Lay Morals Part 7

Nor is this the only merit of Debating Societies. They tend also to foster taste, and to promote friends.h.i.+p between University men. This last, as we have had occasion before to say, is the great requirement of our student life; and it will therefore be no waste of time if we devote a paragraph to this subject in its connection with Debating Societies.

At present they partake too much of the nature of a _clique_. Friends propose friends, and mutual friends second them, until the society degenerates into a sort of family party. You may confirm old acquaintances, but you can rarely make new ones. You find yourself in the atmosphere of your own daily intercourse. Now, this is an unfortunate circ.u.mstance, which it seems to me might readily be rectified. Our Princ.i.p.al has shown himself so friendly towards all College improvements that I cherish the hope of seeing shortly realised a certain suggestion, which is not a new one with me, and which must often have been proposed and canva.s.sed heretofore-I mean, a real _University Debating Society_, patronised by the Senatus, presided over by the Professors, to which every one might gain ready admittance on sight of his matriculation ticket, where it would be a favour and not a necessity to speak, and where the obscure student might have another object for attendance besides the mere desire to save his fines: to wit, the chance of drawing on himself the favourable consideration of his teachers. This would be merely following in the good tendency, which has been so noticeable during all this session, to increase and multiply student societies and clubs of every sort. Nor would it be a matter of much difficulty. The united societies would form a nucleus: one of the cla.s.s-rooms at first, and perhaps afterwards the great hall above the library, might be the place of meeting. There would be no want of attendance or enthusiasm, I am sure; for it is a very different thing to speak under the bushel of a private club on the one hand, and, on the other, in a public place, where a happy period or a subtle argument may do the speaker permanent service in after life. Such a club might end, perhaps, by rivalling the 'Union' at Cambridge or the 'Union' at Oxford.

CHAPTER IV-THE PHILOSOPHY OF UMBRELLAS {151}

It is wonderful to think what a turn has been given to our whole Society by the fact that we live under the sign of Aquarius-that our climate is essentially wet. A mere arbitrary distinction, like the walking-swords of yore, might have remained the symbol of foresight and respectability, had not the raw mists and dropping showers of our island pointed the inclination of Society to another exponent of those virtues. A ribbon of the Legion of Honour or a string of medals may prove a person's courage; a t.i.tle may prove his birth; a professorial chair his study and acquirement; but it is the habitual carriage of the umbrella that is the stamp of Respectability. The umbrella has become the acknowledged index of social position.

Robinson Crusoe presents us with a touching instance of the hankering after them inherent in the civilised and educated mind. To the superficial, the hot suns of Juan Fernandez may sufficiently account for his quaint choice of a luxury; but surely one who had borne the hard labour of a seaman under the tropics for all these years could have supported an excursion after goats or a peaceful _const.i.tutional_ arm in arm with the nude Friday. No, it was not this: the memory of a vanished respectability called for some outward manifestation, and the result was-an umbrella. A pious castaway might have rigged up a belfry and solaced his Sunday mornings with the mimicry of church-bells; but Crusoe was rather a moralist than a pietist, and his leaf-umbrella is as fine an example of the civilised mind striving to express itself under adverse circ.u.mstances as we have ever met with.

It is not for nothing, either, that the umbrella has become the very foremost badge of modern civilisation-the Urim and Thummim of respectability. Its pregnant symbolism has taken its rise in the most natural manner. Consider, for a moment, when umbrellas were first introduced into this country, what manner of men would use them, and what cla.s.s would adhere to the useless but ornamental cane. The first, without doubt, would be the hypochondriacal, out of solicitude for their health, or the frugal, out of care for their raiment; the second, it is equally plain, would include the fop, the fool, and the Bobadil. Any one acquainted with the growth of Society, and knowing out of what small seeds of cause are produced great revolutions, and wholly new conditions of intercourse, sees from this simple thought how the carriage of an umbrella came to indicate frugality, judicious regard for bodily welfare, and scorn for mere outward adornment, and, in one word, all those homely and solid virtues implied in the term RESPECTABILITY. Not that the umbrella's costliness has nothing to do with its great influence. Its possession, besides symbolising (as we have already indicated) the change from wild Esau to plain Jacob dwelling in tents, implies a certain comfortable provision of fortune. It is not every one that can expose twenty-six s.h.i.+llings' worth of property to so many chances of loss and theft. So strongly do we feel on this point, indeed, that we are almost inclined to consider all who possess really well-conditioned umbrellas as worthy of the Franchise. They have a qualification standing in their lobbies; they carry a sufficient stake in the common-weal below their arm. One who bears with him an umbrella-such a complicated structure of whalebone, of silk, and of cane, that it becomes a very microcosm of modern industry-is necessarily a man of peace. A half-crown cane may be applied to an offender's head on a very moderate provocation; but a six-and-twenty s.h.i.+lling silk is a possession too precious to be adventured in the shock of war.

