Page:The Atlantic Monthly, Volume 18.djvu/731

1866.] scene grows familiar and is watched under the various aspects produced by different seasons, weather, and hours of the day, it becomes more and more significant and attractive. Indeed, there is probably no street in the world subject to such violent contrasts. It is one thing on a brilliant and cool October day and another in July. White cravats and black coats mark "Anniversary week"; broad brims and drab, the "Yearly Meeting" of the Friends; the "moving day" of the householders, the "opening day" of the milliners, Christmas and New Year's, sleighing-time and spring, early morning and midnight, the Sabbath and week-days, a cold spell and the "heated term,"—every hour, season, holiday, panic, pastime, and parade brings into view new figures and phases,—diverse phenomena of crowd and character,—like the shifting segments of a panorama. The news of victories during the war for the Union could be read there in people's eyes and heard in their greetings. Sorrowful tidings seemed to magnetize with sadness the long procession. Something in the air foretold the stranger how beat the public pulse. The undercurrent of the prevalent emotion seems to vibrate, with electric sympathy, along the human tide.

A walk in Broadway is a most available remedy for "domestic" vexation and provincial egotism. "Every individual spirit," says Schiller, "waxes in the great stream of multitudes." Stand awhile calmly by the rushing stream, and note its representative significance, or stroll slowly along, with observant eye, to mark the commodities and nationalities by the way. The scene is an epitome of the world. Here crouches a Chinese mendicant, there glides an Italian image-vender; a Swedish sailor is hard pressed by a smoking Cuban, and a Hungarian officer is flanked by a French loiterer; here leers a wanton, there moans a waif; now passes an Irish funeral procession, and again long files of Teutonic "Turners"; the wistful eyes of a beggar stare at the piles of gold in the money-changer's show-window; a sister of charity walks beside a Jewish Rabbi; then comes a brawny negro, then a bare-legged Highlander; figures such as are met in the Levant; school-boys with their books and lunch-boxes, Cockneys fresh from Piccadilly, a student who reminds us of Berlin, an American Indian, in pantaloons; a gaunt Western, a keen Yankee, and a broad Dutch physiognomy alternate; flower-venders, dog-pedlers, diplomates, soldiers, dandies, and vagabonds, pass and disappear; a firemen's procession, fallen horse, dead-lock of vehicles, military halt, or menagerie caravan, checks momently the advancing throng; and some beautiful face or elegant costume looms out of the confused picture like an exquisite vision; great cubes of lake crystal glisten in the ice-carts hard by blocks of ebon coal from the forests of the primeval world; there a letter-carrier threads his way, and here a newsboy shouts his extra; a milk-cart rattles by, and a walking advertisement stalks on; here is a fashionable doctor's gig, there a mammoth express-wagon; a sullen Southerner contrasts with a grinning Gaul, a darkly-vested bishop with a gayly-attired child, a daintily-gloved belle with a mud-soiled drunkard; a little shoe-black and a blind fiddler ply their trades in the shadow of Emmet's obelisk, and a toy-merchant has Montgomery's mural tablet for a background; on the fence is a string of favorite ballads and popular songs; a mock auctioneer shouts from one door, and a silent wax effigy gazes from another. Pisani, who accompanied Prince Napoleon in his yacht-voyage to America, calls Broadway a bazaar made up of savagery and civilization, a mile and a half long; and M. Fisch, a French pasteur, was surprised at the sight of palaces six or seven stories high devoted to commerce and les figures fines et gracieuses, la démarche légère et libre des femmes, les allures vives de toute la population. The shopkeepers are urbanely courteous, says one traveller. "Horses and harness are fine, but equipages