What Was It?

IT was a low, black, miserable place; Its roof was rotting; and above it hung A cloud of murky vapor, sending down Intolerable stench on all around. The place was silent, save the creaking noise, The steady motion of a dozen pumps, That labored all the day, nor ceased at night. Methought in it I heard a hundred groans; Dropping of widows' tears, and cries of orphans; Shrieks of some victim to the fiendish lust Of men for gold; woe echoing woe, And sighs, deep, long-drawn sighs of dark despair. Around the place a dozen hovels stood, Black with the smoke and steam that bathed them all; Their windows had no glass, but rags and boards, Torn hats and such-like, filled the paneless sash. Beings, once men and women, in and out Passed and repassed from darkness forth to light; And children, ragged, dirty, and despised, Clung to them. Children! heaven's early flowers, In their spring-time of life, blighted and lost! Children! those jewels of a parent's crown, Crushed to the ground and crumbled to the dust. Children! Heaven's representatives to man, Made menial slaves to watch at Evil's gate, And errand-boys to run at Sin's command. I asked why thus it was; and one old man Pushed up the visor of his cap, and said: "That low, black building is the cause of all." And would you know what 't was that wrought such ill, And what the name of that low building was? Go to thy neighbor, read to him these lines, And if he does not tell thee right, at first, Then come to me and you shall know its name.

LETTERS AND LETTER-WRITING.

THERE is nothing from which more real enjoyment can be derived than the art of letter-writing. All praise to the inventive genius that gave to man a written language, and with it the implements with which to talk across the world! Did you ever think, reader, what a world this would be without pen, ink, and paper? Then, the absence of friends were painful, and, as we grasped the friendly hand, bade our acquaintances "good-by," and saw the last, far-distant wave of the parting signal, we might turn aside to weep, as we thought we should never hear from them till we met face to face-perhaps never. But, as it is, when friends leave, we expect a message from their hearts soon, to solace our own. How we watch, and how we hope! What a welcome rap is the postman's! With what eagerness we loosen the seal; with what pleasure we read, from date to signature, every word!

It may not be uninteresting, nor wholly uninstructive, to examine the various modes of letter-writing, and to spend a brief half-hour with those who have by their letters made grave or gay impressions on the public mind.

Some write letters with great ease; others, with great difficulty. Miss Seward was an inveterate letter-writer. There have been published six large volumes of letters written by her; besides these, she left twelve quarto volumes of letters to a publisher of London, and these, it is said, are but a twelfth part of her correspondence. It seems as though she must have written nothing but letters, so many and various were they; but her fame as an authoress will convince any one that her industry overcame what might seem an impossibility, and that her genius in this particular resembled that of the steam-writing machine, Dumas, of the present time.

Lord Peterborough had such a faculty for this kind of composition, that, when ambassador to Turin, according to Pope, who says he was a witness of the performance, he employed nine amanuenses, who were seated in a room, around whom Lord Peterborough walked and dictated to each what he should write. These nine wrote to as many different persons, upon, perhaps, nine times as many subjects; yet the ambassador retained in his mind the connection of each letter so completely as to close each in a highly-finished and appropriate manner.

These facts show the ease and rapidity of some writers. In contradistinction to these are the letters of many eminent Latin writers, who actually bestowed several months of close attention upon a single letter. Mr. Owen says: "Such is the defect of education among the modern Roman ladies, that they are not troubled to keep up any correspondence; because they cannot write. A princess of great beauty, at Naples, caused an English lady to be informed that she was learning to write; and hoped, in the course of time, to acquire the art of correspondence."

There are many persons with whom it is the most difficult task of their existence to write a letter. They follow the old Latin writers, and make a labor of what with others is a recreation. They begin with the stereotyped words, "I take my pen in hand," as though a letter could be written without doing so. Then follows, "to inform you that I am well, and hope this will find you the same." There is a period-a full stop; and there are instances of persons going no further, but closing with, "This from your friend, JOHN SHORT."