These are but a few glances at how umbrellas (in the general) came to their present high estate. But the true Umbrella-Philosopher meets with far stranger applications as he goes about the streets.

Umbrellas, like faces, acquire a certain sympathy with the individual who carries them: indeed, they are far more capable of betraying his trust; for whereas a face is given to us so far ready made, and all our power over it is in frowning, and laughing, and grimacing, during the first three or four decades of life, each umbrella is selected from a whole shopful, as being most consonant to the purchaser's disposition. An undoubted power of diagnosis rests with the practised Umbrella-Philosopher. O you who lisp, and amble, and change the fas.h.i.+on of your countenances-you who conceal all these, how little do you think that you left a proof of your weakness in our umbrella-stand-that even now, as you shake out the folds to meet the thickening snow, we read in its ivory handle the outward and visible sign of your sn.o.bbery, or from the exposed gingham of its cover detect, through coat and waistcoat, the hidden hypocrisy of the '_d.i.c.key_'! But alas! even the umbrella is no certain criterion. The falsity and the folly of the human race have degraded that graceful symbol to the ends of dishonesty; and while some umbrellas, from carelessness in selection, are not strikingly characteristic (for it is only in what a man loves that he displays his real nature), others, from certain prudential motives, are chosen directly opposite to the person's disposition. A mendacious umbrella is a sign of great moral degradation. Hypocrisy naturally shelters itself below a silk; while the fast youth goes to visit his religious friends armed with the decent and reputable gingham. May it not be said of the bearers of these inappropriate umbrellas that they go about the streets 'with a lie in their right hand'?

The kings of Siam, as we read, besides having a graduated social scale of umbrellas (which was a good thing), prevented the great bulk of their subjects from having any at all, which was certainly a bad thing. We should be sorry to believe that this Eastern legislator was a fool-the idea of an aristocracy of umbrellas is too philosophic to have originated in a n.o.body-and we have accordingly taken exceeding pains to find out the reason of this harsh restriction. We think we have succeeded; but, while admiring the principle at which he aimed, and while cordially recognising in the Siamese potentate the only man before ourselves who had taken a real grasp of the umbrella, we must be allowed to point out how unphilosophically the great man acted in this particular. His object, plainly, was to prevent any unworthy persons from bearing the sacred symbol of domestic virtues. We cannot excuse his limiting these virtues to the circle of his court. We must only remember that such was the feeling of the age in which he lived. Liberalism had not yet raised the war-cry of the working cla.s.ses. But here was his mistake: it was a needless regulation. Except in a very few cases of hypocrisy joined to a powerful intellect, men, not by nature _umbrellarians_, have tried again and again to become so by art, and yet have failed-have expended their patrimony in the purchase of umbrella after umbrella, and yet have systematically lost them, and have finally, with contrite spirits and shrunken purses, given up their vain struggle, and relied on theft and borrowing for the remainder of their lives. This is the most remarkable fact that we have had occasion to notice; and yet we challenge the candid reader to call it in question. Now, as there cannot be any _moral selection_ in a mere dead piece of furniture-as the umbrella cannot be supposed to have an affinity for individual men equal and reciprocal to that which men certainly feel toward individual umbrellas-we took the trouble of consulting a scientific friend as to whether there was any possible physical explanation of the phenomenon. He was unable to supply a plausible theory, or even hypothesis; but we extract from his letter the following interesting pa.s.sage relative to the physical peculiarities of umbrellas: 'Not the least important, and by far the most curious property of the umbrella, is the energy which it displays in affecting the atmospheric strata. There is no fact in meteorology better established-indeed, it is almost the only one on which meteorologists are agreed-than that the carriage of an umbrella produces desiccation of the air; while if it be left at home, aqueous vapour is largely produced, and is soon deposited in the form of rain. No theory,' my friend continues, 'competent to explain this hygrometric law has been given (as far as I am aware) by Herschel, Dove, Glaisher, Tait, Buchan, or any other writer; nor do I pretend to supply the defect. I venture, however, to throw out the conjecture that it will be ultimately found to belong to the same cla.s.s of natural laws as that agreeable to which a slice of toast always descends with the b.u.t.tered surface downwards.'

