THE TRINITY JOURNAL
----The article describes a Dramatic Fund Entertainment event that took place in the city, highlighting a speech given by Hiram Fuller, Esq., in response to a toast to "Woman." Fuller eloquently praises women, likening them to angels and emphasizing their importance in various aspects of life. The article also touches on the challenges faced by female performers in the dramatic arts and the charitable support provided to them by the institution hosting the event. Additionally, the article briefly mentions a humorous anecdote about the significance of quoting British authorities in legal proceedings. Another section recounts a gentleman named Rodman meeting a young lady in Broadway, taking a walk with her in the park, and later realizing that a valuable breastpin was missing.----
The assessed historical document, entitled "THE TRINITY JOURNAL," appears to be example of mid-19th-century American journalism, characterized by the vivid detail and flourish of rhetorical style thats was typical of the time. It offers a lens, albeit a distanced view, into social attitudes prevailing in the period, particularly towards women, dramatic arts, and sentiments of national identity.
One notable aspect of the article is a lengthy monologue given by Hiram Fuller, Esq., who presents an unabashed admiration towards women. He states, "the toast—the sentiment —(for ‘ Woman’ is all sentiment)—to which 1 am called to respond, is full of inspiration... there is a silent homage of the heart, a mute eloquence of the eye, burning and beaming with the emotions 'awakened by the inspiring theme,'". This glowing approval of womanhood is indicative of a strain of Victorian sentimentality where the figure of the woman is often upheld as a paragon of virtue and goodness. Fuller's monologue is filled with such Victorian references to woman as "the light of our home," "joy of our heart," and "the star of our night."
The Trinity Journal also put forth an account of a successful courtroom maneuver wherein the defending attorney exploits a wave of anti-British sentiment to win his case. As per the article, "Gentlemen,” said he [Daniels] to the justices on the bench, "the prosecuting attorney quotes on this occasion British authorities! British authorities! Can there be any one in this court room except himself so dead to patriotism..." This clever argument demonstrates a potent historical context: a still-strong anti-British sentiment in the decades following the War of 1812.
Following the discourse of women and the court incident, the article reflects on the life of dramatic performers and the dual nature of the profession, caught between a projected persona and real-life struggles. The author states, "These fair and radiant heroines of the stage, whom we see nightly arrayed in robes of beauty, and floating thro’ flowery realms of romance, often carry tragedy in their hearts, while comedy is laughing on their faces." This insight provides a valuable perspective on the perception of theatrical performers in the social and cultural contexts of this time.
In conclusion, the article, despite its nature as a slice of life, offers valuable insights into the socio-cultural dynamics of the era. It not only reflects the normative ideals of the day but also encapsulates some poignant expressions of life and society at the time. From Fuller’s homage to womanhood, through its play on anti-British sentiment, to the portrayal of the lives of artistes, each story embodies the spectrum of sentiments prevalent in its time.
With the swirling pulse of mid-nineteenth century New York City as its backdrop, an extraordinary occurrence ignited a far-reaching dialogue on femininity and womanhood. Unveiled in an enthralling article in "The Trinity Journal", we are transported back to a time-steeped tale from New York City's intricate past. It was an unusual fundraising event for the Dramatic Fund that lit the fuse for a profound tribute to women—their virtues, their indispensable place in society's tapestry, and their inherent power.
As portrayed in the article, the night's toast ignited an enveloping conversation on the essence and value of womanhood. The eloquent response by Hiram Fuller, Esq. fostered a renewed introspection on women's significance in society. Fuller's toast—"To Woman...the dearest word in all the dictionary—which represents the fairer and better half of creation"—offers a fascinating look into historical perspectives on femininity.
Amid the social milieu of the mid-to-late 19th century, men rarely embraced the opportunity to applaud the role of women within society openly and fearlessly. Yet, Fuller deftly met this challenge, showering respect and admiration upon the single word “woman”—a word infused with an ocean of emotions that, as Fuller asserts, go beyond any verbal eloquence.