This "difficulty" arises not from an inability, but from an excessive nicety-a desire to write a prize essay, instead of a good, sociable, familiar letter. To make a letter interesting, the writer must transfer his thoughts from his mind to his paper, as truly as the rays of the sun place the likeness of an object in front of the lens through which it acts upon the silvered plate. Seneca says, "I would have my letters be like my discourses when we sit or walk together, unstudied and easy."

Willis' letters are of a kind always "free and easy." His "Letters from Under a Bridge" are admirable specimens of letters as they should be; and his "Pencillings by the Way" owe much of their popularity to their easy, familiar, talkative style. The letters of Cicero and Pliny, of ancient, and Swift, Pope, Arbuthnot, Madame de S‚vign‚, and Lady Mary Wortley Montague, of modern times, are generally received as some of the best specimens extant of epistolary composition. The letters of Charles Lamb are a series of brilliances, though of kaleidoscope variety; they have wit without buffoonery, and seriousness without melancholy. He closes one of them by subscribing himself his friend's "afflicted, headachey, sorethroaty, humble servant, CHARLES LAMB."

Some men, and women too, of eminence, have written curiosities in the form of correspondence. The letter of the mother of Foote is a good example of this kind of correspondence. Mrs. Foote became embarrassed, and, being unable to meet a demand, was placed in prison; whereupon she wrote to Mr. Foote as follows:

"DEAR SAM: I am in prison for debt; come, and assist your loving mother, E. FOOTE.

It appears that "Sam" was equally entangled in the meshes of the law, for he answered as follows:

"DEAR MOTHER:-So am I; which prevents his duty being paid to his loving mother by her affectionate son,

"SAM FOOTE.

"P. S.-I have sent my attorney to assist you; in the mean time, let us hope for better days."

These laconic epistles are well matched by that of a French lady, who wrote to her husband this missive of intelligence, affection, &c., &c.:

"I write to you because I have nothing to do; I end my letter because I have nothing to say."

But these are left far in the rear by the correspondence of two Quakers, the one living in Edinburgh, the other in London. The former, wishing to know whether there was anything new in London, wrote in the corner of a letter-sheet a small interrogation note, and sent it to his friend. In due time he received an answer. He opened the sheet and found, simply, O, signifying that there was none.

In the London Times of January 3d, 1820, is the following, purporting to be a copy of a letter sent to a medical gentleman:

"CER: Yole oblige me uf yole kum un ce me. I hev a Bad kowld, am Hill in my Bow Hills, and hev lost my Happy Tight."

William Cowper, the poet, being on very familiar terms with the Rev. Mr. Newton, amused himself and his friend with a letter, of which the following is a copy:

"MY VERY DEAR FRIEND: I am going to send, what, when you have read, you may scratch your head, and say, I suppose, there's nobody knows, whether what I have got be verse or not; by the tune and the time, it ought to be rhyme; but if it be, did you ever see, of late or of yore, such a ditty before?

"I have writ Charity, not for popularity, but as well as I could, in hopes to do good; and if the reviewers should say, 'To be sure the gentleman's muse wears methodist shoes, you may know by her pace, and talk about grace, that she and her bard have little regard for the taste and fashions, and ruling passions, and hoydening play, of the modern day; and though she assume a borrowed plume, and now and then wear a tittering air, 't is only her plan to catch, if she can, the giddy and gay, as they go that way, by a production on a new construction; she has baited her trap, in hopes to snap all that may come, with a sugar-plum.' His opinion in this will not be amiss; 't is what I intend my principal end; and if I succeed, and folks should read, till a few are brought to a serious thought, I shall think I am paid for all I have said, and all I have done, though I have run, many a time, after rhyme, as far as from hence, to the end of my sense, and, by hook or crook, write another book, if I live and am here, another year.

"I heard before of a room, with a floor laid upon springs, and such like things, with so much art, in every part, that when you went in, you was forced to begin a minuet pace, with an air and a grace, swimming about, now in and now out, with a deal of state, in a figure of eight, without pipe or string, or any such thing; and now I have writ, in a rhyming fit, what will make you dance, and, as you advance, will keep you still, though against your will, dancing away, alert and gay, till you come to an end of what I have penned; which that you may do ere madam and you are quite worn out with jigging about, I take my leave; and here you receive a bow profound, down to the ground, from your humble me,