns aristocratic fUes, and thought how fine a thing was an old noblesse, provided, like dan- ger, it no longer was and only had been! They said nothing, neither did the Parisians, who were divided into two classes: All saw nothing, and yet here was a man rubbing elbows with them upon the Boulevards who discerned the black point upon the horizon, saw far years far away into the future; and, giving shape to his dreams, sent them, nothing extenuated, to Germany, where they lived out their day, were read, commented upon, and not profited by.

And there they are now, staring us in the face, solemnly curious, as we said before, and only to be designated as a Prophecy of the Past When Heine first came to Paris, the ground was still hot under his feet, so that what lava had been thrown up by the eruption of he was in time to study and appreciate.

But the exiled author of the Reisebilder came in time to see the beginning. He watched the putting in or- der of the whole, and built his apprehensions of the future upon his experience of the past.

An analysis of harriet e wilsons book sketches from the life of a free black

He is there before the rising of the curtain, and sees the actors dress. So, it may be said, did the French people themselves; but the French people forget everything, and are incapable to-day of remembering what were yesterdays events. Forgiveness, says 1-Jeine, speaking of them, is a ready virtue in the French, because it is a form of forgetfulness.

But Heine, with his German tenacity, lost no impression he had once received, and deduced the present from the past, and the future from both, aided therein as much by his memory as by his poetic instinct. If ever human affairs resembled a colossal game at whist with a dummy, they were the affairs of France during the eighteen years of Louis Philippes reign.

Dummy was the nation, and was alternately the partner of Guizot, of Thiers, and of the king, when he played against both; but the entire epoch is explicable only from the point of view of the per- petual struggle for supremacy between the king and the Chamber of Deputies on the one hand, and on the other be- tween Thiers and Cuizot in that Chamber.

Small enough is the political importance of the question as to which of the two the king likes most, or least. He will make use of one or of the other, according as he wants either this one or that; and he will only do so then, neither sooner nor later.

I really cannot affirm which of these two statesmen is the most agreeable or disagree- able to him. I believe he has a strong distaste for both, and that from professional jealousy, esteeming himself more of a minister than either, and dreading the possibility of a greater degree of political capacity being attributed to these two personages than to himself.

It has sometimes been said that Guizot suits him better than Thiers, because he enjoys a certain unpopularity that is far from displeasing to the king.

But then, ngain, Guizots puritanical semblances, his ever- watchful pride, his dogmatic, doctoral tone, and his harsh Calvinistic outside, assuredly do not fascinate Louis Philippe.

In Thiers he has the contrary of all this, an easy air that is close upon levity, an un- curbed boldness of temper, and caprices of sincerity and frankness, almost offensive to his own tortuous and hermetically sealed up nature. So that, after all, M.

Thierss qualities are not very likely to charm his Majesty. But above and beyond all must be considered the kings love of talkincr! He willingly lends himself to gossip that nothing can stay or stop, which is the more astonishing, since generally those who dissimulate habitually are taciturn, and avoid wasting their words.

Consequently, Guizot cannot fail of being vexatious to him, for his Thiers, however, Louis Philippe is perhaps still less at his ease, for here is a man who does not let him speak at all, hurried away as he is in the whirlpool of his own talk!

Thierss phrases flow on unceasingly, like the wine from a cask that has been unbunged; but the wine is ex- quisite, no doubt. Whilst Thiers is bust talking, no man alive can edge in a word, and the only chance is, as I have been assured, to surprise him when he is shaving.

When the razors point is at his throat, lie holds his tongue and listens to other men. No one, we should be inclined to say, of all the gravest historians and political portrait-painters of France, has so admirably delineated the two men in whose persons Political France was incarnate during the monarchy of July, and whose antagonism may be said to be the history of its vicis- situdes and of its fall.

The reason is, perhaps, that Heine was himself not a politician, and put no spirit of party, no passion, into his judgments. Heine is an artist and a poet, and on his study of statesmen brings to bear all his poets power of divination, and all the appreciative spirit of the artist; but there is no predetermined bias: If, instead of playing upon the three hundred and odd Deputies of the Palais Bourbon, they had exercised themselves upon piano-forte or violin, you would soon see the difference in Heinrich Heine, and how he xvould soar into enthusiasm for the one, or sink the other down into a bottomless pit of confusion.We use cookies to gather web statistics, remember your settings and target ads.

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