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Showing posts with label Entertainment. Show all posts
Showing posts with label Entertainment. Show all posts

"My Winter Garden" By Charles Kingsley

Posted By Media Hits On 2:55 PM 0 comments
So, my friend: you ask me to tell you how I contrive to support this monotonous country life; how, fond as I am of excitement, adventure, society, scenery, art, literature, I go cheerfully through the daily routine of a commonplace country profession, never requiring a six weeks' holiday; not caring to see the Continent, hardly even to spend a day in London; having never yet actually got to Paris.

You wonder why I do not grow dull as those round me, whose talk is of bullocks -- as indeed mine is, often enough; why I am not by this time "all over blue mould"; why I have not been tempted to bury myself in my study, and live a life of dreams among old books.

I will tell you. I am a minute philosopher: though one, thank Heaven, of a different stamp from him whom the great Bishop Berkeley silenced -- alas! only for a while. I am possibly, after all, a man of small mind, content with small pleasures. So much the better for me. Meanwhile, I can understand your surprise, though you cannot understand my content. You have played a greater game than mine; have lived a life perhaps more fit for an Englishman, certainly more in accordance with the taste of our common fathers, the Vikings, and their patron Odin "the goer," father of all them that go ahead. You have gone ahead, and over many lands; and I reverence you for it, though I envy you not. You have commanded a regiment -- indeed an army, and "drank delight of battle with your peers"; you have ruled provinces, and done justice and judgment, like a noble Englishman as you are, old friend, among thousands who never knew before what justice and judgment were. You have tasted (and you have deserved to taste) the joy of old David's psalm, when he has hunted down the last of the robber lords of Palestine. You have seen " a people whom you have not known serve you. As soon as they heard of you, they obeyed you; but the strange children dissembled with you"; yet before you, too, "the strange children failed, and trembled in their hill-forts."

Noble work that was to do, and nobly you have done it; and I do not wonder that to a man who has been set to such a task, and given power to carry it through, all smaller work must seem paltry; that such a man's very amusements, in that grand Indian land, and that free, adventurous Indian life, exciting the imagination, calling out all the self-help and daring of a man, should have been on a par with your work; that when you go a-sporting, you ask for no meaner preserve than the primeval forest, no lower park wall than the snow-peaks of the Himalaya.

Yes; you have been a "burra Shikarree" as well as a "burra Sahib." You have played the great game in your work, and killed the great game in your play. How many tons of mighty monsters have you done to death, since we two were schoolboys together, five-and-twenty years ago? How many starving villages have you fed with the flesh of elephant or buffalo? How many have you delivered from man-eating tigers, or wary old alligators, their craws full of poor girls' bangles? Have you not been charged by rhinoceroses, all but ripped up by boars? Have you not seen face to face Ovis Ammon himself, the giant mountain sheep-primeval ancestor, perhaps, of all the flocks on earth? Your memories must be like those of Theseus and Hercules, full of slain monsters. Your brains must be one fossiliferous deposit, in which gaur and sambur, hog and tiger, rhinoceros and elephant, lie heaped together, as the old ichthyosaurs and plesiosaurs are heaped in the lias rocks at Lyme. And therefore I like to think of you. I try to picture your feelings to myself. I spell over with my boy Mayne Reid's amusing books, or the "Old Forest Ranger," or Williams's old "Tiger Book," with Howitt's plates; and try to realize the glory of a burra Shikarree: and as I read and imagine, feel, with Sir Hugh Evans, "a great dispositions to cry."

For there were times, full many a year ago, when my brains were full of bison and grizzly bear, mustang, and big-horn, Blackfoot and Pawnee, and hopes of wild adventure in the Far West, which I shall never see; for ere I was three-and-twenty, I discovered, plainly enough, that my lot was to stay at home and earn my bread in a very quiet way; that England was to be henceforth my prison or my palace as I should choose to make it; and I have made it, by Heaven's help, the latter.

I will confess to you, though, that in those first heats of youth, this little England -- or rather this little patch of moor in which I have struck roots as firm as the wild fir-trees do -- looked at moments rather like a prison than a palace; that my foolish young heart would sigh, "Oh! that I had wings" not as a dove, to fly home to its nest and croodle but as an eagle, to swoop away over land and sea, in a rampant and self-glorifying fashion, on which I now look back as altogether unwholesome and undesirable. But the thirst for adventure and excitement was strong in me, as perhaps it ought to be in all at twenty-one. Others went out to see the glorious new worlds of the West, the glorious old worlds of the east -- why should not I? Others rambled over Alps and Apennines, Italian picture-galleries and palaces, filling their minds with fair memories -- why should not I? Others discovered new wonders in botany and zoology -- why should not I? Others too, like you, fulfilled to the utmost that strange lust after the burra shikar, which even now makes my pulse throb as often as I see the stags'heads in our friend A---'s hall-why should not I? It is not learned in a day, the golden lesson of the old Collect, to "love the thing which is commanded, and desire that which is promised. "Not in a day, but in fifteen years one can spell out a little of its worth; and when one finds one's self on the wrong side of forty, and the first gray hairs begin to show on the temples, and one can no longer jump as high as one's third button -- scarcely, alas! to any button at all; and what with innumerable sprains, bruises, soakings, and chillings, one's lower limbs feel in a cold thaw, much like an old post-horse's, why, one makes a virtue of necessity: and if one still lusts after sights, takes the nearest, and looks for wonders, not in the Himalayas or Lake Ngami, but in the turf on the lawn and the brook in the park; and with good Alphonse Karr enjoys the macro-microcosm in one "Tour autour de mon jardin."

For there it is, friend, the whole infinite miracle of nature in every tuft of grass, if we have only eyes to see it, and can disabuse our minds of that tyrannous phantom of size. Only recollect that great and small are but relative terms; that, in truth, nothing is great or small, save in proportion to the quantity of creative thought which has been exercised in making it; that the fly who basks upon one of the trilithons of Stonehenge, is in truth infinitely greater than all Stonehenge together, though he may measure the tenth of an inch, and the stone on which he sits five-and-twenty feet. You differ from me? Be it so. Even if you prove me wrong I will believe myself in the right: I cannot afford to do otherwise. If you rob me of my faith in "minute philosophy," -- you rob me of a continual source of content, surprise, delight.

So go your way and I mine, each working with all his might, and playing with all his might, in his own place and way. Remember only, that though I never can come round to your sphere, you must some day come round to me, when wounds, or weariness, or merely, as I hope, a healthy old age, shall shut you out for once and for all from burra shikar, whether human or quadruped. -- For you surely will not take to politics in your old age? You will not surely live to solicit (as many a fine fellow, alas! did but last year) the votes, not even of the people, but merely of the snobocracy, on the ground of your having neither policy nor principles, nor even opinions, upon any matter in heaven or earth ? Then in that day will you be forced, my friend, to do what I have done this many a year: to refrain your soul, and keep it low. You will see more and more the depth of human ignorance, the vanity or human endeavors. You will feel more and more that the world is going God's way, and not yours, or mine, or any man's; and that if you have been allowed to do good work on earth, that work is probably as different from what you fancy it as the tree is from the seed whence it springs. You will grow content, therefore, not to see the real fruit of your labors; because if you saw it you would probably be frightened at it, and what is very good in the eyes of God would not be very good in yours; content, also, to receive your discharge, and work and fight no more, sure that God is working and fighting, whether you are in hospital or in the field. And with this growing sense of the pettiness of human struggles will grow on you a respect for simple labors, a thankfulness for simple pleasures, a sympathy with simple people, and possibly, my trusty friend, with me and my little tours about that moorland which I call my winter-garden, and which is to me as full of glory and of instruction as the Himalaya or the Punjab are to you, and in which I contrive to find as much health and amusement as I have time for-and who ought to have more?

I call the said garden mine, not because I own it in any legal sense (for only in a few acres have I a life interest), but in that higher sense in which ten thousand people can own the same thing, and yet no man's right interfere with another's. To whom does the Apollo Belvedere belong, but to all who have eyes to see its beauty? So does my winter garden; and therefore to me among the rest.

Besides (which is a gain to a poor man), my pleasure in it is a very cheap one. So are all those of a minute philosopher, except his microscope. But my winter garden, which is far larger, at all events, than that famous one at Chatsworth, costs me not one penny in keeping up. Poor, did I call myself? Is it not true wealth to have all I want without paying for it? Is it not true wealth, royal wealth, to have some twenty gentlemen and noblemen, nay, even royal personages, planting and improving for me? Is it not more than royal wealth to have sun and frost, Gulf Stream and southwesters, laws of geology, phytology, physiology, and other ologies--in a word, the whole universe and the powers thereof, day and night, paving, planting, roofing, lighting, coloring my winter garden for me, without my even having the trouble to rub a magic ring and tell the genii to go to work?

Yes. I am very rich, as every man may be who will. In the doings of our little country neighborhood I find tragedy and comedy, too fantastic, sometimes too sad, to be written down. In the words of those whose talk is of bullocks I find the materials of all possible metaphysic, and long weekly that I had time to work them out. In fifteen miles of moorland I find the materials of all possible physical science, and long that I had time to work out one smallest segment of that great sphere. How can I be richer, if I have lying at my feet all day a thousand times more wealth than I can use?