But it is time to draw to a close. We could expatiate much longer upon this topic, but want of s.p.a.ce constrains us to leave unfinished these few desultory remarks-slender contributions towards a subject which has fallen sadly backward, and which, we grieve to say, was better understood by the king of Siam in 1686 than by all the philosophers of to-day. If, however, we have awakened in any rational mind an interest in the symbolism of umbrellas-in any generous heart a more complete sympathy with the dumb companion of his daily walk-or in any grasping spirit a pure notion of respectability strong enough to make him expend his six-and-twenty s.h.i.+llings-we shall have deserved well of the world, to say nothing of the many industrious persons employed in the manufacture of the article.

CHAPTER V-THE PHILOSOPHY OF NOMENCLATURE

'How many Caesars and Pompeys, by mere inspirations of the names, have been rendered worthy of them? And how many are there, who might have done exceeding well in the world, had not their characters and spirits been totally depressed and Nicodemus'd into nothing?'-_Tristram Shandy_, vol. I. chap xix.

Such were the views of the late Walter Shandy, Esq., Turkey merchant. To the best of my belief, Mr. Shandy is the first who fairly pointed out the incalculable influence of nomenclature upon the whole life-who seems first to have recognised the one child, happy in an heroic appellation, soaring upwards on the wings of fortune, and the other, like the dead sailor in his shotted hammock, haled down by sheer weight of name into the abysses of social failure. Solomon possibly had his eye on some such theory when he said that 'a good name is better than precious ointment'; and perhaps we may trace a similar spirit in the compilers of the English Catechism, and the affectionate interest with which they linger round the catechumen's name at the very threshold of their work. But, be these as they may, I think no one can censure me for appending, in pursuance of the expressed wish of his son, the Turkey merchant's name to his system, and p.r.o.nouncing, without further preface, a short epitome of the 'Shandean Philosophy of Nomenclature.'

To begin, then: the influence of our name makes itself felt from the very cradle. As a schoolboy I remember the pride with which I hailed Robin Hood, Robert Bruce, and Robert le Diable as my name-fellows; and the feeling of sore disappointment that fell on my heart when I found a freebooter or a general who did not share with me a single one of my numerous _praenomina_. Look at the delight with which two children find they have the same name. They are friends from that moment forth; they have a bond of union stronger than exchange of nuts and sweetmeats. This feeling, I own, wears off in later life. Our names lose their freshness and interest, become trite and indifferent. But this, dear reader, is merely one of the sad effects of those 'shades of the prison-house' which come gradually betwixt us and nature with advancing years; it affords no weapon against the philosophy of names.

In after life, although we fail to trace its working, that name which careless G.o.dfathers lightly applied to your unconscious infancy will have been moulding your character, and influencing with irresistible power the whole course of your earthly fortunes. But the last name, overlooked by Mr. Shandy, is no whit less important as a condition of success. Family names, we must recollect, are but inherited nicknames; and if the _sobriquet_ were applicable to the ancestor, it is most likely applicable to the descendant also. You would not expect to find Mr. M'Phun acting as a mute, or Mr. M'Lumpha excelling as a professor of dancing.

