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by A. P. (Addison Peale) Russell

I.
INSUFFICIENCY.

It was well said by some one that "in every object there is an inexhaustible meaning; the eye sees in it what the eye brings means of seeing." "Each one sees what he carries in his heart," said Goethe. "You will find poetry nowhere," said Joubert, "unless you bring some with you." "Those who would see or feel the truth of the anatomy in the marble must bring their knowledge with them." "Don't you think that statue indecent?" said Boswell to Johnson. "No, sir," was the reply, "but your remark is." Once, we are told by Hazlitt, when a pedantic coxcomb was crying up Raphael to the skies, Northcote could not help saying, "If there was nothing in Raphael but what you can see in him, we should not now have been talking of him." Douglas Jerrold, it is said, disliked the theatre behind the scenes, and seldom went there save to witness a rehearsal. He would generally attend on the first night of the performance of his piece, but he seldom saw the same piece twice. His idea, as realized, generally disgusted him. He saw it with all the delicate touches rubbed away,—a shadow, or a vulgar caricature. His quarrels with actors were incessant, because they would take their idea and not his idea of a part. La Rochefoucauld, in his Maxims, gives us a picture, not of human nature, but of its selfishness. "He works," said Sterling, "like a painter who paints the profile, and chooses the side of the face in which the eye is blind and deformed, instead of the other, which is unblemished. Yet the picture may be a most accurate copy." So do we all. Those of us that see at all see but a small part of anything at a time. Only a line upon the column is distinctly visible; all the rest is hidden, or obscured in the glaring light or eclipsing shadow. A man, especially, must be looked at all around, within, by a fair light, and with a good eye, to be seen truly or judged justly. We put a narrow and fine sight upon him naturally, and can hardly avoid estimating him meanly. We have too much the habit of Fuseli, who preferred beginning his sketch of the human figure at the lowest point, and working from the foot upward. "The wisest amongst us," said the artist and critic, Richardson, "is a fool in some things, as the lowest amongst men has some just notions, and therein is as wise as Socrates; so that every man resembles a statue made to stand against a wall or in a niche; on one side it is a Plato, an Apollo, a Demosthenes; on the other, it is a rough, unformed piece of stone." "Both," said Dr. Johnson of the remarks of Lord Orrery and Delany on Swift, "were right,—only Delany had seen most of the good side, Lord Orrery most of the bad." There is a curious life of Tiberius, with two title-pages, both taken from historical authorities; two characters—one detestable, the other admirable—of one and the same person; made up, both, of recorded facts. "We ought not," said La Bruyère, "to judge of men as of a picture or statue, at the first sight; there is a mind and heart to be searched; the veil of modesty covers merit, and the mask of hypocrisy disguises malignity. There are but few judges that have knowledge to discern aright to pass sentence; 'tis but by little and little, and perhaps even by time and occasion, that complete virtue or perfect vice come at last to show themselves." "A man," said Emerson, "is like a bit of Labrador spar, which has no lustre as you turn it in your hand, until you come to a particular angle; then it shows deep and beautiful colors." What you think of him depends so much on how you look at him.

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