Some people -- most people -- in these runabout railway days, would complain of such a life, in such a "narrow sphere," so they call it, as monotonous. Very likely it is so. But is it to be complained of on that account? Is monotony in itself an evil? Which is better, to know many places ill or to know one place well? Certainly -- if a scientific habit of mind be a gain -- it is only by exhausting as far as possible the significance of an individual phenomenon (is not that sentence a true scientific one in its magniloquence?) that you can discover any glimpse of the significance of the universal. Even men of boundless knowledge, like Humboldt, must have had once their specialty, their pet subject, or they would have, strictly speaking, no knowledge at all. The volcanoes of Mexico, patiently and laboriously investigated in his youth, were to Humboldt, possibly, the key of the whole Cosmos. I learn more studying over and over again the same Bagshot sand gravel heaps, than I should by roaming all Europe in search of new geologic wonders. Fifteen years have I been puzzling at the same questions and have only guessed at a few of the answers. What sawed out the edges of the moors into long narrow banks of gravel? What cut them off all flat atop? What makes Erica tetralix grow in one soil and the bracken in another? How did three species of club-moss -- one of them quite an Alpine one -- get down here, all the way from Wales perhaps, upon this isolated patch of gravel? Why did that one patch of Carex arenaria settle in the only square yard for miles and miles which bore sufficient resemblance to its native sand-hill by the seashore, to make it comfortable? Why did Myosurus minimus which I had hunted for in vain for fourteen years, appear by dozens in the fifteenth, upon a new-made bank, which had been for at least two hundred years a farmyard gateway? Why does it generally rain here from the southwest, not when the barometer falls, but when it begins to rise again? Why -- why is everything which lies under my feet all day long? I don't know; and you can't tell me. And till I have found out, I cannot complain of monotony, with still undiscovered puzzles waiting to be explained, and so to create novelty at every turn.

Besides, monotony is pleasant in itself; morally pleasant and morally useful. Marriage is monotonous; but there I much, I trust, to be said in favor of holy wedlock. Living in the same house is monotonous; but three removes, say the wise, are as bad as a fire. Locomotion is regarded as an evil by our Litany. The Litany, as usual, is right. "Those who travel by land or sea" are to be objects of our pity and our prayers; and I do pity them. I delight in that same monotony. It saves curiosity, anxiety, excitement, disappointment, and a host of bad passions. It gives the man the blessed, invigorating feeling that he is at home; that he has roots, deep and wide, struck down into all he sees; and that only The Being who will do nothing cruel or useless can tear them up. It is pleasant to look down on the same parish day after day, and say, I know all that lies beneath, and all beneath know me. If I want a friend, I know where to find him; if I want work done, I know who will do it. It is pleasant and good to see the same trees year after year; the same birds coming back in spring to the same shrubs; the same banks covered with the same flowers, and broken (if they be stiff ones) by the same gaps. Pleasant and good it is to ride the same horse, to sit in the same chair, to wear the same old coat. That man who offered twenty pounds' reward for a lost carpet-bag full of old boots was a sage, and I wish I knew him. Why should one change one's place any more than one's wife or one's children? Is a hermit-crab, slipping his tail out of one strange shell into another, in the hopes of its fitting him a little better, either a dignified, safe, or graceful animal? No; George Riddler was a true philosopher:

"Let vules go sarching vur and nigh,
We bides at Whum, my dog and I;"

and become there, not only wiser, but more charitable; for the oftener one sees, the better one knows; and the better one knows, the more one loves.

It is an easy philosophy; especially in the case of the horse, where a man cannot afford more than one, as I cannot. To own a stud of horses, after all, is not to own horses at all, but riding-machines. Your rich man who rides Crimea in the morning, Sir Guy in the afternoon, and Sultan to-morrow, and something else the next day, may be a very gallant rider; but it is a question whether be enjoys the pleasure which one horse gives to the poor man who rides him day after day; one horse, who is not a slave but a friend; who has learned all his tricks of voice, hand, heel, and knows what his mast wants, even without being told; who will bear with his master's infirmities, and feels secure that his master will bear with his in turn.

Possibly, after all, the grapes are sour; and were one rich one would do even as the rich are wont to do: but still, I an a minute philosopher. And therefore, this afternoon, after have I done the same work, visited the same people, and said the same words to them, which I have done for years past and shall, I trust, for many a year to come, I shall go wandering out into the same winter garden on the same old mare and think the same thoughts, and see the same fir-trees, and meet perhaps the same good fellows hunting of their fox, as I have done with full content this many a year; and rejoice, as I said before, in my own boundless wealth, who have the whole universe to, look at, without being charged one penny for the show.

As I have said, the grapes may be sour, and I enjoy the want of luxuries only because I cannot get them; but if my self deception be useful to me, leave it alone.

No one is less inclined to depreciate that magnificent winter garden at the Crystal Palace: yet let me, if I choose, prefer my own; I argue that, in the first place, it is far larger. You may drive, I hear, through the grand one at Chatsworth for a quarter of a mile. You may ride through mine for fifteen miles on end. I prefer, too, to any glass roof which Sir Joseph Paxton ever planned, that dome above my head some three miles high, of soft dappled gray and yellow cloud, through the vast lattice-work whereof the blue sky peeps, an sheds down tender gleams on yellow bogs, and softly rounded heather knolls, and pale chalk ranges gleaming far away. But, above all, I glory in my evergreens. What winter garden can compare for them with mine? True, I have but four kinds -- Scotch fir, holly, furze, and the heath; and by way of relief to them, only brows of brown fern, sheets of yellow bog-gras and here and there a leafless birch, whose purple tresses are even more lovely to my eye than those fragrant green ones which she puts on in spring. Well: in painting as in music what effects are more grand than those produced by the scientific combination, in endless new variety, of a few simple elements? Enough for me is the one purple birch; the bright hollies round its stem sparkling with scarlet beads; the furzepatch, rich with its lace-work of interwoven light and shade, tipped here and there with a golden bud; the deep soft heather carpet, which invites you to lie down and dream for hours; and behind all, the wall of red fir-stems, and the dark fir-roof with its jagged edges a mile long, against the soft gray sky.

An ugly, straight-edged, monotonous fir-plantation? Well, I like it, outside and inside. I need no saw-edge of mountain peaks to stir up my imagination with the sense of the sublime, while I can watch the saw-edge of those fir peaks against the red sunset. They are my Alps; little ones it may be: but after all, as I asked before, what is size? A phantom of our brain; an optical delusion. Grandeur, if you will consider wisely, consists in form, and not in size: and to the eye of the philosopher, the curve drawn on a paper two inches long is just as magnificent, just as symbolic of divine mysteries and melodies, as when embodied in the span of some cathedral roof. Have you eyes to see? Then lie down on the grass, and look near enough to see something more of what is to be seen; and you will find tropic jungles in every square foot of turf; mountain cliffs and debacles at the mouth of every rabbit burrow: dark strids, tremendous cataracts, "deep glooms and sudden glories," in every foot-broad rill which wanders through the turf. All is there for you to see, if you will but rid yourself of "that idol of space"; and Nature, as everyone will tell you who has seen dissected an insect under the microscope, is as grand and graceful in her smallest as in her hugest forms.

The March breeze is chilly: but I can be always warm if I like in my winter garden. I turn my horse's head to the red wall of fir-stems, and leap over the furze-grown bank into my cathedral, wherein if there be no saints, there are likewise no priestcraft and no idols, but endless vistas of smooth, red, green-veined shafts holding up the warm dark roof, lessening away into endless gloom, paved with rich brown fir-needle -- a carpet at which Nature has been at work for forty years. Red shafts, green roof, and here and there a pane of blue sky -- neither Owen Jones nor Willement can improve upon that ecclesiastical ornamentation -- while for incense I have the fresh healthy turpentine fragrance, far sweeter to my nostrils than the stifling narcotic odor which fills a Roman Catholic cathedral. There is not a breath of air within: but the breeze sighs over the roof above in a soft whisper. I shut my eyes and listen. Surely that is the murmur of the summer sea upon the summer sands in Devon far away. I hear the innumerable wavelets spend themselves gently upon the shore, and die away to rise again. And with the innumerable wave-sighs come innumerable memories, and faces which 1 shall never see again upon this earth. I will not tell even you of that, old friend.

It has two notes, two keys rather, that Aeolian harp of firneedles above my head; according as the wind is east or west, the needles dry or wet. This easterly key of to-day is shriller, more cheerful, warmer in sound, though the day itself be colder: but grander still, as well as softer, is the sad soughing key in which the southwest wind roars on, rain-laden, over the forest, and calls me forth -- being a minute philosopher -- to catch trout in the nearest chalk-stream.

The breeze is gone awhile; and I am in perfect silence -- a silence which may be heard. Not a sound; and not a moving object; absolutely none. The absence of animal life is solemn, startling. That ring dove, who was cooing half a mile away, has hushed his moan; that flock of long-tailed titmice, which were twinging and pecking about the fir-cones a few minutes since, are gone: and now there is not even a gnat to quiver in the slant sun-rays. Did a spider run over these dead leaves, I almost fancy I could hear his footfall. The creaking of the saddle, the soft step of the mare upon the fir-needles, jar my ears. I seem alone in a dead world. A dead world: and yet so full of life, if I had eyes to see! "Above my head, every firneedle is breathing -- breathing forever; currents unnumbered circulate in every bough, quickened by some undiscovered miracle; around me every fir-stem is distilling strange juices, which no laboratory of man can make; and where my dull eye sees only death, the eye of God sees boundless life and motion, health and use.

Slowly I wander on beneath the warm roof of the winter garden, and meditate upon that one word -- Life; and specially on all that Mr. Lewes2 has written so well thereon-for instance --

"We may consider Life itself as an ever-increasing identification with Nature. The simple cell, from which the plant or animal arises, must draw light and heat from the sun, nutriment from the surrounding world, or else it will remain quiescent, not alive, though latent with life; as the grains in the Egyptian tombs, which after lying thousands of years in those sepulchres, are placed in the earth, and smile forth as golden wheat. What we call growth, is it not a perpetual absorption of Nature, the identification of the individual with the universal? And may we not, in speculative moods, consider Death as the grand impatience of the soul to free itself from the circle of individual activity -- the yearning of the creature to be united with the Creator?
As with Life, so with knowledge, which is intellectual life. In the early days of man's history, Nature and her marvelous ongoings were regarded with but a casual and careless eye, or else with the merest wonder. It was late before profound and reverent study of her laws could wean man from impatient speculations; and now, what is our intellectual activity based on, except on the more thorough mental absorption of Nature? When that absorption is completed the mystic drama will be sunny clear, and all Nature's processes be visible to man, as a Divine Effluence and Life."

