Paul and Virginia. Bernardin de Saint-Pierre

which he played, and the orchard that he robbed!"

      He returned to this country, so fondly loved and deeply cherished in absence, to experience only trouble and difficulty. Away from it, he had yearned to behold it,—to fold it, as it were, once more to his bosom. He returned to feel as if neglected by it, and all his rapturous emotions were changed to bitterness and gall. His hopes had proved delusions—his expectations, mockeries. Oh! who but must look with charity and mercy on all discontent and irritation consequent on such a depth of disappointment: on what must have then appeared to him such unmitigable woe. Under the influence of these saddened feelings, his thoughts flew back to the island he had left, to place all beauty, as well as all happiness, there!

      One great proof that he did beautify the distant, may be found in the contrast of some of the descriptions in the "Voyage a l'Ile de France," and those in "Paul and Virginia." That spot, which when peopled by the cherished creatures of his imagination, he described as an enchanting and delightful Eden, he had previously spoken of as a "rugged country covered with rocks,"—"a land of Cyclops blackened by fire." Truth, probably, lies between the two representations; the sadness of exile having darkened the one, and the exuberance of his imagination embellished the other.

      St. Pierre's merit as an author has been too long and too universally acknowledged, to make it needful that it should be dwelt on here. A careful review of the circumstances of his life induces the belief, that his writings grew (if it may be permitted so to speak) out of his life. In his most imaginative passages, to whatever height his fancy soared, the starting point seems ever from a fact. The past appears to have been always spread out before him when he wrote, like a beautiful landscape, on which his eye rested with complacency, and from which his mind transferred and idealized some objects, without a servile imitation of any. When at Berlin, he had had it in his power to marry Virginia Tabenheim; and in Russia, Mlle. de la Tour, the niece of General Dubosquet, would have accepted his hand. He was too poor to marry either. A grateful recollection caused him to bestow the names of the two on his most beloved creation. Paul was the name of a friar, with whom he had associated in his childhood, and whose life he wished to imitate. How little had the owners of these names anticipated that they were to become the baptismal appellations of half a generation in France, and to be re-echoed through the world to the end of time!

      It was St. Pierre who first discovered the poverty of language with regard to picturesque descriptions. In his earliest work, the often-quoted "Voyages," he complains, that the terms for describing nature are not yet invented. "Endeavour," he says, "to describe a mountain in such a manner that it may be recognised. When you have spoken of its base, its sides, its summit, you will have said all! But what variety there is to be found in those swelling, lengthened, flattened, or cavernous forms! It is only by periphrasis that all this can be expressed. The same difficulty exists for plains and valleys. But if you have a palace to describe, there is no longer any difficulty. Every moulding has its appropriate name."

      It was St. Pierre's glory, in some degree, to triumph over this dearth of expression. Few authors ever introduced more new terms into descriptive writing: yet are his innovations ever chastened, and in good taste. His style, in its elegant simplicity, is, indeed, perfection. It is at once sonorous and sweet, and always in harmony with the sentiment he would express, or the subject he would discuss. Chenier might well arm himself with "Paul and Virginia," and the "Chaumiere Indienne," in opposition to those writers, who, as he said, made prose unnatural, by seeking to elevate it into verse.

      The "Etudes de la Nature" embraced a thousand different subjects, and contained some new ideas on all. It is to the honour of human nature, that after the uptearing of so many sacred opinions, a production like this, revealing the chain of connection through the works of Creation, and the Creator in his works, should have been hailed, as it was, with enthusiasm.

      His motto, from his favourite poet Virgil, "Taught by calamity, I pity the unhappy," won for him, perhaps many readers. And in its touching illusions, the unhappy may have found suspension from the realities of life, as well as encouragement to support its trials. For, throughout, it infuses admiration of the arrangements of Providence, and a desire for virtue. More than one modern poet may be supposed to have drawn a portion of his inspiration, from the "Etudes." As a work of science it contains many errors. These, particularly his theory of the tides,(*) St. Pierre maintained to the last, and so eloquently, that it was said at the time, to be impossible to unite less reason with more logic.

      In "Paul and Virginia," he was supremely fortunate in his subject. It was an entirely new creation, uninspired by any previous work; but which gave birth to many others, having furnished the plot to six theatrical pieces. It was a subject to which the author could bring all his excellences as a writer and a man, while his deficiencies and defects were necessarily excluded. In no manner could he incorporate politics, science, or misapprehension of persons, while his sensibility, morals, and wonderful talent for description, were in perfect accordance with, and ornaments to it. Lemontey and Sainte-Beuve both consider success to be inseparable from the happy selection of a story so entirely in harmony with the character of the author; and that the most successful writers might envy him so fortunate a choice. Buonaparte was in the habit of saying, whenever he saw St. Pierre, "M. Bernardin, when do you mean to give us more Pauls and Virginias, and Indian Cottages? You ought to give us some every six months."

      The "Indian Cottage," if not quite equal in interest to "Paul and Virginia," is still a charming production, and does great honour to the genius of its author. It abounds in antique and Eastern gems of thought. Striking and excellent comparisons are scattered through its pages; and it is delightful to reflect, that the following beautiful and solemn answer of the Paria was, with St. Pierre, the results of his own experience:—"Misfortune resembles the Black Mountain of Bember, situated at the extremity of the burning kingdom of Lahore; while you are climbing it, you only see before you barren rocks; but when you have reached its summit, you see heaven above your head, and at your feet the kingdom of Cachemere."

      When this passage was written, the rugged, and sterile rock had been climbed by its gifted author. He had reached the summit,—his genius had been rewarded, and he himself saw the heaven he wished to point out to others.

      SARAH JONES.

      PAUL AND VIRGINIA

      Situated on the eastern side of the mountain which rises above Port Louis, in the Mauritius, upon a piece of land bearing the marks of former cultivation, are seen the ruins of two small cottages. These ruins are not far from the centre of a valley, formed by immense rocks, and which opens only towards the north. On the left rises the mountain called the Height of Discovery, whence the eye marks the distant sail when it first touches the verge of the horizon, and whence the signal is given when a vessel approaches the island. At the foot of this mountain stands the town of Port Louis. On the right is formed the road which stretches from Port Louis to the Shaddock Grove, where the church bearing that name lifts its head, surrounded by its avenues of bamboo, in the middle of a spacious plain; and the prospect terminates in a forest extending to the furthest bounds of the island. The front view presents the bay, denominated the Bay of the Tomb; a little on the right is seen the Cape of Misfortune; and beyond rolls the expanded ocean, on the surface of which appear a few uninhabited islands; and, among others, the Point of Endeavour, which resembles a bastion built upon the flood.

      At the entrance of the valley which presents these various objects, the echoes of the mountain incessantly repeat the hollow murmurs of the winds that shake the neighbouring forests, and the tumultuous dashing of the waves which break at a distance upon the cliffs; but near the ruined cottages all is calm and still, and the only objects which there meet the eye are rude steep rocks, that rise like a surrounding rampart. Large clumps of trees grow at their base, on their rifted sides, and even on their majestic tops, where the clouds seem to repose. The showers, which their bold points attract, often paint the vivid colours of the rainbow on their green and brown declivities, and swell the sources of the little river which flows at their feet, called the river of Fan-Palms. Within this inclosure reigns the most profound silence. The waters, the air, all the elements are at peace. Scarcely does the echo repeat the whispers of the palm-trees spreading