Therefore, in what follows, we shall consider names, independent of whether they are first or last. And to begin with, look what a pull _Cromwell_ had over _Pym_-the one name full of a resonant imperialism, the other, mean, pettifogging, and unheroic to a degree. Who would expect eloquence from _Pym_-who would read poems by _Pym_-who would bow to the opinion of _Pym_? He might have been a dentist, but he should never have aspired to be a statesman. I can only wonder that he succeeded as he did. Pym and Habakkuk stand first upon the roll of men who have triumphed, by sheer force of genius, over the most unfavourable appellations. But even these have suffered; and, had they been more fitly named, the one might have been Lord Protector, and the other have shared the laurels with Isaiah. In this matter we must not forget that all our great poets have borne great names. Chaucer, Spenser, Shakespeare, Milton, Pope, Wordsworth, Sh.e.l.ley-what a constellation of lordly words! Not a single common-place name among them-not a Brown, not a Jones, not a Robinson; they are all names that one would stop and look at on a door-plate. Now, imagine if _Pepys_ had tried to clamber somehow into the enclosure of poetry, what a blot would that word have made upon the list! The thing was impossible. In the first place a certain natural consciousness that men would have held him down to the level of his name, would have prevented him from rising above the Pepsine standard, and so haply withheld him altogether from attempting verse.

Next, the booksellers would refuse to publish, and the world to read them, on the mere evidence of the fatal appellation. And now, before I close this section, I must say one word as to _punnable_ names, names that stand alone, that have a significance and life apart from him that bears them. These are the bitterest of all. One friend of mine goes bowed and humbled through life under the weight of this misfortune; for it is an awful thing when a man's name is a joke, when he cannot be mentioned without exciting merriment, and when even the intimation of his death bids fair to carry laughter into many a home.

So much for people who are badly named. Now for people who are _too_ well named, who go top-heavy from the font, who are baptized into a false position, and find themselves beginning life eclipsed under the fame of some of the great ones of the past. A man, for instance, called William Shakespeare could never dare to write plays. He is thrown into too humbling an apposition with the author of _Hamlet_. Its own name coming after is such an anti-climax. 'The plays of William Shakespeare'? says the reader-'O no! The plays of William Shakespeare c.o.c.kerill,' and he throws the book aside. In wise pursuance of such views, Mr. John Milton Hengler, who not long since delighted us in this favoured town, has never attempted to write an epic, but has chosen a new path, and has excelled upon the tight-rope. A marked example of triumph over this is the case of Mr. Dante Gabriel Rossetti. On the face of the matter, I should have advised him to imitate the pleasing modesty of the last-named gentleman, and confine his ambition to the sawdust. But Mr. Rossetti has triumphed.

He has even dared to translate from his mighty name-father; and the voice of fame supports him in his boldness.

Dear readers, one might write a year upon this matter. A lifetime of comparison and research could scarce suffice for its elucidation. So here, if it please you, we shall let it rest. Slight as these notes have been, I would that the great founder of the system had been alive to see them. How he had warmed and brightened, how his persuasive eloquence would have fallen on the ears of Toby; and what a letter of praise and sympathy would not the editor have received before the month was out!

Alas, the thing was not to be. Walter Shandy died and was duly buried, while yet his theory lay forgotten and neglected by his fellow-countrymen. But, reader, the day will come, I hope, when a paternal government will stamp out, as seeds of national weakness, all depressing patronymics, and when G.o.dfathers and G.o.dmothers will soberly and earnestly debate the interest of the nameless one, and not rush blindfold to the christening. In these days there shall be written a 'G.o.dfather's a.s.sistant,' in shape of a dictionary of names, with their concomitant virtues and vices; and this book shall be scattered broadcast through the land, and shall be on the table of every one eligible for G.o.dfathers.h.i.+p, until such a thing as a vicious or untoward appellation shall have ceased from off the face of the earth.

CRITICISMS

CHAPTER I-LORD LYTTON'S 'FABLES IN SONG'

It seems as if Lord Lytton, in this new book of his, had found the form most natural to his talent. In some ways, indeed, it may be held inferior to _Chronicles and Characters_; we look in vain for anything like the terrible intensity of the night-scene in _Irene_, or for any such pa.s.sages of ma.s.sive and memorable writing as appeared, here and there, in the earlier work, and made it not altogether unworthy of its model, Hugo's _Legend of the Ages_. But it becomes evident, on the most hasty retrospect, that this earlier work was a step on the way towards the later. It seems as if the author had been feeling about for his definite medium, and was already, in the language of the child's game, growing hot. There are many pieces in _Chronicles and Characters_ that might be detached from their original setting, and embodied, as they stand, among the _Fables in Song_.

