From the Easy Chair, Volume 2 — A Closer Reading

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Curtis, George William, 1824-1892 Project Gutenberg 2011 Not confirmed
American essays Readers of public-domain and historical texts
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Words 41,453
Reading time 181 min
Text sections 4

For From the Easy Chair, Volume 2 — A Closer Reading, the stored edition analysis reports 41,453 words, 3 hr 1 min estimated reading time, and 4 detected text sections.

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In this second series of essays from his 'Easy Chair' column, George William Curtis contrasts the golden age myth with present realities, using New Year's reflections, suburban encroachment, and historical hypocrisy to examine progress, memory, and moral complacency.
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This was probably the tenor of the sermons of the Vicar of Bray, and this was the way that he strove to save souls. But Fénelon and John Knox and Edwards and Whitefield and Wesley and Channing and St. Paul, each in his own way, said, "Thou art the man," and rebuked both the sin and the sinner. Yet all of them were very human and very fallible, and all came very short of the ideal of duty. To point out a defect in a picture, or to exhort the artist to avoid it, is not to declare yourself an incomparable artist. To demand honesty in public affairs is not to proclaim yourself a saint. To say that school-teachers should be thorough and use their common-sense as well as a text-book is not to scold them. Romilly was not a scold because he denounced the unjust criminal laws, nor John Howard because he rebuked the inhumanity of prisons, nor John the Baptist because he exhorted men to repent.

The poets rebuke our lives by the fair ideals that they draw, but they do not scold. If a man preaches a little sermon illustrating the way in which men in a certain profession, let us say, shirk their duty, and somebody cries out, "Don't scold so!" the preacher may safely exclaim, "Fellow-sinner, thou art the man." But the best illustration is closer at hand. If the Easy Chair reproves certain fellow-sinners for remissness in doing their duty, and for that offence is a scold, what is the censor who scolds the Easy Chair for scolding? Let us avoid Phariseeism, brethren, and the assumption of superior virtue.

NATIONAL NOMINATING CONVENTION.

It was a wise newspaper that recently advised every American who could do so to see a national nominating convention. It is a spectacle visible in no other country, and the most exciting political spectacle in this. It is the arena in which the prolonged and passionate strife of countless ambitions, intrigues, interests, and conspiracies is decided; and it is the more exciting because, with every effort to predetermine the result, the result is still at the mercy of chance. The action of the convention is a lottery. Suddenly, at the decisive moment, an unexpected combination, an impulse, a whim, like an overwhelming tidal wave, sweeps away all plans and calculations, and the result is as complete as it is unanticipated.

Even the device of a two-thirds vote to make a nomination valid does not avail to secure the real preference of the party which the convention represents. The two-thirds rule, as it is called, was designed to baffle the fundamental democratic principle, which is the rule of the majority. When that is abandoned, the proportion selected is purely arbitrary. It may as well be nine tenths as two thirds. But even such a dam will not resist the swelling waters of feeling in a convention. The French say that it is the unexpected that happens, but in a national convention it is the unforeseen which is anticipated. The palpitating multitude, which has been stimulating its own excitement, confronts every doubtful moment with an air which says plainly, "Now it's coming."

There is always a preliminary contest of various cities before the national party committee to decide where the convention shall be held. Local orators with honeyed persuasion dazzle the committee with statistics of the superior convenience, accommodation, beauty, healthfulness, resources, facilities, and whatever else their good genius may suggest, of the city for which each one of them contends. The convention is held in the largest hall, or in a building erected for the purpose, like the Wigwam in Chicago in 1860. The convention itself is composed of about nine hundred state delegates, their seats designated by a flag with the name of the state placed by the seat of the chairman of the delegation. The alternates are also seated.

Every convention is full of distinguished leaders and members of the party, and as any of them appears, either entering or rising to speak, they are greeted with great applause. If the temporary chairman be an eminent party chief or an eloquent popular orator, his address touches the springs of emotion and arouses hearty enthusiasm. But the friends of the leading candidates deprecate the mention of names until the candidates are presented by the chosen orator. The reason is that the applause of the convention is one of the counters in the game. There are hired _claques_ in the conventions which keep up a humming cry which is a substitute for applause, and which is sometimes continued for a quarter of an hour. The longer the hum, the more popular the candidate.

Curtis opens 'The New Year' with a German tradition—Sylvesterabend hymns heard in the night—to frame the tension between loss and renewal. The music carries 'a penetrating and indefinable pathos,' which he links to college songs before Commencement, where familiar melodies acquire 'an appealing melancholy unknown before.' This pattern of contrasting the ideal with the actual recurs throughout the volume.

The Golden Age Is Now

Curtis directly challenges nostalgia in 'The Golden Age,' arguing that the past was no better than the present. He cites Louis XIV's reign, when the king's mistress 'persuaded him to slaughter and banish hundreds of thousands of his subjects' for their faith, while Madame de Sévigné wrote cheerfully of executions: 'Hanging is quite a refreshment to me.' The essay insists that 'the golden age is not yesterday or to-morrow, but to-day.' Curtis does not deny present troubles—'the trouble, vexation, corruption, weakness, selfishness, meanness'—but calls them 'the old lions that have always beset the path.' He asks pointedly: 'If our politics seem mean and our men small, how does Alfred's time seem, or the glory of Athens?' The structure is a series of rhetorical questions that dismantle the reader's assumed superiority of earlier eras.

Suburban Encroachment and Lost Arcadia

In 'Spring Pictures,' Curtis personifies the Easy Chair as a stroller observing the 'pathetic forlornness of the municipal frontier.' Country houses with 'broad piazzas and gardens and lawns' are overtaken by 'streets and stone sidewalks and lamps.' The contrast gives them 'a kind of conscious life' and 'a helpless air.' Curtis imagines the earlier pastoral peace—'the placid river, on which no restless steamer foamed'—and calls it 'El Dorado, Arcadia, the land of Goshen.' Yet he undercuts his own idealization: 'Doubtless in the closets of those quiet houses there were the bones of plenty of old skeletons.' The passage balances lyrical memory with a wry acknowledgment that domestic tragedies occurred even in that imagined paradise.

The Public Scold and Moral Complacency

'The Public Scold' (from the table of contents) is not excerpted, but the pattern of moral critique appears throughout. In 'The New Year,' Curtis notes that Charles Lamb 'says that no one ever regarded the'—the excerpt cuts off, but the essay's opening establishes a rhythm: the midnight 'King is dead' gives way to 'Live the King!' with vows to forgive debts and forget feuds. Yet the tone is skeptical: 'The good vows shall be kept. A blessing shall be wrung from the fleet angel Opportunity.' The conditional 'shall' hints at failure. Curtis uses the Easy Chair persona to observe without preaching, letting contrasts—between hymn and requiem, between resolution and reality—carry the argument. The reader is left to measure the distance between aspiration and act.

Curtis writes as a moralist who distrusts both nostalgia and despair. His essays reward attention to the way he sets up a scene—a New Year's Eve, a suburban walk—only to pivot to a broader reflection. The reader should watch for the moment when the concrete detail opens into argument, and for the dry humor that often accompanies his most pointed observations.

Reading From the Easy Chair, Volume 2 reminded me of my grandfather’s old leather chair, creaking under the weight of his Sunday papers. His skepticism about “progress” felt echoed here. Yet The After-glow of a Great Reign Four Addresses Delivered in St. Paul's Cathedral — Themes and Context once gave me that same ache—a reverence for what fades, without pretending the fading isn’t real.

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