Ringing with wisdom and sincerity, Fuller's address paints women in a plethora of societal roles—the tender mother, the steadfast sister, the faithful wife, or the diligent daughter. He applauds their comforting aura in times of sorrow and turmoil, their ability to lend calm to a man’s anguished heart. Fuller intricately compares this soothing capability of women to a harper's intent of stilling, not increasing, the vibrations of his harp.
However, Fuller didn’t merely focus on domestic women. His sentiments subtly flowed to encompass the female artists of the night. His toast praised their resilience and tangible realization of dramatic poets’ dreams amidst the challenges and temptations they routinely encountered.
Nevertheless, while reflecting upon Fuller's toast, it’s imperative to examine its historical context. Despite its seemingly forward-looking stance, it was delivered during an era when women's social and political rights were starkly restricted. Women didn’t secure the voting right in New York until November 6, 1917, nearly 50 years hence.
While Fuller's toast acknowledges women's essential role, it frames them as the 'better half' of creation. This phrasing hints at the era’s romanticized ideal of women—being emblematic of love, nurture, and selflessness—thus confining them within traditional stereotypes.
Peering into the artistic sphere, Fuller's seemingly empathetic viewpoints towards the hardships of female artists also bear a touch of ambiguity. While the artistic realm was grappling with societal discrimination against women who dared to transgress conventional norms, Fuller's depiction of their plight is tinged with heartfelt, yet potentially limiting, sympathy.
Moreover, while metaphorical representations of women as angels, stars, and music might come across as complimentary, they run the risk of assigning an idealized, almost mythical, status to women. Such portrayals can inadvertently distance women from their authentic human existence, casting them as unreachable paragons of virtue.
In dissecting these subtleties, we gain perspective on how history carves our comprehension and perceptions of society. Fuller's toast, a celebration of femininity for its time, highlights the prescriptive roles women were expected to conform to during the nineteenth century. Yet, amidst these critiques, we must not overlook Fuller's undiluted admiration for women.
Fuller and the Dramatic Fund, through their remarkable event, etched a significant milestone in New York City's social history. While veering through his era's constraints, Fuller's words acted as a conversational springboard, prompting society to view women not as mere followers of societal norms, but as active agents in society’s social, artistic, and cultural progress.
In wrapping up, delving into the past provides indispensable guidance for our present journey. Historical tales like The Trinity Journal’s suggestive piece furnish us with essential insights into societal evolution. The celebratory toast to women and the acknowledgement of female artists, despite their limitations, contributed to shifting societal perceptions. The road to progress may occasionally crystallize into a puzzle, but the power to revisit the past and critically evaluate our narrative propels us towards equitable norms.
Our perception of femininity and womanhood is an unceasing evolution, and valuing this change aids our commitment to championing a more inclusive future. For ultimately, history’s whisperings are lessons gifted from the past, serving as wind beneath our wings today, guiding our trajectory towards an enlightened tomorrow.
Key Phrases:
1. "Femininity and womanhood" - This relates to the broad discussion of gender roles and women's positions throughout history. For further reading and research, see this article on 'The history of women's roles in society' from [Britannica](https://www.britannica.com/topic/history-of-womanhood).
2. "Dramatic Fund" - This refers to a specific fund or organization during the 19th century. Finding more sources about it would add more context. Refer to 'History of New York City Theatre' by [Internet Broadway Database](https://www.ibdb.com/broadway-chronology-page).
3. "Hiram Fuller, Esq." - Likely a noted individual during the 19th century, his influence and contribution to the topic should be researched. See this article 'Fuller, Hiram, 1805-1860' by [Social Networks and Archival Context](https://snaccooperative.org/ark:/99166/w6gv8pnh).
4. "Women's social and political rights" - A broader subject referring to the evolution of women's rights and suffrage is at play here. For more information, refer to the article 'The long road to suffrage' from [Smithsonian Institution](https://www.si.edu/spotlight/votes-for-women).
5. "Female artists of the 19th century" - This context requires information on the contribution of female artists during the 19th century. Refer to '19th-Century Women Artists' by [Metropolitan Museum of Art](https://www.metmuseum.org/toah/hd/19wa/hd_19wa.htm).