For the term Fable is not very easy to define rigorously. In the most typical form some moral precept is set forth by means of a conception purely fantastic, and usually somewhat trivial into the bargain; there is something playful about it, that will not support a very exacting criticism, and the lesson must be apprehended by the fancy at half a hint. Such is the great ma.s.s of the old stories of wise animals or foolish men that have amused our childhood. But we should expect the fable, in company with other and more important literary forms, to be more and more loosely, or at least largely, comprehended as time went on, and so to degenerate in conception from this original type. That depended for much of its piquancy on the very fact that it was fantastic: the point of the thing lay in a sort of humorous inappropriateness; and it is natural enough that pleasantry of this description should become less common, as men learn to suspect some serious a.n.a.logy underneath.

Thus a comical story of an ape touches us quite differently after the proposition of Mr. Darwin's theory. Moreover, there lay, perhaps, at the bottom of this primitive sort of fable, a humanity, a tenderness of rough truths; so that at the end of some story, in which vice or folly had met with its destined punishment, the fabulist might be able to a.s.sure his auditors, as we have often to a.s.sure tearful children on the like occasions, that they may dry their eyes, for none of it was true.

But this benefit of fiction becomes lost with more sophisticated hearers and authors: a man is no longer the dupe of his own artifice, and cannot deal playfully with truths that are a matter of bitter concern to him in his life. And hence, in the progressive centralisation of modern thought, we should expect the old form of fable to fall gradually into desuetude, and be gradually succeeded by another, which is a fable in all points except that it is not altogether fabulous. And this new form, such as we should expect, and such as we do indeed find, still presents the essential character of brevity; as in any other fable also, there is, underlying and animating the brief action, a moral idea; and as in any other fable, the object is to bring this home to the reader through the intellect rather than through the feelings; so that, without being very deeply moved or interested by the characters of the piece, we should recognise vividly the hinges on which the little plot revolves. But the fabulist now seeks a.n.a.logies where before he merely sought humorous situations. There will be now a logical nexus between the moral expressed and the machinery employed to express it. The machinery, in fact, as this change is developed, becomes less and less fabulous. We find ourselves in presence of quite a serious, if quite a miniature division of creative literature; and sometimes we have the lesson embodied in a sober, everyday narration, as in the parables of the New Testament, and sometimes merely the statement or, at most, the collocation of significant facts in life, the reader being left to resolve for himself the vague, troublesome, and not yet definitely moral sentiment which has been thus created. And step by step with the development of this change, yet another is developed: the moral tends to become more indeterminate and large. It ceases to be possible to append it, in a tag, to the bottom of the piece, as one might write the name below a caricature; and the fable begins to take rank with all other forms of creative literature, as something too ambitious, in spite of its miniature dimensions, to be resumed in any succinct formula without the loss of all that is deepest and most suggestive in it.

Now it is in this widest sense that Lord Lytton understands the term; there are examples in his two pleasant volumes of all the forms already mentioned, and even of another which can only be admitted among fables by the utmost possible leniency of construction. 'Composure,' 'Et Caetera,'

and several more, are merely similes poetically elaborated. So, too, is the pathetic story of the grandfather and grandchild: the child, having treasured away an icicle and forgotten it for ten minutes, comes back to find it already nearly melted, and no longer beautiful: at the same time, the grandfather has just remembered and taken out a bundle of love-letters, which he too had stored away in years gone by, and then long neglected; and, behold! the letters are as faded and sorrowfully disappointing as the icicle. This is merely a simile poetically worked out; and yet it is in such as these, and some others, to be mentioned further on, that the author seems at his best. Wherever he has really written after the old model, there is something to be deprecated: in spite of all the spirit and freshness, in spite of his happy a.s.sumption of that cheerful acceptation of things as they are, which, rightly or wrongly, we come to attribute to the ideal fabulist, there is ever a sense as of something a little out of place. A form of literature so very innocent and primitive looks a little over-written in Lord Lytton's conscious and highly-coloured style. It may be bad taste, but sometimes we should prefer a few sentences of plain prose narration, and a little Bewick by way of tail-piece. So that it is not among those fables that conform most nearly to the old model, but one had nearly said among those that most widely differ from it, that we find the most satisfactory examples of the author's manner.