True: yet not all the truth. But who knows all the truth?

Not I. "We see through a glass darkly," said St. Paul of old; and what is more, dazzle and weary our eyes, like clumsy microscopists, by looking too long and earnestly through the imperfect and by no means achromatic lens. Enough. I will think of something else. I will think of nothing at all --

Stay. There was a sound at last; a light footfall.

A hare races towards us through the ferns, her great bright eyes full of terror, her ears aloft to catch some sound behind. She sees us, turns short, and vanishes into the gloom. The mare pricks up her ears too, listens, and looks; but not the way the hare has gone. There is something more coming; I can trust the finer sense of the horse, to which (and no wonder) the Middle Age attributed the power of seeing ghosts and fairies impalpable to man's gross eyes. Besides, that hare was not traveling in search of food. She was not loping along, looking around to her right and left; but galloping steadily. She has been frightened; she has been put up: but what has put her up? And there, far away among the fir-stems, rings the shriek of a startled blackbird. What has put him up?

That, old mare, at sight whereof your wise eyes widen till they are ready to burst, and your ears are first shot forward towards your nose, and then laid back with vicious intent. Stand still, old woman! Do you think still, after fifteen winters, that you can catch a fox?

A fox it is indeed; a great dog-fox, as red as the fir-stems between which he glides. And yet his legs are black with fresh peat-stains.

He is a hunted fox; but he has not been up long.

The mare stands like a statue; but I can feel her trembling between my knees. Positively he does not see us. He sits down in the middle of a ride, turns his great ears right and left, and then scratches one of them with his hind foot, seemingly to make it hear the better. Now he is up again and on.

Beneath yon firs, some hundred yards away, standeth, or rather lieth, for it is on dead flat ground, the famous castle of Malepartus, which beheld the base murder of Lampe the hare, and many a seely soul besides. I knew it well; a patch of sandheaps, mingled with great holes, amid the twining fir-roots; ancient home of the last of the wild beasts. And thither, unto Malepartus safe and strong, trots Reinecke, where he hopes to be snug among the labyrinthine windings, and innumerable starting-holes, as the old apologue has it, of his ballium, covertway, and donjon keep. Full blown in self-satisfaction he trots, lifting his toes delicately, and carrying his brush aloft, as full of cunning and conceit as that world-famous ancestor of his, whose deeds of unchivalry were the delight, if not the model, of knight and kaiser, lady and burgber, in the Middle Age.

Suddenly he halts at the great gate of Malepartus; examines it with his nose; goes on to a postern; examines that also, and then another, and another; while I perceive afar, projecting from every cave's mouth, the red and green end of a new fir-faggot. Ah, Reinecke! fallen is thy conceit, and fallen thy tail therewith. Thou hast worse foes to deal with than Bruin the bear, or Isegrim the wolf, or any foolish brute whom thy great ancestor outwitted. Man the many-counseled has been beforehand with thee; and the earths are stopped.

One moment he sits down to meditate, and scratches those trusty counselors, his ears, as if he would tear them off, "revolving swift thoughts in a crafty mind."

He has settled it now. He is up and off-and at what a pace! Out of the way Fauns and Hamadryads, if any be left in the forest. What a pace! And with what a grace besides!

0 Reinecke, beautiful thou art, of a surety, in spite of thy great naughtiness! Art thou some fallen spirit, doomed to be hunted for thy sins in this life, and in some future life rewarded for thy swiftness, and grace, and cunning, by being made a very messenger of the immortals? Who knows? Not I.

I am rising fast to Pistol's vein. Shall I ejaculate? Shall notify? Shall I waken the echoes? Shall I break the grand silence by that scream which the vulgar view-halloo call?

It is needless; for louder and louder every moment swells up a sound which makes my heart leap into my mouth, and my mare into the air.

Music? Well-beloved soul of Hullah, would that thou wert here this day, and not in St. Martin's Hall, to hear that chorus, as it pours round the fir-stems, rings against the roof above, shatters up into a hundred echoes, till the air is alive with sound! You love madrigals, and whatever Weekes, or Wilbye, or Orlando Gibbons sang of old. So do I. Theirs is music fit for men: worthy of the age of heroes, of Drake and Raleigh, Spenser and Shakespeare: but oh, that you could hear this madrigal! If you must have "four parts," then there they are. Deep-mouthed bass, rolling along the ground; rich joyful tenor; wild wistful alto; and leaping up here and there above the throng of sounds, delicate treble shrieks and trills of trembling joy. I know not whether you can fit it into your laws of music, any more than You can the song of that Ariel sprite who dwells in the Aeolian harp, or the roar of the waves on the rock, or

"Myriads of rivulets hurrying through the lawn,
And murmuring of innumerable bees."

But music it is. A madrigal? Rather a whole opera of "Der Freischutz" -- demoniac element and all -- to judge by those red lips, fierce eyes, wild, hungry voices; and such as should make Reinecke, bad be strong aesthetic sympathies, well content to be hunted from his cradle to his grave, that such sweet sounds might by him enrich the air. Heroes of old were glad to die, if but some vates-sacer would sing their fame in worthy strains: and shalt not thou too be glad, Reinecke? Content thyself with thy fate. Music soothes care; let it soothe thine, as thou runnest for thy life; thou shalt have enough of it in the next hour. For as the Etruscans (says Athenaeus) were so luxurious that they used to flog their slaves to the sound of the flute, so shall luxurious Chanter and Challenger, Sweetlips and Melody, eat thee to the sound of rich organ-pipes, that so thou mayest,

"Like that old fabled swan, in music die."

And now appear, dim at first and distant, but brightening an nearing fast, many a right good-fellow and many a right good horse. I know three out of four of them, their private histories, the private histories of their horses; and could tell you many a good story of them: but shall not, being an English gentleman, and not an American littérateur. They may not all be very clever, or very learned, or very anything except gallant men; but they are all good enough company for me, or anyone: and each has his own specialité, for which I like him. That huntsman I have known for fifteen years, and sat many an hour beside his father's death-bed. I am godfather to that whip's child. I have seen the servants of the hunt, as I have the hounds, grow up round me for two generations, and I feel for them as old friends; and like to look into their brave, honest, weather-beaten faces. That red coat there, I knew him when he was a school-boy; and now he is a captain in the Guards, and won his Victoria Cross at Inkermann: that bright green coat is the best farmer, as well as the hardest rider, for many a mile round; one who plays, as he works, with all his might, and might have been a beau sabreur and colonel of dragoons. So might that black coat, who now brews good beer, and stands up for the poor at the Board of Guardians, and rides, like the green coat, as well as he works. That other black coat is a county banker; but he knows more of the fox than the fox knows of himself, and where the hounds are, there will he be this day. That red coat has hunted kangaroo Australia: that one, as clever and good as he is brave and simple, has stood by Napier's side in many an Indian, fight: that one won his Victoria at Delhi, and was cut up at Lucknow, with more than twenty wounds: that one has -- but what matter to you who each man is? Enough that each one can tell one a good story, welcome one cheerfully, and give one out here, in the wild forest, the wholesome feeling of being at home among friends.

There is music, again, if you will listen, in the soft tread of these hundred horse-hoofs upon the spongy vegetable soil. They are trotting now in "common time." You may hear the whole Croats' March (the finest trotting march in in world) played by those iron heels; the time, as it does in the Croats' March, breaking now and then, plunging, jingling, struggling through heavy ground, bursting for a moment into a jubilant canter as it reaches a sound spot.

The hounds feather a moment round Malepartus, puzzled by the windings of Reinecke's footsteps. You can hear the flap and snort of the dogs' nostrils as they canter round; and one likes it. It is exciting: but why -- who can tell?

What beautiful creatures they are too! Next to a Greek statue (I mean a real old Greek one: for I am a thoroughly anti-pre-Raphaelite benighted pagan heathen in taste, and intend some day to get up a Cinque-Cento Club, for the total abolition of Gothic art) -- next to a Greek statue, I say, I know few such combinations of grace and strength as in a fine foxhound. It is the beauty of the Theseus -- light and yet massive; and light not in spite of its masses, but on account of the perfect disposition of them. 1 do not care for grace in man, woman, or animal, which is obtained (as in the old German painters) at the expense of honest flesh and blood. It may be all very pure, and unearthly, and saintly, and what not; but it is not healthy; and, therefore, it is not really high art, let it call itself such as much as it likes. The highest art must be that in which the outward is the most perfect symbol of the inward; and, therefore, a healthy soul can be only expressed by a healthy body; and starved limbs and a hydrocephalous forehead must be either taken as incorrect symbols of spiritual excellence, or as -- what they were really meant for -- symbols of certain spiritual diseases which were in the Middle Age considered as ecclesiastical graces and virtues. Wherefore I like pagan and naturalist art; consider Titian and Correggio as unappreciated geniuses, whose excellences the world will in some saner mood rediscover; hold, in direct opposition to Rio, that Raphael improved steadily all his life through, and that his noblest works are not his somewhat simpering Madonnas and somewhat impish Bambinos (very lovely though they are), but his great, coarse, naturalist, Protestant cartoons, which (with Andrea Mantegna's "Heathen Triumph") Cromwell saved for the British nation. Probably no one will agree with all this for the next quarter of a century; but after that I have hopes. The world will grow tired of pretending to admire Manichaean pictures in an age of natural science; and Art will let the dead bury their dead, and beginning again where Michael Angelo and Raphael left off, work forward into a nobler, truer, freer, and more divine school than the world has yet seen-at least, so I hope.