6. "Romanticized ideal of women" - This brings to the fore the perception of women during the Victorian era. For further research, see the article 'Victorian ideals: The influence of society's ideals on Victorian relationships' by [Inquiries Journal](http://www.inquiriesjournal.com/articles/1685/victorian-ideals-the-influence-of-societys-ideals-on-victorian-women-writers).
7. "History carves our comprehension and perceptions of society" - This refers to the broader concept of historical impact on societal structures. For additional study, refer to 'Why Should We Study History?' by [Historical Association](https://www.history.org.uk/secondary/categories/303/resource/3774/why-should-we-study-history).
**Citation**:
- THE TRINITY JOURNAL., 1856-06-21
University of California Riverside Digital Newspaper Archive
Original Article:
The Dramatic Fund Entertainment in this city, last week, says the Spirit of the Times, was an occasion of marked interest, which our limits compel us to notice in the briefest manner. Much of the speaking was very good, and there was nothing better in its way than the response by Hiram Fuller, Esq., to a toast to “ Woman.” He said : Since the time of Adam, who, instead of “ popping the question” to his beautiful partner in Paradise, went quietly to sleep a lonely bachelor, and woke up a happy married man, to speak for one woman has been considered rather an embarrassing effort for the bravest of us—how overwhelming, then, must be the feeling of diffidence to a man of moderate modesty who is called on to speak for the entire sex ! But, Mr. President, the toast—the sentiment —(for ‘ Woman’ is all sentiment)—to which 1 am called to respond, is full of inspiration ; and while it requires all the gems of eloquence, and all the jewels of poetry to do justice to this little word “ woman”—the dearest word in all the dictionary—which represents the fairer and better half of creation, —yet there is a silent homage of the heart, a mute eloquence of the eye, burning and beaming with the emotions “ awakened by the inspiring theme,” compared with which the rhetoric of even the most gifted tongue could only make us more sensibly feel the utter poverty of speech ! I certainly feel, Mr. President, highly complimented by the honor of being permitted to express on this occasion the sentiments which our rougher, coarser, colder half of humanity bear toward the fairer, the brighter, the lovelier hemisphere of our common being. I trust there has never lived a man so utterly unblessed and desolate of soul, who has not at some period of his life met with some breathing, beautiful counterpart of his fairest ideal angel, to whom he could sing and drink with the poet :— “I fill this cup, to one made up Of loveliness alone ; A being of her gentle sex The seeming paragon, To whom the bitter elements And kindly stars have given A form so fair, that like the air, She's less of earth than heaven.” From the rainbow-hued reminiscences of “love’s young dream,” down to the “sober certainties of wedded bliss,” how our fondest and holiest associations accumulate and cluster around "That hallowed form Which first love traced.” The sacred mother of our pain-bought being ; the loving, playmate sister of our childhood ; the dear, devoted companion of our manhood ; and the fond and filial daughter who cheers and sustains our decaying years, as the flower vines support and adorn the ruins—in each and all of these relations is not woman infinitely dearer to us than any words can express ? The light of our home, the joy of our heart—the star of our night— which, “Like the gleaming taper's light, Illumes and cheers our way. And still, as darker grows the night, Emits a brighter ray.” In all the dear domestic relations of life ; and amidst all its troubled scenes, the presence and the love of Woman is like the music of David to the dark spirit of Saul.— She lays her soft palms upon our troubled hearts, as the harper presses his hands upon the harp-strings, not to increase, but to still its vibrations. Whether we regard her as the rapt and radiant Madonna, beaming with the pure love-light of Eternity—or as the bowed and weeping Magdalen, dissolving at once her sins and her accusers in a flood of pearly tears—the warm rain that gushes from a broken heart. God forgive us, if our admiration of her human beauty rises into adoration of her supernal goodness. When the dying Marmion called in vain upon all his retainers— “To bring Some blessed water from the spring, To quench his dying thirst,” it was the gentle hand of Clare that bathed his fevered brow and soothed his mortal pangs—winning from his passing soul that true and beautiful tribute to all her sex : “When pain and languish wring the brow, A ministering angel thou.” And in that sublimest scene of human suffering, before which heaven veiled its face and closed its eye—when the dying Son of God was deserted by all his disciples, the weeping mother clung to him alone in the dark agonies of the crucifiction : “ She, when apostles shrank, could dangers brave, Last at his cross, and earliest at his grave.” But, Mr. President, I have neither time, nor thoughts, nor language, to do justice to the theme. We can say of the sun, it is bright ; of the lily, it is fair ; of the woman, she is lovely—all else is a vain endeavor to add gilding to the gold, or color to the rose. Perhaps I should say something on this occas “Let the Toast be ‘ Dear Woman.’ ” of the illustrious women created by the genius of the Dramatist,—scarcely less real and beautiful than the works of God’s own hands ; and of the innumerable company of fair artistes, so brilliantly represented here to-night, who have devoted their talents and their lives to the palpable reproduction of the dreams of the dramatic poets. The life of the artiste is a life of toil and temptation. If it lead to honor, fame and fortune, it is up a steep and thorny path ; and few who assay to climb it ever reach the summit of their hopes. These fair and radiant heroines of the stage, whom we see nightly arrayed in robes of beauty, and floating thro’ flowery realms of romance, often carry tragedy in their hearts, while comedy is laughing on their faces. And, Mr. President, it is for this toiling sisterhood of artistes, that your noble institution makes its most touching appeal to the universal heart of Charity. When sick ness, or “Time’s effacing fingers" have “sunk her beauties in decay,” your generous association invites the destitute sufferer to a comfortable bed ; smoothes her dying pillow ; and in the last act of the tragedy of life, the heart of the dying artiste beats gratefully to the music of fraternal sympathy, as the curtain falls kindly upon the closing scene. If it is expected, Mr. President, that I should give you a sentiment, it shall be "Woman whom God created with a smile of grace, And left the smile that made her on her face.” QUOTING BRITISH AUTHORITIES.—British precedents in our courts are considered standard authorities for reference on doubtful points of law. The late Judge Daniel, of Virginia, used to tell with great glee how, when a young man on the circuit, he saved a client's life, solely because the opposite counsel quoted from British authorities. It occurred during the last war, when the English squadron under Admiral Cockburn was ascending the Potomac river, burning and plundering the villages along its banks. A negro man was arraigned for the murder of one of his own color ; the offense was clearly proved, and the only chance for his escape was a slight informality in the indictment. The prosecuting attorney, in reply to Mr. Daniels’defense of his client, quoted from British authorities, showing clearly that the ground taken by the latter was untenable. While he was quoting and speaking, at intervals, bang, bang, bang ! went the cannon from the British squadron. Daniels rose to answer, and with great tact seized hold of the strong point of his opponent's causc, turning it completely against him. "Gentlemen,” said he to the justices on the bench, "the prosecuting attorney quotes on this occasion British authorities ! British authorities ! Can there be any one in this court room except himself so dead to patriotism, as at such a moment to listen to British authorities, when British cannon are shaking the very walls of this court house to their foundation ? I pause for a reply !’ Up jumped one of the justices, highly excited by this appeal, and thus addressed the prosecuting attorney : "Look here, Mr. A——, you had better strike a bee line from this court house, with your British authorities, or I’ll commit you ! Prisoner, you can go ! Crier, adjourn the court ! British— authorities be d———d !’ The prosecuting attorney was struck all in a heap at these extra judicial proceedings, and resigned his office the very next day. MR. RODMAN MEETS A LADY.—A gentleman by the name of Rodman met a young lady in Broadway a short time since, and asked her to take a walk. The young lady assented, and they strolled up to the Park, where they sat down, and talked of morning-glories and paradise. After spending an hour there, the young lady informed Mr. Rodman that she must start for home, as her “ma” expected her. Mr. Rodman expressed his regret, but as the young lady insisted, of course he had to yield. He accompanied her to the sidewalk, where they kissed and parted. Shortly after the young lady left, Mr. R. missed a sixty-dollar breastpin. He fears the young lady took it when they were “swapping kisses.” Just our opinion exactly.— Ex. WHAT THE CHILDREN GOT AT SCHOOL.— A bevy of little children were telling their father what they got at school. The eldest got grammar, geography, and arithmetic. The next got reading, spelling and definitions. “ And what do you get, my little soldier ?” said the father to a rosy-cheeked little fellow who was at that moment slily driving a tenpenny nail into a door panel. “ Me ?—oh, I gets readin’, spelling and [ ].