In the mere matter of ingenuity, the metaphysical fables are the most remarkable; such as that of the windmill who imagined that it was he who raised the wind; or that of the grocer's balance ('Cogito ergo sum') who considered himself endowed with free-will, reason, and an infallible practical judgment; until, one fine day, the police made a descent upon the shop, and find the weights false and the scales unequal; and the whole thing is broken up for old iron. Capital fables, also, in the same ironical spirit, are 'Prometheus Unbound,' the tale of the vainglorying of a champagne-cork, and 'Teleology,' where a nettle justifies the ways of G.o.d to nettles while all goes well with it, and, upon a change of luck, promptly changes its divinity.

In all these there is still plenty of the fabulous if you will, although, even here, there may be two opinions possible; but there is another group, of an order of merit perhaps still higher, where we look in vain for any such playful liberties with Nature. Thus we have 'Conservation of Force'; where a musician, thinking of a certain picture, improvises in the twilight; a poet, hearing the music, goes home inspired, and writes a poem; and then a painter, under the influence of this poem, paints another picture, thus lineally descended from the first. This is fiction, but not what we have been used to call fable. We miss the incredible element, the point of audacity with which the fabulist was wont to mock at his readers. And still more so is this the case with others. 'The Horse and the Fly' states one of the unanswerable problems of life in quite a realistic and straightforward way. A fly startles a cab-horse, the coach is overset; a newly-married pair within and the driver, a man with a wife and family, are all killed. The horse continues to gallop off in the loose traces, and ends the tragedy by running over an only child; and there is some little pathetic detail here introduced in the telling, that makes the reader's indignation very white-hot against some one. It remains to be seen who that some one is to be: the fly? Nay, but on closer inspection, it appears that the fly, actuated by maternal instinct, was only seeking a place for her eggs: is maternal instinct, then, 'sole author of these mischiefs all'? 'Who's in the Right?' one of the best fables in the book, is somewhat in the same vein. After a battle has been won, a group of officers a.s.semble inside a battery, and debate together who should have the honour of the success; the Prince, the general staff, the cavalry, the engineer who posted the battery in which they then stand talking, are successively named: the sergeant, who pointed the guns, sneers to himself at the mention of the engineer; and, close by, the gunner, who had applied the match, pa.s.ses away with a smile of triumph, since it was through his hand that the victorious blow had been dealt. Meanwhile, the cannon claims the honour over the gunner; the cannon-ball, who actually goes forth on the dread mission, claims it over the cannon, who remains idly behind; the powder reminds the cannon-ball that, but for him, it would still be lying on the a.r.s.enal floor; and the match caps the discussion; powder, cannon-ball, and cannon would be all equally vain and ineffectual without fire. Just then there comes on a shower of rain, which wets the powder and puts out the match, and completes this lesson of dependence, by indicating the negative conditions which are as necessary for any effect, in their absence, as is the presence of this great fraternity of positive conditions, not any one of which can claim priority over any other. But the fable does not end here, as perhaps, in all logical strictness, it should. It wanders off into a discussion as to which is the truer greatness, that of the vanquished fire or that of the victorious rain.

And the speech of the rain is charming:

'Lo, with my little drops I bless again And beautify the fields which thou didst blast!

Rend, wither, waste, and ruin, what thou wilt, But call not Greatness what the G.o.ds call Guilt.

Blossoms and gra.s.s from blood in battle spilt, And poppied corn, I bring.

'Mid mouldering Babels, to oblivion built, My violets spring.

Little by little my small drops have strength To deck with green delights the grateful earth.'

And so forth, not quite germane (it seems to me) to the matter in hand, but welcome for its own sake.

Best of all are the fables that deal more immediately with the emotions.