And all this has grown out of those fox-hounds. Why not? Theirs is the sort of form which expresses to me what I want art to express -- nature not limited, but developed, by high civilization. The old savage ideal of beauty was the lion, type of mere massive force. That was succeeded by an over-civilized ideal, say the fawn, type of delicate grace. By cunning breeding and choosing, through long centuries, man has combined both, and has created the fox-hound -- lion and fawn in one; just as he might create noble human beings, did be take half as much trouble about politics (in the true old sense of the word) as he does about fowls. Look at that old hound, who stands doubtful, looking up at his master for advice. Look at the severity, delicacy, lightness of every curve. His bead is finer than a deer's; his hind legs tense as steel springs; his fore legs straight as arrows: and yet see the depth of chest, the sweep of loin, the breadth of paw, the mass of arm and thigh; and if you have an eye for form, look at the absolute majesty of his attitude at this moment. Majesty is the only word for it. If he were six feet high, instead of twenty-three inches, with what animal on earth could you compare him? Is it not a joy to see such a thing alive? It is to me, at least. I should like to have one in my study all day long, as I would have a statue or a picture; and when Mr. Morrell gave (as they say) two hundred guineas for Hercules alone, I believe the dog was well worth the money, only to look at. But I am a minute philosopher.

I cap them on to the spot at which Reinecke disappeared. Old Virginal's stern flourishes; instantly her pace quickens. One whimper, and she is away, full-mouthed through the wood, and the pack after her: but not I.

I am not going with them. My hunting days are over. Let it suffice that I have, in the days of my vanity, "drunk delight of battle with my peers, far on the ringing plains" of many a county, grass and forest, down and vale. No, my gallant friends. You know that I could ride, if I chose and I vain enough to be glad that you know it. But useless are your coaxings, solicitations, wavings of honest right hands. "Life," as my friend Tom Brown says, "is not all beer and skittles;" it is past two now and I have four old women to read to at three, and an old man to bury at four; and I think, on the whole, that you will respect me the more for going home and doing my duty. That I should like to see this fox fairly killed, or even fairly lost, I deny not. That I should like it as much as I can like any earthly and outward thing, I deny not. But sugar to one's bread and butter is not good; and if my winter garden represent the bread and butter then will fox-hunting stand to it in the relation of superfluous and unwholesome sugar; so farewell; and long may your noble sport prosper -- "the image of war with only half its danger," to train you and your sons after, into gallant soldiers -- full of

"The reason firm, the temperate will,
Endurance, foresight, strength, and skill."

So homeward I go through a labyrinth of fir-stem and, what is worse, fir-stumps, which need both my eyes and my horse's at every moment; and woe to the "anchorite," as old Bunbury names him, who carries his nose in the air, and his fore feet well under him. Woe to the self-willed or hard-hided horse who cannot take the slightest hint of the heel, and wince hind legs or fore out of the way of those jagged points which lie in wait for him. Woe, in fact, to all who are clumsy or cowardly, or in any wise not "masters of the situation."

Pleasant riding it is, though, if you dare look anywhere but over your horse's nose, under the dark roof, between the red fir-pillars, in that rich subdued light. Now I plunge into a gloomy dell, wherein is no tinkling rivulet, ever pure; but instead a bog, hewn out into a chess-board of squares, parted by deep narrow ditches some twenty feet apart. Blundering among the stems I go, fetlock-deep in peat, and jumping at every third stride one of the said uncanny gripes, half hidden in long hassock grass. 0 Aira caespitosa, most stately and most variable of British grasses, why will you always grow where you are not wanted? Through you the mare all but left her hinds legs in that last gripe. Through you a red coat ahead of me, avoiding one of your hassocks, jumped with his horse's nose full butt against a fir-stem, and stopped,

"As one that is struck dead
By lightning ere he falls,"

as we shall soon, in spite of the mare's cleverness. Would we were out of this!

Out of it we shall be soon. I see daylight ahead at last, bright between the dark stems. Up a steep slope, and over a bank which is not very big, but being composed of loose gravel and peat mould, gives down with me, nearly sending me head over heels in the heather, and leaving me a sheer gap to scramble through, and out on the open moor.

Grand old moor! stretching your brown flats right away toward Windsor for many a mile. Far to our right is the new Wellington College, looking stately enough here all alone in the wilderness, in spite of its two ugly towers and pinched waist. Close over me is the long fir-fringed ride of Easthampstead, ending suddenly in Caesar's camp; and hounds and huntsmen are already far ahead, and racing up the Roman road, which the clods of these parts, unable to give a better account of it, call the Devil's Highway.

Racing indeed; for as Reinecke gallops up the narrow heather-fringed pathway, he brushes off his scent upon the twigs at every stride; and the hounds race after him, showing no head indeed, and keeping, for convenience, in one long line upon the track: but going heads up, sterns down, at a pace which no horse can follow. I only hope they may not overrun the scent.

They have overrun it; halt, and put their heads down a moment. But with one swift cast in full gallop they have hit it off again, fifty yards away in the heather, long ere the horse men are up to them; for those hounds can hunt a fox because they are not hunted themselves, and so have learned to trust themselves, and act for themselves; as boys should learn at school, even at the risk of a mistake or two. Now they are showing head indeed, down a half-cleared valley, and over a few ineffectual turnips withering in the peat, a patch of growing civilization in the heart of the wilderness; and then over the brook, while I turn slowly away, through a green wilderness of self-sown firs.

There they stand in thousands, the sturdy Scots, colonizing the desert in spite of frost, and gales, and barrenness; and clustering together, too, as Scotsmen always do abroad, little and big, everyone under his neighbor's lee, according to the good old proverb of their native land, "Caw me, and I'll caw thee."

I respect them, those Scotch firs. I delight in their forms, from James I's gnarled giants up in Brarmshill Park -- the only place in England where a painter can learn what Scotch firs are -- down to the little green pyramids which stand up out of the heather, triumphant over tyranny, and the strange woes of an untoward youth. Seven years on an average have most of them spent in ineffectual efforts to become a foot high. Nibbled off by hares, trodden down by cattle, cut down by turf-parers, seeing hundreds of their brethren cut up and carried off in the turf-fuel, they are as gnarled and stubbed near the ground as an old thorn-bush in a pasture. But they have conquered at last, and are growing away, eighteen inches a year, with fair green brushes silver-tipped, reclothing the wilderness with a vegetation which it has not seen for -- how many thousand years?

No man can tell. For when last the Scotch fir was indigenous to England, and, mixed with the larch, stretched in one vast forest from Norfolk into Wales, England was not as it is now. Snowdon was, it may be, fifteen thousand feet in height, and from the edges of its glaciers the marmot and the musk-ox, the elk and the bear, wandered down into the lowlands, and the hyena and the lion dwelt in those caves where fox and badger only now abide. And how did the Scotch fir die out? did the whole land sink slowly from its sub-Alpine elevation into a warmer climate below? Or was it never raised at all? Did some change of the Atlantic sea-floor turn for the first time the warm Gulf Stream to these shores; and with its soft sea-breezes melt away the "Age of Ice," till glaciers and pines, marmots and musk-oxen, perspired to death, and vanished for an aeon? Who knows? Not I. But of the fact there can be no doubt. Whether, as we hold traditionally here, the Scotch fir was reintroduced by James I when he built Bramshill for Raleigh's hapless pet, Henry the Prince, or whatever may have been the date of their reintroduction, here they are, and no one can turn them out. In countless thousands the winged seeds float down the southwest gales from the older trees; and every seed which falls takes root in ground which, however unable to bear broad-leaved trees, is ready by long re for the seeds of the needle-leaved ones. Thousands perish yearly; but the eastward march of the whole, up hill and down dale, is sure and steady as that of Lynceus's Goths in Goethe's "Helena" --

"Ein lang und breites Volksgewicht,
Der erste wusstc vom letzen nicht.
Der erste fiel, der zweite stand,
Des dritten Lanze war zur Hand,
Ein jeder hundertfach gestärkt;
Erschlagene Tausend unbemerkt,"

--till, as you stand upon some eminence, you see, stretching to the eastward of each tract of older trees, a long cloud younger ones, like a green comet's tail -- I wish their substance was as yielding this day. Truly beautiful -- grand indeed to: it is -- to see young live Nature thus carrying on a great savage process in the heart of this old and seemingly all-artificial English land; and reproducing here, as surely as in the Australian bush, a native forest, careless of mankind. Still, I wish it were easier to ride through. Stiff are those Scotchmen, and close and stout they stand by each other, and claw at you as you twist through them, the biggest aiming at your head or, even worse, at your knees; while the middle-sized slip their brushes between your thigh and the saddle; and the little babies tickle your horse's stomach, or twine about his fore feet. Whish -- whish; we are enveloped in what seems an atmosphere scrubbing-brushes. Fain would I shut my eyes; but dare not, or I shall ride against a tree. Whish -- whish; alas for the horse which cannot wind and turn like a hare! Plunge -- stagger. What is this? A broad line of ruts; perhaps some Celtic trackway, two thousand years old, now matted over with firs; dangerous enough out on the open moor, when only masked by a line of higher and darker heath: but doubly dangerous now when masked by dark undergrowth. You must find your own way here, mare. I will positively have nothing to do with it. I disclaim all responsibility. There are the reins on your neck; do what you will, only do something -- and if you can, get forward, and not back.

There is daylight at last, and fresh air. I trot contemptuously through the advanced skirmishers of the Scotch invading army; and watch my friends some mile and a half off, who have threaded a practicable trackway through a long dreary yellow bog, too wet for firs to root in, and are away in "a streamer." Now a streamer is produced in this wise. There is but one possible gap in a bank, one possible ford in a brook; one possible path in a cover; and as each man has to wait till the man before him gets through, and then gallops on, each man loses twenty yards or more on the man before him: wherefore, by all laws of known arithmetic, if ten men tail through a gap, then will the last of the ten find himself two hundred yards behind the foremost, which process several times repeated, produces the phenomenon called a streamer, viz., twenty men galloping absurdly as hard as they can, in a line half a mile long, and in humors which are celestial in the few foremost, contented in the central, and gradually becoming darker in the hindmost; till in the last man they assume a hue altogether Tartarean. Farewell, brave gentlemen! I watch, half sadly, half self-contented, the red coats scattered like sparks of fire over hill and dale, and turn slowly homeward, to visit my old women.

