The Continental Monthly, Vol. IV. October, 1863, No. IV. | Page 9

our petty cares? All other arts arise from the facts of our earthly existence, but Music has no external archetype, and refuses to submit her ethereal soul to our curious analysis. _'I am so, because so I am,'_ is the only answer she gives to the queries of materialism. Like the primitive rock, the skeleton of earth's burning heart, she looms up through the base of our existence. Addressing herself to some mystic faculty born before thought or language, she lulls the suffering baby into its first sleep, using perhaps the primeval and universal language of the race. For the love which receives the New Born, cadences the monotonous chant; and human sympathies are felt by the innocent and confiding infant before his eyes are opened fully upon the light, before his tongue can syllable a word, his ear detect their divisions, or his mind divine their significations. But Music looms not only through the base of our being; like the encompassing sky, her arch spans our horizon. Lo! is it not the language through which the Angels convey the secrets of their profound adoration to the Heart of God!
'Having every one of them harps'--'and they sung a new song'--in which are to join 'every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea'--'and the number of them was ten thousand times ten thousand, and thousands of thousands.' (Revelation, chap, v.)
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While Angelo linked the fiery tones in rhythmed laws, Zophiel sketched with glowing pen the joys of virtue, the glories of the intellect, and the pleasures, pains, raptures, woes, and loves of the heart. The deeds of heroes were sung in Epic; Dramas, Elegies, and Lyrics syllabled the inner life; men listened to the ennobling strains, and became freemen as they heard. The intermingling flow of high thought and melodious measures elevated and soothed the soul, and love for, and faith in, humanity, were awakened and nourished by the true Poet.
Jemschid wrought with brush and pencil, until the canvas imaged his loved skies and mountains, glowed with the noble deeds of men, and pictured that spiritual force which strangely characterizes and mingles with the ethereal grace of woman's fragile form.
Through the artists, life grew into loveliness, for all was idealized, and the scattered and hidden beauties of the universe were brought to light. The plan of creation is far too vast to be embraced in its complex unity by the finite: it is the province of art to divide, condense, concentrate, reunite, and rearrange the vast materials in smaller frames, but the new work must always be a whole. Angelo aroused and excited the emotions of the soul, which Zophiel analyzed and described in words most eloquent; while Jemschid made clearer to his brethren that Beauty of creation which is an ever visible proof of the love of God. His portraits illumined the walls of the bereaved, keeping fresh for them the images of the loved and lost. Historical pictures enlarged the mind of his people, keeping before it the high deeds of its children and stimulating to noble prowess. His landscapes warmed the dingy city homes, bringing even there the blue sky, the clouds, the streams, the forests, the mountains, moss, and flowers.
Men became happier and better, for the Brothers, in showing the universal Beauty, awakened the universal Love.
For the true essence of man, made in the image of God, is also Love!
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The artists turned not from the rose-cheek of the maiden, nor refused the touch of the ruby lip; but they loved her too well to sully by one wronging thought the tender confidence of perfect innocence, or cause her guileless heart a single pang. For womanhood was holy in their sight!
Among earth's purest maidens shone a fair Lily, whose virgin leaves had all grown toward the sky; whose cup of snow had never been filled save by the dews of heaven; whose tall circlet of golden stamens seemed more like altar lamps arranged to light a sanctuary, than meant to warm and brighten the heart of human love. But the devotion of a noble heart is a holy thing; Genius is full of magic power, and the maiden did not always remain insensible to the love of Angelo, for he was spiritually beautiful, and when he moved in the world of his own creation, his face shone as it were the face of an angel. In ethereal 'fantasies' and divine 'adagios,' he won the Lily to rest its snowy cup upon his manly heart. He soothed the earth cares with the heaven tones and beautified the bitter realities of life by transfiguring them into passionate longings for the Perfect. Bathed in Music's heavenly dew, and warmed by the