Lippincott's Magazine of Popular Literature and Science, Volume 20, September, 1877

In Short

This volume of Lippincott’s Magazine functions as a sophisticated, diverse mosaic of Victorian-era thought. It brings together scholarly observations on the geography of human tribes, literary analysis of Shakespearean characters, and serialized narrative fiction. By curating a mix of "popular literature and science," the magazine offers a window into how nineteenth-century readers consumed information, whether through scientific reportage or emotional storytelling. Its enduring value lies in its snapshot of a world caught between the rigid social conventions of the past and the rapid, industrializing shifts of the future.

The Story

The magazine’s narrative content moves between the exotic, the domestic, and the historical. The travel writing probes the "torn and battered shreds of humanity" found in mountain enclaves across the globe, framing these isolated cultures as reflections of history’s restless migrations. This theme of searching for origins and identity repeats throughout the prose. In a dramatic turn, the magazine turns its gaze toward the stage and the page, analyzing the character arcs of Shakespeare’s Padua—where youth, arrogance, and the "beautiful promise of spring" inevitably fade into the "dull mediocrity" of adulthood. The prose laments the transition from the vitality of student days to the hollow, formal routines of later life, suggesting that memory is the only refuge for those who have outlived their youthful fire.

The fiction segments introduce the reader to the complexities of social standing and romantic entanglement. One story follows a young woman navigating the quiet, overgrown estate of "The Hemlocks," where she attempts to curate a life of purpose amidst the decay of previous generations. Her interactions with a visitor reveal a profound, unspoken tension—a realization that despite their social polish, their internal lives are drifting toward a "fair table-land" far removed from their practical duties.

Historical reflection also plays a significant role, as the narrative shifts to the life of Madame Bonaparte. Her story is one of high-stakes geopolitical drama and personal loss. Married to the brother of Napoleon, she finds her life "shivered" by the despotism of imperial politics, yet she maintains a dignified, witty detachment even as she ages into near-blindness. Her existence—connected to the birth of the American republic and the fall of European kings—serves as a reminder of the fragility of human ambition.

The volume concludes with a focus on the mechanics of storytelling itself, examining how dialects, slang, and the "follies" of humanity are collected like specimens. Whether through the lens of a Venetian dramatist or the regional speech of a Scottish village, the magazine emphasizes that human nature is an "immense farce," best understood by those who can laugh at the "somersaults" of their contemporaries. By the final pages, the focus settles on the persistence of memory and the necessity of moving forward, as characters burn the letters of their predecessors to clear a path for their own future.

How It Unfolds

The inquiry begins. The volume opens with a scholarly examination of isolated ethnic groups, positioning them as relics driven into mountain fastnesses by centuries of invasion and geopolitical shifting.

The stage is set. The narrative pivots to the artifice of Padua, using Shakespearean archetypes to contrast the arrogance of youth with the eventual, quiet sorrow of aging and the loss of early ideals.

The domestic landscape. The focus shifts to an overgrown, neglected estate, where a woman attempts to construct a meaningful, quiet life, highlighting the tension between duty and personal desire.

The historical vista. The life of Madame Bonaparte is recounted, illustrating the intersection of individual human tragedy with the grand, sweeping movements of nineteenth-century European power.

The linguistic lens. The editors pause to analyze the evolution of language, specifically the role of slang and dialect as a form of "popular poetry" that captures the ephemeral spirit of a generation.

The final resolution. The collection concludes with the practical sorting of legacies, where characters reconcile with their pasts by choosing which secrets to keep and which to consign to the dust.

The People

• Madame Bonaparte is the central figure of the historical accounts. A woman of immense wit and resilience, she survives the dissolution of her marriage to Jerome Bonaparte and the collapse of an empire. She ends her life in seclusion, armed with a sharp memory and a legendary diary that serves as the final word on her famous contemporaries.
• Malcolm is a young man reclaiming his heritage. He is a figure of transition, bridging the gap between his humble origins and his aristocratic destiny. He possesses the wisdom to value the future over the relics of the past, as shown when he burns his parents’ old letters.
• Petruchio and Katharine appear as archetypes of the "unwholesome" and the "arrogant." They represent the extremes of social performance, illustrating how individuals mold themselves to fit into the rigid, often absurd, expectations of their era.
• The unnamed narrator serves as a guiding consciousness, frequently stepping back to comment on the "somersaults of humanity." This editorial voice is both cynical and sympathetic, viewing history as an "endless amusement."

In Own Voice

"Every land, almost, possesses a relic of the kind markedly different from the specimens preserved elsewhere, and peculiar enough to give color to the old theory of its having sprung from the soil."

This observation sets the tone for the magazine's analytical approach to geography and anthropology.

"The beautiful promise of their spring will ripen into dull mediocrity."

The editors reflect on the transient nature of youth and the inevitability of social assimilation in the context of academic life.

"What right has life over the secrets of death?"

Malcolm reflects on the ethical dilemma of reading the private correspondence of those who can no longer speak for themselves.

What It's Really About

At its core, the volume explores the tension between the individual and the crushing weight of history. It asks whether a person can ever truly escape the shadows of their predecessors, or if they are doomed to repeat the "follies" of their ancestors. The text grapples with the concept of "modernity"—not as a technological advancement, but as a state of mind characterized by the ability to laugh at the farce of human existence. It questions the utility of memory, suggesting that while the past informs our identity, it can also act as an anchor, preventing the "fair table-land" of the future from being realized.

Why Read It Today

Readers who enjoy a "curiosity cabinet" style of reading will find this volume deeply rewarding. It is a dense, thoughtful experience that requires the reader to shift mental gears between scientific observation, literary critique, and narrative fiction. The prose is elegant and precise, characterized by a nineteenth-century penchant for long, flowing sentences and a vocabulary that feels both precise and slightly archaic.

However, modern readers should be prepared for the period-specific attitudes embedded in the text. The discussion of "primitive" races and the rigid social hierarchies of the 1870s reflect the biases of the time, providing a historical rather than a contemporary perspective on the world. The inclusion of Scottish dialect—the "laads" and "maunna"—adds flavor but may require a moment of patience to parse. Despite these hurdles, the magazine remains a compelling read for those interested in the architecture of Victorian thought. It feels less like a static book and more like a conversation with an intelligent, somewhat world-weary mentor who wants to show you how the world looks from the vantage point of the late nineteenth century. The underlying sense of humor—the realization that humanity is just a collection of "somersaults"—is as relevant and refreshing today as it was in 1877.