There is, for instance, that of 'The Two Travellers,' which is profoundly moving in conception, although by no means as well written as some others. In this, one of the two, fearfully frost-bitten, saves his life out of the snow at the cost of all that was comely in his body; just as, long before, the other, who has now quietly resigned himself to death, had violently freed himself from Love at the cost of all that was finest and fairest in his character. Very graceful and sweet is the fable (if so it should be called) in which the author sings the praises of that 'kindly perspective,' which lets a wheat-stalk near the eye cover twenty leagues of distant country, and makes the humble circle about a man's hearth more to him than all the possibilities of the external world. The companion fable to this is also excellent. It tells us of a man who had, all his life through, entertained a pa.s.sion for certain blue hills on the far horizon, and had promised himself to travel thither ere he died, and become familiar with these distant friends. At last, in some political trouble, he is banished to the very place of his dreams. He arrives there overnight, and, when he rises and goes forth in the morning, there sure enough are the blue hills, only now they have changed places with him, and smile across to him, distant as ever, from the old home whence he has come. Such a story might have been very cynically treated; but it is not so done, the whole tone is kindly and consolatory, and the disenchanted man submissively takes the lesson, and understands that things far away are to be loved for their own sake, and that the unattainable is not truly unattainable, when we can make the beauty of it our own. Indeed, throughout all these two volumes, though there is much practical scepticism, and much irony on abstract questions, this kindly and consolatory spirit is never absent. There is much that is cheerful and, after a sedate, fireside fas.h.i.+on, hopeful. No one will be discouraged by reading the book; but the ground of all this hopefulness and cheerfulness remains to the end somewhat vague. It does not seem to arise from any practical belief in the future either of the individual or the race, but rather from the profound personal contentment of the writer. This is, I suppose, all we must look for in the case. It is as much as we can expect, if the fabulist shall prove a shrewd and cheerful fellow-wayfarer, one with whom the world does not seem to have gone much amiss, but who has yet laughingly learned something of its evil. It will depend much, of course, upon our own character and circ.u.mstances, whether the encounter will be agreeable and bracing to the spirits, or offend us as an ill-timed mockery. But where, as here, there is a little tincture of bitterness along with the good-nature, where it is plainly not the humour of a man cheerfully ignorant, but of one who looks on, tolerant and superior and smilingly attentive, upon the good and bad of our existence, it will go hardly if we do not catch some reflection of the same spirit to help us on our way. There is here no impertinent and lying proclamation of peace-none of the cheap optimism of the well-to-do; what we find here is a view of life that would be even grievous, were it not enlivened with this abiding cheerfulness, and ever and anon redeemed by a stroke of pathos.

It is natural enough, I suppose, that we should find wanting in this book some of the intenser qualities of the author's work; and their absence is made up for by much happy description after a quieter fas.h.i.+on. The burst of jubilation over the departure of the snow, which forms the prelude to 'The Thistle,' is full of spirit and of pleasant images. The speech of the forest in 'Sans Souci' is inspired by a beautiful sentiment for nature of the modern sort, and pleases us more, I think, as poetry should please us, than anything in _Chronicles and Characters_. There are some admirable felicities of expression here and there; as that of the hill, whose summit

'Did print The azure air with pines.'

Moreover, I do not recollect in the author's former work any symptom of that sympathetic treatment of still life, which is noticeable now and again in the fables; and perhaps most noticeably, when he sketches the burned letters as they hover along the gusty flue, 'Thin, sable veils, wherein a restless spark Yet trembled.' But the description is at its best when the subjects are unpleasant, or even grisly. There are a few capital lines in this key on the last spasm of the battle before alluded to. Surely nothing could be better, in its own way, than the fish in 'The Last Cruise of the Arrogant,' 'the shadowy, side-faced, silent things,' that come b.u.t.ting and staring with lidless eyes at the sunken steam-engine. And although, in yet another, we are told, pleasantly enough, how the water went down into the valleys, where it set itself gaily to saw wood, and on into the plains, where it would soberly carry grain to town; yet the real strength of the fable is when it dealt with the shut pool in which certain unfortunate raindrops are imprisoned among slugs and snails, and in the company of an old toad. The sodden contentment of the fallen acorn is strangely significant; and it is astonis.h.i.+ng how unpleasantly we are startled by the appearance of her horrible lover, the maggot.

And now for a last word, about the style. This is not easy to criticise.

