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The eyes of the artist went back to the stainless robes and seraphic face of her pictured Peace in the loved "Modern Macaria," and, as she resumed her work, her brow cleared, the countenance kindled as in days of yore, bitter memories hushed their moans and fell asleep at the wizard touch of her profession, and the stormy, stricken soul found balm and rest in Heaven-appointed Labour.
I cannot, like Macaria, by self-immolation, redeem my country from that great privilege I am debarred but I yield up more than she ever possessed. I give my all on earth my father and yourself to our beloved and suffering country. My God! accept the sacrifice, and crown the South a sovereign, independent nation!"
We have in the works of this poet three instances of women offered in sacrifice, which are moving from their perfect resignation: Iphigenia, Polyxena, and Macaria; the voluntary deaths of Alceste and Evadne belong in some sort also to this class.
I shall not hurry myself; I intend that the execution shall be equal to my ideal and that ideal entirely worthy of the theme. I want to lay my 'Modern Macaria, as the first offering of Southern art, upon my country's altar, as a nucleus around which nobler and grander pictures, from the hands of my countrymen and women, shall cluster."
"A Description of the famous Kingdom of MACARIA, shewing its excellent Government, wherein the Inhabitants live in great prosperity, health, and happiness; the King obeyed, the Nobles honoured, and all good men respected; Vice punished, and Virtue rewarded: An example to other nations. In a Dialogue between a Scholar and a Traveller.
Hearing his words, Macaria comes from the shrine where she had been sheltering with her sisters and Alcmena, her father's mother. When she hears the truth, she willingly offers to save her family and Athens. "Shall I, daughter of a noble sire, suffer the worst indignity? Must I not die in any wise?
This is in Augusta J. Evans Wilson's story "Macaria", and many equally extraordinary examples of "prose run mad" are found in the novels of this once noted writer. What kind of a model is that to form the style of the youthful neophyte, to whom one book is as good as another, since it was found on the shelves of the public library?
Close to them was the fountain of Macaria, who had in days of yore devoted herself to death for the liberty of her people. The very plain on which they were to fight was the scene of the exploits of their national hero, Theseus; and there, too, as old legends told, the Athenians and the Heraclidae had routed the invader, Eurystheus.
Pelopidas looked on this as an harsh and impious injunction, but rose and told it to the prophets and commanders of the army, some of whom contended, that it was fit to obey, and adduced as examples from the ancients, Menoeceus, son of Creon; Macaria, daughter of Hercules; and from later times, Pherecydes the philosopher, slain by the Lacedaemonians, and his skin, as the oracles advised, still kept by their kings.
These traces of Hartlib in the years 1641 and 1642 are significant, and admit of some comment: In the Description of the Kingdom of Macaria, I should say, Hartlib broke out for himself. He had all sorts of ideas as to social and economic improvements, and he would communicate a little specimen of these, respecting Husbandry, Fishery, and Commerce, to the reforming Parliament.
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