VILLAGE POET.
It was impossible for Myrtle to be frequently at Olive's without often meeting Olive's brother, and her reappearance with the bloom on her cheek was a signal which her other admirers were not likely to overlook as a hint to recommence their flattering demonstrations; and so it was that she found herself all at once the centre of attraction to three young men with whom we have made some acquaintance, namely, Cyprian Eveleth, Gifted Hopkins, and Murray Bradshaw.
When the three girls were together at the house of Olive, it gave Cyprian a chance to see something of Myrtle in the most natural way.
Indeed, they all became used to meeting him in a brotherly sort of relation; only, as he was not the brother of two of them, it gave him the inside track, as the sporting men say, with reference to any rivals for the good-will of either of these. Of course neither Bathsheba nor Myrtle thought of him in any other light than as Olive's brother, and would have been surprised with the manifestation on his part of any other feeling, if it existed. So he became very nearly as intimate with them as Olive was, and hardly thought of his intimacy as anything more than friendship, until one day Myrtle sang some hymns so sweetly that Cyprian dreamed about her that night; and what young person does not know that the woman or the man once idealized and glorified in the exalted state of the imagination belonging to sleep becomes dangerous to the sensibilities in the waking hours that follow? Yet something drew Cyprian to the gentler and more subdued nature of Bathsheba, so that he often thought, like a gayer personage than himself, whose divided affections are famous in song, that he could have been blessed to share her faithful heart, if Myrtle had not bewitched him with her unconscious and innocent sorceries. As for poor, modest Bathsheba, she thought nothing of herself, but was almost as much fascinated by Myrtle as if she had been one of the *** she was born to make in love with her.
The first rival Cyprian was to encounter in his admiration of Myrtle Hazard was Mr. Gifted Hopkins. This young gentleman had the enormous advantage of that all-subduing accomplishment, the poetical endowment. No woman, it is pretty generally understood, can resist the youth or man who addresses her in verse. The thought that she is the object of a poet's love is one which fills a woman's ambition more completely than all that wealth or office or social eminence can offer. Do the young millionnaires and the members of the General Court get letters from unknown ladies, every day, asking for their autographs and photographs? Well, then!
Mr. Gifted Hopkins, being a poet, felt that it was so, to the very depth of his soul. Could he not confer that immortality so dear to the human heart? Not quite yet, perhaps,--though the "Banner and Oracle" gave him already "an elevated niche in the Temple of Fame,"to quote its own words,--but in that glorious summer of his genius, of which these spring blossoms were the promise. It was a most formidable battery, then, which Cyprian's first rival opened upon the fortress of Myrtle's affections.
His second rival, Mr. William Murray Bradshaw, had made a half-playful bet with his fair relative, Mrs. Clymer Ketchum, that he would bag a girl within twelve months of date who should unite three desirable qualities, specified in the bet, in a higher degree than any one of the five who were on the matrimonial programme which she had laid out for him,--and Myrtle was the girl with whom he meant to win the bet. When a young fellow like him, cool and clever, makes up his mind to bring down his bird, it is no joke, but a very serious and a tolerably certain piece of business. Not being made a fool of by any boyish nonsense,--passion and all that,--he has a great advantage. Many a woman rejects a man because he is in love with her, and accepts another because he is not. The first is thinking too much of himself and his emotions,--the other makes a study of her and her friends, and learns what ropes to pull. But then it must be remembered that Murray Bradshaw had a poet for his rival, to say nothing of the brother of a bosom friend.
The qualities of a young poet are so exceptional, and such interesting objects of study, that a narrative like this can well afford to linger awhile in the delineation of this most envied of all the forms of genius. And by contrasting the powers and limitations of two such young persons as Gifted Hopkins and Cyprian Eveleth, we may better appreciate the nature of that divine inspiration which gives to poetry the superiority it claims over every other form of human expression.
Gifted Hopkins had shown an ear for rhythm, and for the ******r forms of music, from his earliest childhood. He began beating with his heels the accents of the psalm tunes sung at meeting at a very tender age,--a habit, indeed, of which he had afterwards to correct himself, as, though it shows a sensibility to rhythmical impulses like that which is beautifully illustrated when a circle join hands and emphasize by vigorous downward movements the leading syllables in the tune of Auld Lang Syne, yet it is apt to be too expressive when a large number of boots join in the performance. He showed a remarkable talent for playing on one of the less complex musical instruments, too limited in compass to satisfy exacting ears, but affording excellent discipline to those who wish to write in the ******r metrical forms,--the same which summons the hero from his repose and stirs his blood in battle.
By the time he was twelve years old he was struck with the pleasing resemblance of certain vocal sounds which, without being the same, yet had a curious relation which made them agree marvellously well in couples; as eyes with skies; as heart with art, also with part and smart; and so of numerous others, twenty or thirty pairs, perhaps, which number he considerably increased as he grew older, until he may have had fifty or more such pairs at his command.