I pass through a gateway, out upon a village green, planted with rows of oaks, surrounded by trim, sunny cottages, a pleasant oasis in the middle of the wilderness. Across the village cricket-ground -- we are great cricketers in these parts, and long may the good old game live among us; and then up another hollow lane, which leads between damp shaughs and copses toward the further moor.

Curious things to a minute philosopher are these same hollow lanes. They set him on archaeological questions, more than he can solve; and I meditate as I go, how many centuries it took to saw through the warm sandbanks this dyke ten feet deep, up which he trots, with the oak-boughs meeting over his head. Was it ever worth men's while to dig out the soil? Surely not. The old method must have been, to remove the softer upper spit, till they got to tolerably hard ground; and then, Macadam's metal being as yet unknown, the rains and the wheels of generations sawed it gradually deeper and deeper, till this road-ditch was formed. But it must have taken centuries to do it. Many of these hollow lanes, especially those on flat ground, must be as old or older than the Conquest. In Devonshire I am sure that they are. But there many of them, one suspects, were made not of malice, but of cowardice prepense. Your indigenous Celt was, one fears, a sneaking animal, and liked to keep when he could under cover of banks and hill-sides; while your bold Roman made his raised roads straight over hill and dale, as "ridge-ways" from which, as from an eagle's eyrie, he could survey the conquered lowlands far and wide. It marks strongly the difference between the two races, that difference between the Roman paved road with its established common way for all passengers, its regular stations and milestones, and the Celtic trackway winding irresolutely along in innumerable ruts, parting to meet again, as if each savage (for they were little better) had taken his own fresh path when he found the next line of ruts too heavy for his cattle. Around the spurs of Dartmoor I have seen many ancient roads, some of them long disused, which could have been hollowed out for no other purpose but that of concealment.

So I go slowly up the hill, till the valley lies beneath me like a long, green garden between its two banks of brown moor; and on through a cheerful little green, with red brick cottages scattered all round, each with its large, neat garden, and beehives, and pigs, and geese, and turf-stack, and clipped yews and hollies before the door, and rosy, dark-eyed children, and all the simple healthy comforts of a wild "heth-cropper's" home. When he can, the good-man of the house works at farm labor, or cuts his own turf; and when work is scarce, he cuts copses and makes heath-brooms, and does a little poaching. True, he seldom goes to church, save to be christened, married, or buried; but he equally seldom gets drunk. For church and public stand together two miles off; so that social wants sometimes bring their own compensations with them, and there are two sides to every question.

Hark! A faint, dreary hollo off the moor above. And then another, and another. My friends may trust it; for the clod of these parts delights in the chase like any bare-legged Paddy, and casts away flail and fork wildly, to run, shout, assist, and interfere in all possible ways, out of pure love. The descendant of many generations of broom-squires and deer-stealers, the instinct of sport is strong within him still, though no more of the King's deer are to be shot in the winter turnip-fields, or worse, caught by an apple-baited hook hung from an orchard bough. He now limits his aspirations to hares and pheasants, and too probably once in his life, "hits the keeper into the river," and reconsiders himself for awhile after over a crank in Winchester gaol. Well, he has his faults; and I have mine. But he is a thorough good-fellow nevertheless; quite as good as I: civil, contented, industrious, and often very handsome; and a far shrewder fellow too -- owing to his dash of wild forest blood, from gypsy, highwayman, and what not -- than his bulletheaded and flaxen-polled cousin, the pure South-Saxon of the Chalk-downs. Dark-haired he is, ruddy, and tall of bone; swaggering in his youth; but when he grows old, a thorough gentleman, reserved, stately, and courteous as a prince. Sixteen years have I lived with him hail fellow well met, and never yet had a rude word or action from him.

With him I have cast in my lot, to live and die, and be buried by his side; and to him I go home contented, to look after his petty interests, cares, sorrows -- petty truly, seeing that they include the whole primal mysteries of life -- food, raiment, and work to earn them withal; love and marriage, birth and death, right-doing and wrong-doing, "Schicksal und eigene Schuld"; and all those commonplaces of humanity which in the eyes of a minute philosopher are most divine, because they are most commonplace -- catholic as the sunshine and the rain which come down from the Heavenly Father, alike upon the evil and the good. As for doing fine things, my friend, with you, I have learned to believe that I am not set to do fine things, simply because I am not able to do them; and as for seeing fine things, with you, I have learned to see the sight as well as to try to do the duty -- which lies nearest me; and to comfort myself with the fancy that if I make good use of my eyes and brain in this life, I shall see -- if it be of any use to me -- all the fine things, or perhaps finer still, in the life to come. But if not -- what matter? In any life, in any state, however simple or humble, there will be always sufficient to occupy a minute philosopher: and if a man be busy, and busy about his duty, what more does he require, for time or for eternity?

My Copy Of Keats - Top Articles

Posted By Media Hits On 2:06 PM 0 comments
By Richard Dowling (1846-98)

The only copy of Keats I ever owned is a modest volume published by Edward Moxon & Co. in the year 1861. By writing on its yellow fly-leaf I find it was given to me four years later in September, 1865. At that time it was clean and bright, opened with strict impartiality when set upon its back, and had not learned to respond with alacrity to hasty researches for favourite passages.

The binding is now racked and feeble from use; and if, as in army regulations, service under warm suns is to be taken for longer service in cooler climes, it may be said that to the exhaustion following overwork have been added the prejudices of premature age.

It is not bound as books were bound once upon a time, when they outlasted the tables and chairs, even the walls; ay, the very races and names of their owners. The cover is simple plain blue cloth; on the back is a little patch of printing in gold, with the words Keats' Poetical Works in the centre of a twined gilt ribbon and twisted gilt flowers. The welt at the back is bleached and frayed; the corners of the cover are battered and turned in. There is a chink between the cover and the arched back; and the once proud Norman line of that are is flattened and degraded, retaining no more of its pristine look of sturdy strength than a wheaten straw after the threshing....

If any owner of a cart of old books in Farringdon Street asked you a shilling for such a copy of Keats as mine, you would smile at him. You would think he had acquired the books merely to satisfy his own taste, and now displayed them to gratify a vanity that was intelligible; you would feel assured no motive toward commerce could underlie ever so deeply such a preposterous demand.

My copy will, I think, last my time. Already it has been in my hands more than half the years of a generation; and I feel that its severest trials are over. In days gone by it made journeys with me by sea and land, and paid long visits to some friends, both when I went myself, and when I did not go. Change of air and scene have had no beneficial effect upon it. Journey after journey, and visit after visit, the full cobalt of the cloth grew darker and dingier, the boards of the cover became limper and limper, and the stitching at the back more apparent between the sheets, like the bones and sinews growing outward through the flesh of a hand waxing old....

My Keats has suffered from many pipes, many thumbs, many pencils, many quills, many pockets. Not one stain, am gape, one blot of these would I forego for a spick and span copy in all the gorgeous pomp of the bookbinder's millinery. These blemishes are aureole to me. They are nimbi around the brows of the gods and demi-gods, who walk in the triumph of their paternal despot on the clouds metropolitan that embattle the heights of Parnassus.

What a harvest of happy memories is garnered in its leaves! How well I remember the day it got that faint yellow stain on the page where begins the Ode on a Grecian Urn. It was a clear, bright, warm, sunshiny afternoon late in the month of May. Three of us took a boat and rowed down a broad blue river, ran the nose of the boat ashore on the gravel beach of a sequestered island and landed. Pulling was warm work, and we all climbed a slope, reached the summit, and cast ourselves down on the long lush cool grass, in the shade of whispering sycamores, and in a stream of air that came fresh with the cheering spices of the hawthorn blossom.

One of our company was the best chamber reader I have ever heard. His voice was neither very melodious nor very full. Perhaps he was all the better for this because he made no effort at display. As he read, the book vanished from his sight, and he leaned over the poet's shoulder, saw what the poet saw, and in a voice timid with the sense of responsibility, and yet elated with a kind of fearing joy, told of what he saw in words that never hurried, and that, when uttered, always seemed to hang substantially in the air like banners.

He discovered and related the poet's vision rather than simulated passion to suit the scene. I remember well his reading of the passage:

"Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold lover, never, never canst thou kiss,
Though winning near the goal -- yet, do not grieve;
She cannot fade though thou hast not thy bliss,
For ever wilt thou love and she be fair!"

He rehearsed the whole of the ode over and over again as we lay on the grass watching the vast chestnuts and oaks bending over the river, as though they had grown aweary of the sun, and longed to glide into the broad full stream.

As he read the lines just quoted, he gave us time to hear the murmur, and to breathe the fragrance of those immortal trees. "Nor ever can those trees be bare," in the text has only a semicolon after it. Yet here he paused, while three wavelets broke upon the beach, as if he could not tear himself away from contemplating the deathless verdure, and realising the prodigious edict pronounced upon it. "Bold lover, never, never canst thou kiss, though winning near the goal." At the terrible decree he raised his eyes and gazed with heavy-lidded, hopeless commiseration at this being, who, still more unhappy than Tithonus, had to immortality added perpetual youth, with passion forever strong, and denial forever final.

"Yet do not grieve." This he uttered as one who pleads forgiveness of a corpse -- merely to try to soothe a conscience sensible of an obligation that can never now be discharged. "She cannot fade, though thou hast not thy bliss, for ever wilt thou love, and she be fair!" Here the reader, with eyes fixed and rayless, seemed by voice and pose to be sunk, beyond all power of hope, in an abyss of despair. The barren immutability of the spectacle appeared to weigh upon him more intolerably than the wreck of a people. He spoke the words in a long drawn-out whisper, and, after a pause, dropped his head, and did not resume.

