air into music, and rolling it forth upon the soul. What long-drawn cadences! What solemn, sweeping concords! It grows more and more dense and powerful—it fills the vast pile, and seems to jar the very walls—the ear is stunned—the senses are overwhelmed. And now it is winding up in full jubilee—it is rising from the earth to heaven—the very soul seems rapt away and floated upward on this swelling tide of harmony! …
I rose and prepared to leave the abbey. As I descended the flight of steps which lead into the body of the building, my eye was caught by the shrine of Edward the Confessor, and I ascended the small staircase that conducts to it, to take from thence a general survey of this wilderness of tombs. The shrine is elevated upon a kind of platform, and close around it are the sepulchers of various kings and queens. From this eminence the eye looks down between pillars and funeral trophies to the chapels and chambers below, crowded with tombs; where warriors, prelates, courtiers and statesmen lie moldering in their "beds of darkness." Close by me stood the great chair of coronation, rudely carved of oak, in the barbarous taste of a remote and Gothic age. The scene seemed almost as if contrived, with theatrical artifice, to produce an effect upon the beholder. Here was a type of the beginning and the end of human pomp and power; here it was literally but a step from the throne to the sepulcher. Would not one think that these incongruous mementos had been gathered together as a lesson to living greatness, to show it, even in the moment of its proudest exaltation, the neglect and dishonor to which it must soon arrive; how soon that crown which encircles its brow must pass away, and it must lie down in the dust and disgraces of the tomb, and be trampled upon by the feet of the meanest of the multitude? …
The last beams of day were now faintly streaming through the painted windows in the high vaults above me; the lower parts of the abbey were already wrapt in the obscurity of twilight. The chapels and aisles grew darker and darker. The effigies of the kings faded into shadows; the marble figures of the monuments assumed strange shapes in the uncertain light; the evening breeze crept through the aisles like the cold breath of the grave; and even the distant footfall of a verger, traversing the Poet's Corner, had something strange and dreary in its sound. I slowly retraced my morning's walk, and as I passed out at the portal of the cloisters the door, closing with a jarring noise behind me, filled the whole building with echoes.
I endeavored to form some arrangement in my mind of the objects I had been contemplating, but found they were already fallen into indistinctness and confusion. Names, inscriptions, trophies, had all become confounded in my recollection, tho I had scarcely taken my foot from off the threshold. What, thought I, is this vast assemblage of sepulchers but a treasury of humiliation; a huge pile of reiterated homilies on the emptiness of renown and the certainty of oblivion! It is, indeed, the empire of death; his great shadowy palace, where he sits in state, mocking at the relics of human glory, and spreading dust and forgetfulness on the monuments of princes. How idle a boast, after all, is the immortality of a name! Time is ever silently turning over his pages; we are too much engrossed by the story of the present, to think of the characters and anecdotes that gave interest to the past; and each age is a volume thrown aside to be speedily forgotten. The idol of to-day pushes the hero of yesterday out of our recollection; and will, in turn, be supplanted by his successor of to-morrow.
"Our fathers," says Sir Thomas Browne, "find their graves in our short memories, and sadly tell us how we may be buried in our survivors." History fades into fable; fact becomes clouded with doubt and controversy; the inscription molders from the tablet; the statue falls from the pedestal. Columns, arches, pyramids, what are they but heaps of sand; and their epitaphs, but characters written in the dust? What is the security of a tomb, or the perpetuity of an embalmment? The remains of Alexander the Great have been scattered to the wind, and his empty sarcophagus is now the mere curiosity of a museum. "The Egyptian mummies, which Cambyses or time hath spared, avarice now consumeth; Mizraim cures wounds, and Pharaoh is sold for balsams."2
What, then, is to insure this pile which now towers above me from sharing the fate of mightier mausoleums? The time must come when its gilded vaults, which now spring so loftily, shall lie in rubbish beneath the feet; when, instead of the sound of melody and praise, the wind shall whistle through the broken arches, and the owl hoot from the shattered tower—when the garish sunbeam shall break into these gloomy mansions of death, and the ivy twine round the fallen column; and the foxglove hang its blossoms about the nameless urn, as if in mockery of the dead. Thus the man passes away; his name perishes from record and recollection; his history is as a tale that is told, and his very monument becomes a ruin.
1 From "The Sketch Book." Published by G.P. Putnam's Sons.
2 Sir Thomas Browne.
THE HOUSES OF PARLIAMENT1
By Nathaniel Hawthorne
A little before twelve, we took a cab, and went to the two Houses of Parliament—the most immense building, methinks, that ever was built; and not yet finished, tho it has now been occupied for years. Its exterior lies hugely along the ground, and its great unfinished tower is still climbing toward the sky; but the result (unless it be the river-front, which I have not yet seen) seems not very impressive. The interior is much more successful. Nothing can be more magnificent and gravely gorgeous than the Chamber of Peers—a large oblong hall, paneled with oak, elaborately carved, to the height of perhaps twenty feet. Then the balustrade of the gallery runs around the hall, and above the gallery are six arched windows on each side, richly painted with historic subjects. The roof is ornamented and gilded, and everywhere throughout there is embellishment of color and carving on the broadest scale, and, at the same time, most minute and elaborate; statues of full size in niches aloft; small heads of kings, no bigger than a doll; and the oak is carved in all parts of the paneling as faithfully as they used to do it in Henry VII.'s time—as faithfully and with as good workmanship, but with nothing like the variety and invention which I saw in the dining-room of Smithell's Hall. There the artist wrought with his heart and head; but much of this work, I suppose, was done by machinery.
It is a most noble and splendid apartment, and, tho so fine, there is not a touch of finery; it glistens and glows with even a somber magnificence, owing to the deep, rich hues and the dim light, bedimmed with rich colors by coming through the painted windows. In arched recesses, that serve as frames, at each end of the hall, there are three pictures by modern artists from English history; and tho it was not possible to see them well as pictures, they adorned and enriched the walls marvelously as architectural embellishments. The Peers' seats are four rows of long sofas on each side, covered with red morocco; comfortable seats enough, but not adapted to any other than a decorously exact position. The woolsack is between these two divisions of sofas, in the middle passage of the floor—a great square seat, covered with scarlet, and with a scarlet cushion set up perpendicularly for the Chancellor to lean against. In front of the woolsack there is another still larger ottoman, on which he might lie at full length—for what purpose intended, I know not. I should take the woolsack to be not a very comfortable seat, tho I suppose it was originally designed to be the most comfortable one that could be contrived.
The throne is the first object you see on entering the hall, being close to the door; a chair of antique form, with a high, peaked back, and a square canopy above, the whole richly carved and quite covered with burnished gilding, besides being adorned with rows of rock crystals—which seemed to me of rather questionable taste. …
We next, after long contemplating this rich hall, proceeded through passages and corridores to a great central room, very beautiful, which seems to be used for purposes of refreshment, and for electric telegraphs; tho I should not suppose this could be its primitive and ultimate design. Thence we went into the House of Commons, which is larger than the Chamber of Peers, and much less richly ornamented, tho it would have appeared splendid had it come first in