One notable aspect of the article is a lengthy monologue given by Hiram Fuller, Esq., who presents an unabashed admiration towards women. He states, "the toast—the sentiment —(for ‘ Woman’ is all sentiment)—to which 1 am called to respond, is full of inspiration... there is a silent homage of the heart, a mute eloquence of the eye, burning and beaming with the emotions 'awakened by the inspiring theme,'". This glowing approval of womanhood is indicative of a strain of Victorian sentimentality where the figure of the woman is often upheld as a paragon of virtue and goodness. Fuller's monologue is filled with such Victorian references to woman as "the light of our home," "joy of our heart," and "the star of our night."
The Trinity Journal also put forth an account of a successful courtroom maneuver wherein the defending attorney exploits a wave of anti-British sentiment to win his case. As per the article, "Gentlemen,” said he [Daniels] to the justices on the bench, "the prosecuting attorney quotes on this occasion British authorities! British authorities! Can there be any one in this court room except himself so dead to patriotism..." This clever argument demonstrates a potent historical context: a still-strong anti-British sentiment in the decades following the War of 1812.
Following the discourse of women and the court incident, the article reflects on the life of dramatic performers and the dual nature of the profession, caught between a projected persona and real-life struggles. The author states, "These fair and radiant heroines of the stage, whom we see nightly arrayed in robes of beauty, and floating thro’ flowery realms of romance, often carry tragedy in their hearts, while comedy is laughing on their faces." This insight provides a valuable perspective on the perception of theatrical performers in the social and cultural contexts of this time.
In conclusion, the article, despite its nature as a slice of life, offers valuable insights into the socio-cultural dynamics of the era. It not only reflects the normative ideals of the day but also encapsulates some poignant expressions of life and society at the time. From Fuller’s homage to womanhood, through its play on anti-British sentiment, to the portrayal of the lives of artistes, each story embodies the spectrum of sentiments prevalent in its time.
With the swirling pulse of mid-nineteenth century New York City as its backdrop, an extraordinary occurrence ignited a far-reaching dialogue on femininity and womanhood. Unveiled in an enthralling article in "The Trinity Journal", we are transported back to a time-steeped tale from New York City's intricate past. It was an unusual fundraising event for the Dramatic Fund that lit the fuse for a profound tribute to women—their virtues, their indispensable place in society's tapestry, and their inherent power.
As portrayed in the article, the night's toast ignited an enveloping conversation on the essence and value of womanhood. The eloquent response by Hiram Fuller, Esq. fostered a renewed introspection on women's significance in society. Fuller's toast—"To Woman...the dearest word in all the dictionary—which represents the fairer and better half of creation"—offers a fascinating look into historical perspectives on femininity.
Amid the social milieu of the mid-to-late 19th century, men rarely embraced the opportunity to applaud the role of women within society openly and fearlessly. Yet, Fuller deftly met this challenge, showering respect and admiration upon the single word “woman”—a word infused with an ocean of emotions that, as Fuller asserts, go beyond any verbal eloquence.
Ringing with wisdom and sincerity, Fuller's address paints women in a plethora of societal roles—the tender mother, the steadfast sister, the faithful wife, or the diligent daughter. He applauds their comforting aura in times of sorrow and turmoil, their ability to lend calm to a man’s anguished heart. Fuller intricately compares this soothing capability of women to a harper's intent of stilling, not increasing, the vibrations of his harp.
However, Fuller didn’t merely focus on domestic women. His sentiments subtly flowed to encompass the female artists of the night. His toast praised their resilience and tangible realization of dramatic poets’ dreams amidst the challenges and temptations they routinely encountered.