I recollect that when the illusion he wrought up so fully in my mind had passed away in that long pause, and when I remembered that the fancy of the poet was expending itself, not on beings whom he conceived originally as humans, but on the figures of a mere vase, I was seized with a fierce desire to get up and seek that vase through all the world until I found it, and then smash it into ten thousand atoms.

When I had written the last sentence, I took up the volume to decide where I should recommence, and I "turned the page, and turned the page." I lived over again the days not forgotten, but laid aside in memory to be borne forth in periods of high festival. I could not bring myself back from the comrades of old, and the marvels of the great magician, to this poor street, this solitude, and this squalid company of my own thoughts -- thoughts so trivial and so mean compared with the imperial visions into which I had been gazing, that I was glad for the weariness which came upon me, and grateful to gray dawn that glimmered against the blind and absolved me from further obligation for that sitting.

On turning over the leaves without reading, I find Hyperion opens most readily of all, and seems to have feared worst from deliberate and unintentional comment. Much of the wear and tear and pencil marks are to be set down against myself; for when I take the book with no definite purpose I turn to Hyperion, as a blind man to the warmth of the sun. Some qualities of the poem I can appreciate; but always in its presence I am weighed down by the consciousness that my deficiency in some perception debars me from undreamed of privileges.

I recall one evening in a pine glen with one man and Hyperion. It would be difficult to match this man or me as readers. I don't think there can be ten worse employing the English language to-day. I not only do not by any inflexion of voice expound what I utter, but, I am often incapable of speaking the words before me. I take in a line at a glance, see its import with my own imagination apart from the verbiage, which leaves not a shadow of an impression on my mind. When I come to the next line I grow suddenly alive to the fact that I have to speak off the former one. I am in a hurry to see what line two has to show; so, instead of giving the poet's words for line one, I give my own description of the vision it has conjured up in my mind. This is bad enough in all conscience; but the friend of whom I speak now, behaves even worse. His plan of reading is to stop his voice in the middle of line one, and proceed to discuss the merits of line two, which he had read with his eye, but not with his lips, and of which the listener is ignorant, unless he happen to know the poem by rote.

On that evening in the glen I pulled out Keats, and turned at my friend's request, to Hyperion, and began to read aloud. He was more patient than mercy's self; but occasionally, when I did a most exceptionally bad murder on the text, he would writhe and cry out, and I would go back and correct myself, and start afresh.

He had a big burly frame, and a deep full voice that shouted easily, and some of the comments shouted as I read are indicated by pencil marks in the margin. The writing, was not done then, but much later, when he and I had shaken hands, and he had gone sixteen thousand miles away. As he was about to set out on that long journey, he said, "In seven years more I'll drop in and have a pipe with you." It had been seven years since I saw him before. The notes on the margin are only keys to what was said; for I fear the comment made was more bulky than the text, and the text and comment together would far exceed the limits of such an essay as this. I therefore curtail greatly, and omit much.

I read down the first page without meeting any interruption; but when I came in page two on;

"She would have ta'en
Achilles by the hair and bent his neck,"

he cried out, "Stop! Don't read the lines following. It is bathos compared with that line and a half. It is paltry and weak beside what you have read. 'Ta'en Achilles by the hair and bent his neck.' By Jove! can you not see the white muscles start out in his throat, and the look of rage, defeat and agony on the face of the Greek bruiser? But how flat falls the next line: 'Or with a finger stay'd Ixion's wheel'? Besides, a crowbar would be much better than a finger. It is a line for children, not for grown men. It exhausts the subject. It is too literal. There is no question left to ask. But the vague 'Ta'en Achilles by the hair and bent his neck' is perfect. You can see her knee in the hollow of his back, and her fingers twisted in his hair. But the image of the goddess dabbling in that river of hell after Ixion's wheel is contemptible."

He next stopped me at

"Until at length old Saturn lifted up
His faded eyes, and saw his kingdom gone."

"What an immeasurable vision Keats must have had of the old bankrupt Titan when he wrote the second line! Taken in the context it is simply overwhelming. Keats must have sprung up out of his chair as he saw the gigantic head upraised and the prodigious grief of the gray-haired god. But Keats was not happy in the matter of full stops. Here again what comes after weakens. We get no additional strength out of

"And all the gloom and sorrow of the place
And that fair kneeling goddess.

The 'gloom and sorrow' and the 'goddess' are abominably anticlimacteric."

"Yes, there must be a golden victory;
There must be gods thrown down and trumpets blown
Of triumph calm, and hymns of festival
Upon the gold clouds metropolitan,
Voices of soft proclaim, and silver stir
Of strings in hollow shells; and there shall be
Beautiful things made new, for the surprise
Of the sky-children; I will give command:
Thea! Thea! Thea! where is Saturn?"

"Read that again!" cried my friend, clinging to the grass and breathing hard. "Again!" he cried, when I had finished the second time. And then, before I could proceed, he sprang to his feet, carrying out the action in the text immediately following;

"This passion lifted him upon his feet,
And made his hands to struggle in the air."

Come on, John Milton," cried my friend, excitedly sparring at the winds -- "come on, and beat that, and we'll let you put all your adjectives behind your nouns, and your verb last, and your nominative nowhere! Why, man." this being addressed to the Puritan poet -- "it carried Keats himself off his legs; that's more than anything you ever wrote when you were old did for you. There's the smell of midnight oil off your later spontaneous efforts, John Milton.

"When John Milton went loafing about and didn't mind much what he was writing he could give any of them points" -- (I deplore the language) "any of them, ay, Shakespeare himself points in a poem. In a poem, sir" (this to me), "Milton could give Shakespeare a hundred and one out of a hundred and lick the Bard easily. How the man who was such a fool as to write Shakespeare's poems had the good sense to write Shakespeare's plays I can never understand. The most un-Shakespearian poems in the language are Shakespeare's. I never read Cowley, but it seems to me Cowley ought to have written Shakespeare's poems, and then his obscurity would have been complete. If Milton only didn't take the trouble to be great he would have been greater. As far as I know there are no English poets who improved when they ceased to be amateurs and became professional poets, except Wordsworth and Tennyson. Shelley and Keats were never regular race-horses. They were colts that bolted in their first race and ran until they dropped. It was a good job Shakespeare gave up writing rhymes and posing as a poet. It was not until he despaired of becoming one and took to the drama that he began to feel his feet and show his pace. If he had suspected he was a great poet he would have adopted the aim of the profession and been ruined. In his time no one thought of calling a play a poem -- that was what saved the greatest of all our poets to us. The only two things Shakespeare didn't know is that a play may be a poem and that his plays are the finest poems finite man as he is now constructed can endure. It is all nonsense to say man shall never look on the like of Shakespeare again. It is not the poet superior to Shakespeare man now lacks, but the man to apprehend him."

I looked around uneasily, and found, to my great satisfaction, that there was no stranger in view. My friend occupied a position of responsibility and trust, and it would be most injurious if a rumour got abroad that not only did he read and admire verse, but that he held converse with the shades of departed poets as well. In old days man who spoke to the vacant air were convicted of necromancy and burned; in our times men offending in this manner are suspected of poetry and ostracised.

As soon as my friend was somewhat cast himself down again and lit a pipe, I resumed my reading. He allowed me to proceed without interruption until I came to

"His palace bright,
Bastion'd with pyramids of glowing gold,
And touch'd with shade of bronzed obelisks,
Glared a blood-red through all its thousand courts,
Arches, and domes, and fiery galleries;
And all its curtains of Aurorian clouds
Flushed angerly: while sometimes eagles' wings,
Unseen before by Gods or wondering men,
Darken'd the place; and neighing steeds were heard,
Not heard before by Gods or wondering men."

"Prodigious!" he shouted. "Go over that again. Keep the syllables wide apart. It is a good rule of water-colour sketching not to be too nice about joining the edges of the tints; this lets the light in. Keep the syllables as far apart as ever you can, and let the silentness in between to clear up the music. How the gods and the wondering men must have wondered! Do you know, I am sure Keats often frightened, terrified himself with his own visions. You remember he says somewhere he doesn't think any one could dare to read some one or another aloud at midnight. I believe that often in the midnight he sat and cowered before the gigantic sights and sounds that reigned despotically over his fancy."

"0 dreams of day and night!
0 monstrous forms! 0 effigies of pain!
0 spectres busy in a cold, cold gloom!
0 lank-eared Phantoms of black-weeded pools!
Why do I know ye? why have I seen ye? why
Is my eternal essence thus distraught
To see and to behold these horrors new?
Saturn is fallen, am I too to fall?
Am I to leave this haven of my rest,
This cradle of my glory, this soft clime,
This calm luxuriance of blissful light,
This crystalline pavilions, and pure fanes,
Of all my lucent empire? It is left
Deserted, void, nor any haunt of mine.
The blaze, the splendour, and the symmetry
I cannot see -- but darkness, death, and darkness.
Even here, into my centre of repose,
The shady visions come to domineer,
Insult, and blind and stifle up my pomp
Fall! -- No, by Tellus and her briny robes!
Over the fiery frontier of my realms
I will advance a terrible right arm
Shall scare that infant thunderer, rebel Jove,
And bid old Saturn take his throne again."

"What more magnificent prelude ever was uttered to oath than the portion of this speech preceding. 'No. by Tellus!' What more overpowering, leading up to an overwhelming threat, than the whole passage going before 'Over the fiery frontier of my realms I will advance a terrible right arm!' What menacing deliberativeness there is in this whole speech, and what utter completeness of ruin to come is indicated by those words, 'I will advance a terrible right arm'! You feel no sooner shall that arm move than 'rebel Jove's' reign will be at an end, and chaos will be left for Saturn to rule and fashion once more into order. Shut up the poem now. That's plenty of Hyperion, and the other books of it are inferior. There is more labour and more likeness to Paradise Lost." And so my, friend, who is 16,000 miles away, and I turned from the Titanic theme, and spoke of the local board of guardians, or some young girl whose beauty was making rich misery in the hearts of young men in those old days.

