LITMIR.BIZ

      INTRODUCTION

       Table of Contents

February 9 in the year 1800 was a gala day in Paris. Napoleon had decreed a triumphal procession, and on that day a splendid military ceremony was performed in the Champ de Mars, and the trophies of the Egyptian expedition were exultingly displayed. There were, however, two features in all this pomp and show which seemed strangely out of keeping with the glittering pageant and the sounds of victorious rejoicing. The standards and flags of the army were hung with crape, and after the grand parade the dignitaries of the land proceeded solemnly to the Temple of Mars, and heard the eloquent M. de Fontanes deliver an "Eloge Funèbre."¹

      About the same time, if tradition may be trusted, the flags upon the conquering Channel fleet of England were lowered to half-mast in token of grief for the same event which had caused the armies of France to wear the customary badges of mourning.

      If some "traveler from an antique land" had observed these manifestations, he would have wondered much whose memory it was that had called them forth from these two great nations, then struggling fiercely with each other for supremacy on land and sea. His wonder would not have abated had he been told that the man for whom they mourned had wrested an empire from one, and at the time of his death was arming his countrymen against the other.

      These signal honors were paid by England and France to a simple Virginian gentleman who had never left his own country, and who when he died held no other office than the titular command of a provisional army. Yet although these marks of respect from foreign nations were notable and striking, they were slight and formal in comparison with the silence and grief which fell upon the people of the United States when they heard that Washington was dead. He had died in the fullness of time, quietly, quickly, and in his own house, and yet his death called out a display of grief which has rarely been equaled in history. The trappings and suits of woe were there of course, but what made this mourning memorable was that the land seemed hushed with sadness, and that the sorrow dwelt among the people and was neither forced nor fleeting. Men carried it home with them to their firesides and to their churches, to their offices and their workshops. Every preacher took the life which had closed as the noblest of texts, and every orator made it the theme of his loftiest eloquence. For more than a year the newspapers teemed with eulogy and elegy, and both prose and poetry were severely taxed to pay tribute to the memory of the great one who had gone. The prose was often stilted and the verse was generally bad, but yet through it all, from the polished sentences of the funeral oration to the humble effusions of the obscurest poet's corner, there ran a strong and genuine feeling, which the highest art could not refine nor the clumsiest expression degrade.

      From that time to this, the stream of praise has flowed on, ever deepening and strengthening, both at home and abroad. Washington alone in history seems to have risen so high in the estimation of men that criticism has shrunk away abashed, and has only been heard whispering in corners or growling hoarsely in the now famous house in Cheyne Row.

      There is a world of meaning in all this, could we but rightly interpret it. It cannot be brushed aside as mere popular superstition, formed of fancies and prejudices, to which intelligent opposition would be useless. Nothing is in fact more false than the way in which popular opinions are often belittled and made light of. The opinion of the world, however reached, becomes in the course of years or centuries the nearest approach we can make to final judgment on human things. Don Quixote may be dumb to one man, and the sonnets of Shakespeare may leave another cold and weary. But the fault is in the reader. There is no doubt of the greatness of Cervantes or Shakespeare, for they have stood the test of time, and the voices of generations of men, from which there is no appeal, have declared them to be great. The lyrics that all the world loves and repeats, the poetry which is often called hackneyed, is on the whole the best poetry. The pictures and statues that have drawn crowds of admiring gazers for centuries are the best. The things that are "caviare to the general" often undoubtedly have much merit, but they lack quite as often the warm, generous, and immortal vitality which appeals alike to rich and poor, to the ignorant and to the learned.

      So

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