Nevertheless, while reflecting upon Fuller's toast, it’s imperative to examine its historical context. Despite its seemingly forward-looking stance, it was delivered during an era when women's social and political rights were starkly restricted. Women didn’t secure the voting right in New York until November 6, 1917, nearly 50 years hence.
While Fuller's toast acknowledges women's essential role, it frames them as the 'better half' of creation. This phrasing hints at the era’s romanticized ideal of women—being emblematic of love, nurture, and selflessness—thus confining them within traditional stereotypes.
Peering into the artistic sphere, Fuller's seemingly empathetic viewpoints towards the hardships of female artists also bear a touch of ambiguity. While the artistic realm was grappling with societal discrimination against women who dared to transgress conventional norms, Fuller's depiction of their plight is tinged with heartfelt, yet potentially limiting, sympathy.
Moreover, while metaphorical representations of women as angels, stars, and music might come across as complimentary, they run the risk of assigning an idealized, almost mythical, status to women. Such portrayals can inadvertently distance women from their authentic human existence, casting them as unreachable paragons of virtue.
In dissecting these subtleties, we gain perspective on how history carves our comprehension and perceptions of society. Fuller's toast, a celebration of femininity for its time, highlights the prescriptive roles women were expected to conform to during the nineteenth century. Yet, amidst these critiques, we must not overlook Fuller's undiluted admiration for women.
Fuller and the Dramatic Fund, through their remarkable event, etched a significant milestone in New York City's social history. While veering through his era's constraints, Fuller's words acted as a conversational springboard, prompting society to view women not as mere followers of societal norms, but as active agents in society’s social, artistic, and cultural progress.
In wrapping up, delving into the past provides indispensable guidance for our present journey. Historical tales like The Trinity Journal’s suggestive piece furnish us with essential insights into societal evolution. The celebratory toast to women and the acknowledgement of female artists, despite their limitations, contributed to shifting societal perceptions. The road to progress may occasionally crystallize into a puzzle, but the power to revisit the past and critically evaluate our narrative propels us towards equitable norms.
Our perception of femininity and womanhood is an unceasing evolution, and valuing this change aids our commitment to championing a more inclusive future. For ultimately, history’s whisperings are lessons gifted from the past, serving as wind beneath our wings today, guiding our trajectory towards an enlightened tomorrow.
Key Phrases:
1. "Femininity and womanhood" - This relates to the broad discussion of gender roles and women's positions throughout history. For further reading and research, see this article on 'The history of women's roles in society' from [Britannica](https://www.britannica.com/topic/history-of-womanhood).
2. "Dramatic Fund" - This refers to a specific fund or organization during the 19th century. Finding more sources about it would add more context. Refer to 'History of New York City Theatre' by [Internet Broadway Database](https://www.ibdb.com/broadway-chronology-page).
3. "Hiram Fuller, Esq." - Likely a noted individual during the 19th century, his influence and contribution to the topic should be researched. See this article 'Fuller, Hiram, 1805-1860' by [Social Networks and Archival Context](https://snaccooperative.org/ark:/99166/w6gv8pnh).
4. "Women's social and political rights" - A broader subject referring to the evolution of women's rights and suffrage is at play here. For more information, refer to the article 'The long road to suffrage' from [Smithsonian Institution](https://www.si.edu/spotlight/votes-for-women).
5. "Female artists of the 19th century" - This context requires information on the contribution of female artists during the 19th century. Refer to '19th-Century Women Artists' by [Metropolitan Museum of Art](https://www.metmuseum.org/toah/hd/19wa/hd_19wa.htm).
6. "Romanticized ideal of women" - This brings to the fore the perception of women during the Victorian era. For further research, see the article 'Victorian ideals: The influence of society's ideals on Victorian relationships' by [Inquiries Journal](http://www.inquiriesjournal.com/articles/1685/victorian-ideals-the-influence-of-societys-ideals-on-victorian-women-writers).