There is no other long poem in the volume bearing any marks which indicate such close connection with any individual reader as in the case of Hyperion. Endymion boasts only one mark, and that expressing admiration of the relief afforded from monotony of the heroic couplets by the introduction in the opening of the double rhyming verses:

"Full of sweet dreams, and health, and quiet breathing Therefore, on every morrow, are we wreathing --"

The friend to whom this mark is due never handled the volume, never even saw it; but once upon a time when he, another man, and I had got together, and were talking of the "gallipot poet," the first friend said he always regarded this couplet as most happily placed where it appears. So when I reached home I marked my copy at the lines. Now, when I open the volume and find that mark, it is as good to me as, better than, a photograph of my friend; for I not only see his face and figure, but once more he places his index-finger on the table, as we three sit smoking, and whispers out the six opening lines, ending with the two I have quoted. Suppose I too should some day go 16,000 miles away from London, and carry this volume with me, shall I not be able to open it when I please, and recall what I then saw and heard, what I now see and hear, as distinctly as though no long interval of ocean or of months lay between to-night and that hour? ...

When I take down my copy of Keats, and look through it and beyond it, I feel that while it is left to me I cannot be wholly shorn of my friends. It is the only album of photographs I possess. The faces I see in it are not for any eye but mine. It is my private portrait gallery, in which hang the portraits of my dearest friends. The marks and blots we intelligible to no eye but mine; they are the cherished hieroglyphics of the heart. I close the book; I lock up the hieroglyphics; I feel certain the book will last my time. Should it survive me and pass into new hands -- into the hands of some boy now unborn, who may pluck out of it posies of love-phrases for his fresh-cheeked sweetheart -- he will know nothing of the import these marginal notes bore to one who has gone before him; unless, indeed, out of some cemetery of ephemeral literature he digs up this key -- this Rosetta stone.

-- Richard Dowling (1846-98):
(Richard Dowling started out as a journalist. In 1870 he joined
the staff of The Nation,, a Dublin publication. In 1875 Dowling
took himself off to London, where he wrote for periodicals.
Dowling also turned to novel writing. An obituary notice, said of him,
"He was one of the kindest-hearted of men, and an admirable talker,
whose wit and vivacity remained unimpaired almost to the end."
Dowling's two most important volumes are Indolent Essays and
Ignorant Essays (Appleton), of which, it is suggested, the latter is the
best, and from which our selection is taken.

Ramblings In Cheapside - Hot Articles

Posted By Media Hits On 1:30 PM 0 comments
By Samuel Butler



Walking the other day in Cheapside I saw some turtles in Mr. Sweeting's window, and was tempted to stay and look at them. As I did so I was struck not more by the defences with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defencefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself - "catching on" through them to things that are thus both turtle and not turtle at one and the same time - these holes stultify the armour, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence onesidedness, than of that quick sense of relative importances and their changes, which is the main factor of good living.



The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.



Nevertheless, I knew that I could get it to agree with me if I could so effectually buttonhole and fasten on to it as to eat it. Most men have an easy method with turtle soup, and I had no misgiving but that if I could bring my first premise to bear I should prove the better reasoner. My difficulty lay in this initial process, for I had not with me the argument that would alone compel Mr. Sweeting to think that I ought to be allowed to convert the turtles - I mean I had no money in my pocket. No missionary enterprise can be carried on without any money at all, but even so small a sum as half a crown would, I suppose, have enabled me to bring the turtle partly round, and with many half-crowns I could in time no doubt convert the lot, for the turtle needs must go where the money drives. If, as is alleged, the world stands on a turtle, the turtle stands on money. No money no turtle. As for money, that stands on opinion, credit, trust, faith - things that, though highly material in connection with money, are still of immaterial essence.



The steps are perfectly plain. The men who caught the turtles brought a fairly strong and definite opinion to bear upon them, that passed into action, and later on into money. They thought the turtles would come that way, and verified their opinion; on this, will and action were generated, with the result that the men turned the turtles on their backs and carried them off. Mr. Sweeting touched these men with money, which is the outward and visible sign of verified opinion. The customer touches Mr. Sweeting with money, Mr. Sweeting touches the waiter and the cook with money. They touch the turtle with skill and verified opinion. Finally, the customer applies the clinching argument that brushes all sophisms aside, and bids the turtle stand protoplasm to protoplasm with himself, to know even as it is known.



But it must be all touch, touch, touch; skill, opinion, power, and money, passing in and out with one another in any order we like, but still link to link and touch to touch. If there is failure anywhere in respect of opinion, skill, power, or money, either as regards quantity or quality, the chain can be no stronger than its weakest link, and the turtle and the clinching argument will fly asunder. Of course, if there is an initial failure in connection, through defect in any member of the chain, or of connection between the links, it will no more be attempted to bring the turtle and the clinching argument together than it will to chain up a dog with two pieces of broken chain that are disconnected. The contact throughout must be conceived as absolute; and yet perfect contact is inconceivable by us, for on becoming perfect it ceases to be contact, and becomes essential, once for all inseverable, identity. The most absolute contact short of this is still contact by courtesy only. So here, as everywhere else, Eurydice glides off as we are about to grasp her. We can see nothing face to face; our utmost seeing is but a fumbling of blind finger-ends in an overcrowded pocket.



Presently my own blind finger-ends fished up the conclusion, that as I had neither time or money to spend on perfecting the chain that would put me in full spiritual contact with Mr. Sweeting's turtles, I had better leave them to complete their education at someone else's expense rather than mine, so I walked on towards the Bank. As I did so it struck me how continually we are met by this melting of one existence into another. The limits of the body seem well defined enough as definitions go, but definitions seldom go far. What, for example, can seem more distinct from a man than his banker or his solicitor? Yet these are commonly so much parts of him that he can no more cut them off and grow new ones, than he can grow new legs or arms; neither must he wound his solicitor; a wound in the solicitor is a very serious thing. As for his bank - failure of his bank's action may be as fatal to a man as failure of his heart. I have said nothing about the medical or spiritual adviser, but most men grow into the society that surrounds them by the help of these four main tap- roots, and not only into the world of humanity, but into the universe at large. We can, indeed, grow butchers, bakers, and greengrocers, almost ad libitum, but these are low developments, and correspond to skin, hair, or finger-nails. Those of us again who are not highly enough organised to have grown a solicitor or banker can generally repair the loss of whatever social organisation they may possess as freely as lizards are said to grow new tails; but this with the higher social, as well as organic, developments is only possible to a very limited extent.



The doctrine of metempsychosis, or transmigration of souls - a doctrine to which the foregoing considerations are for the most part easy corollaries - crop up no matter in what direction we allow our thoughts to wander. And we meet instances of transmigration of body as well as of soul. I do not mean that both body and soul have transmigrated together, far from it; but that, as we can often recognise a transmigrated mind in an alien body, so we not less often see a body that is clearly only a transmigration, linked on to someone else's new and alien soul. We meet people every day whose bodies are evidently those of men and women long dead, but whose appearance we know through their portraits. We see them going about in omnibuses, railway carriages, and in all public places. The cards have been shuffled, and they have drawn fresh lots in life and nationalities, but anyone fairly well up in medieval and last-century portraiture knows them at a glance.



Going down once towards Italy I saw a young man in the train whom I recognised, only he seemed to have got younger. He was with a friend, and his face was in continual play, but for some little time I puzzled in vain to recollect where it was that I had seem him before. All of a sudden I remembered he was King Francis I of France. I had hitherto thought the face of this king impossible, but when I saw it in play I understood it. His great contemporary Henry VIII keeps a restaurant in Oxford Street. Falstaff drove one of the St. Gothard diligences for many years, and only retired when the railway was opened. Titian once made me a pair of boots at Vicenze, and not very good ones. At Modena I had my hair cut by a young man whom I perceived to be Raffaelle. The model who sat to him for his celebrated Madonnas is first lady in a confectionery establishment at Montreal. She has a little motherly pimple on the left side of her nose that is misleading at first, but on examination she is readily recognised; probably Raffaelle's model had the pimple too, but Rafaelle left it out - as he would.



Handel, of course, is Madame Patey. Give Madame Patey Handel's wig and clothes, and there would be no telling her from Handel. It is not only that the features and the shape of the head are the same, but there is a certain imperiousness of expression and attitude about Handel which he hardly attempts to conceal in Madame Patey. It is a curious coincidence that he should continue to be such an incomparable renderer of his own music. Pope Julius II was the late Mr. Darwin. Rameses II is a blind woman now, and stands in Holborn, holding a tin mug. I never could understand why I always found myself humming "They oppressed them with burthens" when I passed her, till one day I was looking in Mr. Spooner's window in the Strand, and saw a photograph of Rameses II. Mary Queen of Scots wears surgical boots and is subject to fits, near the Horse Shoe in Tottenham Court Road.



Michael Angelo is a commissionaire; I saw him on board the Glen Rosa, which used to run every day from London to Clacton-on-Sea and back. It gave me quit a turn when I saw him coming down the stairs from the upper deck, with his bronzed face, flattened nose, and with the familiar bar upon his forehead. I never liked Michael Angelo, and never shall, but I am afraid of him, and was near trying to hide when I saw him coming towards me. He had not got his commissionaire's uniform on, and I did not know he was one till I met him a month or so later in the Strand. When we got to Blackwall the music struck up and people began to dance. I never saw a man dance so much in my life. He did not miss a dance all the way to Clacton, nor all the way back again, and when not dancing he was flirting and cracking jokes. I could hardly believe my eyes when I reflected that this man had painted the famous "Last Judgment," and had made all those statues.