It is impossible to deny to it rapidity, spirit, and a full sound; the lines are never lame, and the sense is carried forward with an uninterrupted, impetuous rush. But it is not equal. After pa.s.sages of really admirable versification, the author falls back upon a sort of loose, cavalry manner, not unlike the style of some of Mr. Browning's minor pieces, and almost inseparable from wordiness, and an easy acceptation of somewhat cheap finish. There is nothing here of that compression which is the note of a really sovereign style. It is unfair, perhaps, to set a not remarkable pa.s.sage from Lord Lytton side by side with one of the signal masterpieces of another, and a very perfect poet; and yet it is interesting, when we see how the portraiture of a dog, detailed through thirty odd lines, is frittered down and finally almost lost in the mere laxity of the style, to compare it with the clear, simple, vigorous delineation that Burns, in four couplets, has given us of the ploughman's collie. It is interesting, at first, and then it becomes a little irritating; for when we think of other pa.s.sages so much more finished and adroit, we cannot help feeling, that with a little more ardour after perfection of form, criticism would have found nothing left for her to censure. A similar mark of precipitate work is the number of adjectives tumultuously heaped together, sometimes to help out the sense, and sometimes (as one cannot but suspect) to help out the sound of the verses. I do not believe, for instance, that Lord Lytton himself would defend the lines in which we are told how Laoc.o.o.n 'Revealed to Roman crowds, now _Christian_ grown, That _Pagan_ anguish which, in _Parian_ stone, The _Rhodian_ artist,' and so on. It is not only that this is bad in itself; but that it is unworthy of the company in which it is found; that such verses should not have appeared with the name of a good versifier like Lord Lytton. We must take exception, also, in conclusion, to the excess of alliteration. Alliteration is so liable to be abused that we can scarcely be too sparing of it; and yet it is a trick that seems to grow upon the author with years. It is a pity to see fine verses, such as some in 'Demos,' absolutely spoiled by the recurrence of one wearisome consonant.

CHAPTER II-SALVINI'S MACBETH

Salvini closed his short visit to Edinburgh by a performance of _Macbeth_. It was, perhaps, from a sentiment of local colour that he chose to play the Scottish usurper for the first time before Scotsmen; and the audience were not insensible of the privilege. Few things, indeed, can move a stronger interest than to see a great creation taking shape for the first time. If it is not purely artistic, the sentiment is surely human. And the thought that you are before all the world, and have the start of so many others as eager as yourself, at least keeps you in a more unbearable suspense before the curtain rises, if it does not enhance the delight with which you follow the performance and see the actor 'bend up each corporal agent' to realise a masterpiece of a few hours' duration. With a player so variable as Salvini, who trusts to the feelings of the moment for so much detail, and who, night after night, does the same thing differently but always well, it can never be safe to pa.s.s judgment after a single hearing. And this is more particularly true of last week's _Macbeth_; for the whole third act was marred by a grievously humorous misadventure. Several minutes too soon the ghost of Banquo joined the party, and after having sat helpless a while at a table, was ignominiously withdrawn. Twice was this ghostly Jack-in-the-box obtruded on the stage before his time; twice removed again; and yet he showed so little hurry when he was really wanted, that, after an awkward pause, Macbeth had to begin his apostrophe to empty air.

The arrival of the belated spectre in the middle, with a jerk that made him nod all over, was the last accident in the chapter, and worthily topped the whole. It may be imagined how lamely matters went throughout these cross purposes.

In spite of this, and some other hitches, Salvini's Macbeth had an emphatic success. The creation is worthy of a place beside the same artist's Oth.e.l.lo and Hamlet. It is the simplest and most unsympathetic of the three; but the absence of the finer lineaments of Hamlet is redeemed by gusto, breadth, and a headlong unity. Salvini sees nothing great in Macbeth beyond the royalty of muscle, and that courage which comes of strong and copious circulation. The moral smallness of the man is insisted on from the first, in the shudder of uncontrollable jealousy with which he sees Duncan embracing Banquo. He may have some northern poetry of speech, but he has not much logical understanding. In his dealings with the supernatural powers he is like a savage with his fetich, trusting them beyond bounds while all goes well, and whenever he is crossed, casting his belief aside and calling 'fate into the list.'

For his wife, he is little more than an agent, a frame of bone and sinew for her fiery spirit to command. The nature of his feeling towards her is rendered with a most precise and delicate touch. He always yields to the woman's fascination; and yet his caresses (and we know how much meaning Salvini can give to a caress) are singularly hard and unloving.

Sometimes he lays his hand on her as he might take hold of any one who happened to be nearest to him at a moment of excitement. Love has fallen out of this marriage by the way, and left a curious friends.h.i.+p. Only once-at the very moment when she is showing herself so little a woman and so much a high-spirited man-only once is he very deeply stirred towards her; and that finds expression in the strange and horrible transport of admiration, doubly strange and horrible on Salvini's lips-'Bring forth men-children only!'