7. "History carves our comprehension and perceptions of society" - This refers to the broader concept of historical impact on societal structures. For additional study, refer to 'Why Should We Study History?' by [Historical Association](https://www.history.org.uk/secondary/categories/303/resource/3774/why-should-we-study-history).
**Citation**:
- THE TRINITY JOURNAL., 1856-06-21
University of California Riverside Digital Newspaper Archive
Original Article:
The Dramatic Fund Entertainment in this city, last week, says the Spirit of the Times, was an occasion of marked interest, which our limits compel us to notice in the briefest manner. Much of the speaking was very good, and there was nothing better in its way than the response by Hiram Fuller, Esq., to a toast to “ Woman.” He said : Since the time of Adam, who, instead of “ popping the question” to his beautiful partner in Paradise, went quietly to sleep a lonely bachelor, and woke up a happy married man, to speak for one woman has been considered rather an embarrassing effort for the bravest of us—how overwhelming, then, must be the feeling of diffidence to a man of moderate modesty who is called on to speak for the entire sex ! But, Mr. President, the toast—the sentiment —(for ‘ Woman’ is all sentiment)—to which 1 am called to respond, is full of inspiration ; and while it requires all the gems of eloquence, and all the jewels of poetry to do justice to this little word “ woman”—the dearest word in all the dictionary—which represents the fairer and better half of creation, —yet there is a silent homage of the heart, a mute eloquence of the eye, burning and beaming with the emotions “ awakened by the inspiring theme,” compared with which the rhetoric of even the most gifted tongue could only make us more sensibly feel the utter poverty of speech ! I certainly feel, Mr. President, highly complimented by the honor of being permitted to express on this occasion the sentiments which our rougher, coarser, colder half of humanity bear toward the fairer, the brighter, the lovelier hemisphere of our common being. I trust there has never lived a man so utterly unblessed and desolate of soul, who has not at some period of his life met with some breathing, beautiful counterpart of his fairest ideal angel, to whom he could sing and drink with the poet :— “I fill this cup, to one made up Of loveliness alone ; A being of her gentle sex The seeming paragon, To whom the bitter elements And kindly stars have given A form so fair, that like the air, She's less of earth than heaven.” From the rainbow-hued reminiscences of “love’s young dream,” down to the “sober certainties of wedded bliss,” how our fondest and holiest associations accumulate and cluster around "That hallowed form Which first love traced.” The sacred mother of our pain-bought being ; the loving, playmate sister of our childhood ; the dear, devoted companion of our manhood ; and the fond and filial daughter who cheers and sustains our decaying years, as the flower vines support and adorn the ruins—in each and all of these relations is not woman infinitely dearer to us than any words can express ? The light of our home, the joy of our heart—the star of our night— which, “Like the gleaming taper's light, Illumes and cheers our way. And still, as darker grows the night, Emits a brighter ray.” In all the dear domestic relations of life ; and amidst all its troubled scenes, the presence and the love of Woman is like the music of David to the dark spirit of Saul.— She lays her soft palms upon our troubled hearts, as the harper presses his hands upon the harp-strings, not to increase, but to still its vibrations. Whether we regard her as the rapt and radiant Madonna, beaming with the pure love-light of Eternity—or as the bowed and weeping Magdalen, dissolving at once her sins and her accusers in a flood of pearly tears—the warm rain that gushes from a broken heart. God forgive us, if our admiration of her human beauty rises into adoration of her supernal goodness. When the dying Marmion called in vain upon all his retainers— “To bring Some blessed water from the spring, To quench his dying thirst,” it was the gentle hand of Clare that bathed his fevered brow and soothed his mortal pangs—winning from his passing soul that true and beautiful tribute to all her sex : “When pain and languish wring the brow, A ministering angel thou.” And in that sublimest scene of human suffering, before which heaven veiled its face and closed its eye—when the dying Son of God was deserted by all his disciples, the weeping mother clung to him alone in the dark agonies of the crucifiction : “ She, when apostles shrank, could dangers brave, Last at his cross, and earliest at his grave.” But, Mr. President, I have neither time, nor thoughts, nor language, to do justice to the theme. We can say of the sun, it is bright ; of the lily, it is fair ; of the woman, she is lovely—all else is a vain endeavor to add gilding to the gold, or color to the rose. Perhaps I should say something on this occas “Let the Toast be ‘ Dear Woman.’ ” of the illustrious women created by the genius of the Dramatist,—scarcely less real and beautiful than the works of God’s own hands ; and of the innumerable company of fair artistes, so brilliantly represented here to-night, who have devoted their talents and their lives to the palpable reproduction of the dreams of the dramatic poets. The life of the artiste is a life of toil and temptation. If it lead to honor, fame and fortune, it is up a steep and thorny path ; and few who assay to climb it ever reach the summit of their hopes. These fair and radiant heroines of the stage, whom we see nightly arrayed in robes of beauty, and floating thro’ flowery realms of romance, often carry tragedy in their hearts, while comedy is laughing on their faces. And, Mr. President, it is for this toiling sisterhood of artistes, that your noble institution makes its most touching appeal to the universal heart of Charity. When sick ness, or “Time’s effacing fingers" have “sunk her beauties in decay,” your generous association invites the destitute sufferer to a comfortable bed ; smoothes her dying pillow ; and in the last act of the tragedy of life, the heart of the dying artiste beats gratefully to the music of fraternal sympathy, as the curtain falls kindly upon the closing scene. If it is expected, Mr. President, that I should give you a sentiment, it shall be "Woman whom God created with a smile of grace, And left the smile that made her on her face.” QUOTING BRITISH AUTHORITIES.—British precedents in our courts are considered standard authorities for reference on doubtful points of law. The late Judge Daniel, of Virginia, used to tell with great glee how, when a young man on the circuit, he saved a client's life, solely because the opposite counsel quoted from British authorities. It occurred during the last war, when the English squadron under Admiral Cockburn was ascending the Potomac river, burning and plundering the villages along its banks. A negro man was arraigned for the murder of one of his own color ; the offense was clearly proved, and the only chance for his escape was a slight informality in the indictment. The prosecuting attorney, in reply to Mr. Daniels’defense of his client, quoted from British authorities, showing clearly that the ground taken by the latter was untenable. While he was quoting and speaking, at intervals, bang, bang, bang ! went the cannon from the British squadron. Daniels rose to answer, and with great tact seized hold of the strong point of his opponent's causc, turning it completely against him. "Gentlemen,” said he to the justices on the bench, "the prosecuting attorney quotes on this occasion British authorities ! British authorities ! Can there be any one in this court room except himself so dead to patriotism, as at such a moment to listen to British authorities, when British cannon are shaking the very walls of this court house to their foundation ? I pause for a reply !’ Up jumped one of the justices, highly excited by this appeal, and thus addressed the prosecuting attorney : "Look here, Mr. A——, you had better strike a bee line from this court house, with your British authorities, or I’ll commit you ! Prisoner, you can go ! Crier, adjourn the court ! British— authorities be d———d !’ The prosecuting attorney was struck all in a heap at these extra judicial proceedings, and resigned his office the very next day. MR. RODMAN MEETS A LADY.—A gentleman by the name of Rodman met a young lady in Broadway a short time since, and asked her to take a walk. The young lady assented, and they strolled up to the Park, where they sat down, and talked of morning-glories and paradise. After spending an hour there, the young lady informed Mr. Rodman that she must start for home, as her “ma” expected her. Mr. Rodman expressed his regret, but as the young lady insisted, of course he had to yield. He accompanied her to the sidewalk, where they kissed and parted. Shortly after the young lady left, Mr. R. missed a sixty-dollar breastpin. He fears the young lady took it when they were “swapping kisses.” Just our opinion exactly.— Ex. WHAT THE CHILDREN GOT AT SCHOOL.— A bevy of little children were telling their father what they got at school. The eldest got grammar, geography, and arithmetic. The next got reading, spelling and definitions. “ And what do you get, my little soldier ?” said the father to a rosy-cheeked little fellow who was at that moment slily driving a tenpenny nail into a door panel. “ Me ?—oh, I gets readin’, spelling and [ ].
