He had that sense, or inward prophecy,—which a young man had better die at once than not to have, and a mature man had better never have been born than utterly to relinquish,—that we are not doomed to creep on for ever in the old, bad way, but that, this very now, there are the harbingers abroad of a golden era, to be accomplished in his own lifetime. It seemed to Holgrave—as doubtless it has seemed to the hopeful of every century, since the epoch of Adam's grandchildren—that in this age, more than ever before, the moss-grown and rotten Past is to be torn down, and lifeless institutions to be thrust out of the way, and their dead corpses buried, and everything to begin anew.
As to the main point,—may we never live to doubt it!—as to the better centuries that are coming, the artist was surely right. His error lay in supposing that this age, more than any past or future one is destined to see the tattered garments of Antiquity exchanged for a new suit, instead of gradually renewing themselves by patchwork; in applying his own little life-span as the measure of an interminable achievement; and, more than all, in fancying that it mattered anything to the great end in view, whether he himself should contend for it or against it. Yet it was well for him to think so. This enthusiasm, infusing itself through the calmness of his character, and thus taking an aspect of settled thought and wisdom, would serve to keep his youth pure, and make his aspirations high. And when, with the years settling down more weightily upon him, his early faith should be modified by inevitable experience, it would be with no harsh and sudden revolution of his sentiments. He would still have faith in man's brightening destiny, and perhaps love him all the better, as he should recognize his helplessness in his own behalf; and the haughty faith, with which he began life, would be well bartered for a far humbler one, at its close, in discerning that