Dante is, or was a year or two ago, a waiter at Brissago on the Lago Maggiore, only he is better-tempered-looking, and has a more intellectual expression. He gave me his ideas upon beauty: "Tutto ch' e vero e bello," he exclaimed, with all his old self-confidence. I am not afraid of Dante. I know people by their friends, and he went about with Virgil, so I said with some severity, "No, Dante, il naso della Signora Robinson è vero, ma non è bello": and he admitted I was right. Beatrice's name is Towler; she is a waitress at a small inn in German Switzerland. I used to sit at my window and hear people call "Towler, Towler, Towler," fifty times in a forenoon. She was the exact antithesis to Abra; Abra, if I remember, used to come before they called her name, but no matter how often they called Towler, everyone came before she did. I suppose they spelt her name Taula, but to me it sounded Towler; I never, however, met anyone else with this name. She was a sweet, artless little hussy, who made me play the piano to her, and she said it was lovely. Of course I only played my own compositions; so I believed her, and it all went off very nicely. I thought it might save trouble if I did not ell her who she really was, so I said nothing about it.



I met Socrates once. He was my muleteer on an excursion which I will not name, for fear it should identify the man. The moment I saw my guide I knew he was somebody, but for the life of me I could not remember who. All of a sudden it flashed across me that he was Socrates. He talked enough for six, but it was all in dialetto, so I could not understand him, nor, when I had discovered who he was, did I much try to do so. He was a very good creature, a trifle given to stealing fruit and vegetables, but an amiable man enough. He had had a long day with his mule and me, and he only asked me five francs. I gave him ten, for I pitied his poor old patched boots, and there was a meekness about him that touch me. "And now, Socrates," said I at parting, "we go on our several ways, you to steal tomatoes, I to filch ideas from other people; for the rest - which of these two roads will be the better going, our father which is in heaven knows, but we know not."



I have never seen Mendelssohn, but there is a fresco of him on the terrace, or open-air diningroom, of an inn at Chiavenna. He is not called Mendelssohn, but I knew him by his legs. He is in the costume of a dandy of some five-and-forty years ago, and is smoking a cigar, and appears to be making an offer of marriage to his cook. Beethoven both my friend Mr. H. Festing Jones and I have had the good fortune to meet; he is an engineer now, and does not know one not from another; he has quite lost his deafness, is married, and is, of course, a little squat man with the same refractory hair that he always had. It was very interesting to watch him, and Jones remarked that before the end of dinner he had become positively posthumous. One morning I was told the Beethovens were going away, and before long I met their two heavy boxes being carried down the stairs. The boxes were so squab and like their owners, that I half thought for a moment that they were inside, and should hardly have been surprises to see them spring up like a couple of Jacks- in-the-box. "Sono indentro?" said I, with a frown of wonder, pointing to the boxes. The porters knew what I meant, and laughed. But there is no end to the list of people whom I have been able to recognise, and before I had got through it myself, I found I had walked some distance, and had involuntarily paused in front of a second-hand bookstall.



I do not like books. I believe I have the smallest library of any literary man in London, and I have no wish to increase it. I keep my books at the British Museum and at Mudie's, and it makes me very angry if anyone gives me one for my private library. I once heard two ladies disputing in a railway carriage as to whether one of them had or had not been wasting money. "I spent it in books," said the accused, "and it's not wasting money to buy books." "Indeed, my dear, I think it is," was the rejoinder, and in practice I agree with it. Webster's Dictionary, Whitaker's Almanack, and Bradshaw's Railway Guide should be sufficient for any ordinary library; it will be time enough to go beyond these when the mass of useful and entertaining matter which they provide has been mastered. Nevertheless, I admit that sometimes, if not particularly busy, I stop at a second-hand bookstall and turn over a book or two from mere force of habit.



I know not what made me pick up a copy of Aeschylus - of course in an English version - or rather I know not what made Aeschylus take up with me, for he took me rather than I him; but no sooner had he got me than he began puzzling me, as he has done any time this forty years, to know wherein his transcendent merit can be supposed to lie. To me he is, like the greater number of classics in all ages and countries, a literary Struldbrug, rather than a true ambrosia-fed immortal. There are true immortals, but they are few and far between; most classics are as great impostors dead as they were when living, and while posing as gods are, five-sevenths of them, only Struldbrugs. It comforts me to remember that Aristophanes likes Aeschylus no better than I do. True, he praises him by comparison with Sophocles and Euripides, but he only does so that he may run down these last more effectively. Aristophanes is a safe man to follow, nor do I see why it should not be as correct to laugh with him as to pull a long face with the Greek Professors; but this is neither here nor there, for no one really cares about Aeschylus; the more interesting question is how he contrived to make so many people for so many years pretend to care about him.



Perhaps he married somebody's daughter. If a man would get hold of the public era, he must pay, marry, or fight. I have never understood that Aeschylus was a man of means, and the fighters do not write poetry, so I suppose he must have married a theatrical manager's daughter, and got his plays brought out that way. The ear of any age or country is like its land, air, and water; it seems limitless but is really limited, and is already in the keeping of those who naturally enough will have no squatting on such valuable property. It is written and talked up to as closely as the means of subsistence are bred up to by a teeming population. There is not a square inch of it but is in private hands, and he who would freehold any part of it must do so by purchase, marriage, or fighting, in the usual way - and fighting gives the longest, safest tenure. The public itself has hardly more voice in the question who shall have its ear, than the land has in choosing its owners. It is farmed as those who own it think most profitable to themselves, and small blame to them; nevertheless, it has a residuum of mulishness which the land has not, and does sometimes dispossess its tenants. It is in this residuum that those who fight place their hope and trust.



Or perhaps Aeschylus squared the leading critics of his time. When one comes to think of it, he must have done so, for how is it conceivable that such plays should have had such runs if he had not? I met a lady one year in Switzerland who had some parrots that always travelled with her and were the idols of her life. These parrots would not let anyone read aloud in their presence, unless they heard their own names introduced from time to time. If these were freely interpolated into the text they would remain as still as stones, for they thought the reading was about themselves. If it was not about them it could not be allowed. The leaders of literature are like these parrots; they do not look at what a man writes, nor if they did would they understand it much better than the parrots do; but they like the sound of their own names, and if these are freely interpolated in a tone they take as friendly, they may even give ear to an outsider. Otherwise they will scream him off if they can.



I should not advise anyone with ordinary independence of mind to attempt the public ear unless he is confident that he can out-lung and out-last his own generation; for if he has any force, people will and ought to be on their guard against him, inasmuch as there is no knowing where he may not take them. Besides, they have staked their money on the wrong men so often without suspecting it, that when there comes once whom they do suspect it would be madness not to bet against him. True, he may die before he has outscreamed his opponents, but that has nothing to do with it. If his scream was well pitched it will sound clearer when he is dead. We do not know what death is. If we know so little about life which we have experienced, how shall be know about death which we have not - and in the nature of things never can? Everyone, as I said years ago in Alps and Sanctuaries, is an immortal to himself, for he cannot know that he is dead until he is dead, and when dead how can he know anything about anything? All we know is, that even the humblest dead may live along after all trace of the body has disappeared; we see them doing it in the bodies and memories of these that come after them; and not a few live so much longer and more effectually than is desirable, that it has been necessary to get rid of them by Act of Parliament. It is love that alone gives life, and the truest life is that which we live not in ourselves but vicariously in others, and with which we have no concern. Our concern is so to order ourselves that we may be of the number of them that enter into life - although we know it not.



Aeschylus did so order himself; but his life is not of that inspiriting kind that can be won through fighting the good fight only - or being believed to have fought it. His voice is the echo of a drone, drone-begotten and drone-sustained. It is not a tone that a man must utter or die - nay, even though he die; and likely enough half the allusions and hard passages in Aeschylus of which we can make neither head or tail are in reality only puffs of some of the literary leaders of his time.



The lady above referred to told me more about her parrots. She was like a Nasmyth's hammer going slow - very gentle, but irresistible. She always read the newspaper to them. What was the use of having a newspaper if one did not read it to one's parrots?



"And have you divined," I asked, "to which side they incline in politics?"



"They do not like Mr. Gladstone," was the somewhat freezing answer; "this is the only point on which we disagree, for I adore him. Don't ask more about this, it is a great grief to me. I tell them everything," she continued, "and hid no secret from them."



"But can any parrot be trusted to keep a secret?"



"Mine can."



"And on Sundays do you give them the same course of reading as on a week-day, or do you make a difference?"



"On Sundays I always read them a genealogical chapter from the Old or New Testament, for I can thus introduce their names without profanity. I always keep tea by me in case they should ask for it in the night, and I have an Etna to warm it for them; they take milk and sugar. The old white-headed clergyman came to see them last night; it was very painful, for Jocko reminded him so strongly of his late..."



I thought she was going to say "wife," but it proved to have been only of a parrot that he had once known and loved.



One evening she was in difficulties about the quarantine, which was enforced that year on the Italian frontier. The local doctor had gone down that morning to see the Italian doctor and arrange some details. "Then, perhaps, my dear," she said to her husband, "he is the quarantine." "No, my love," replied her husband. "The quarantine is not a person, it is a place where they put people"; but she would not be comforted, and suspected the quarantine as an enemy that might at any moment pounce upon her and her parrots. So a lady told me once that she had been in like trouble about the anthem. She read in her Prayer Book that in choirs and places where they sing "here followeth the anthem," yet the person with this most mysteriously sounding name never did follow. They had a choir, and no one could say the church was not a place where they sang, for they did sing - both chants and hymns. Why, then, this persistent slackness on the part of the anthem, who at this juncture should follow her papa, the rector, into the reading-desk? No doubt he would come some day, and then what would he be like? Fair or dark? Tall or short? Would he be bald and wear spectacles like papa, would he be young and good-looking? Anyhow, there was something wrong, for it was announced that he would follow, and he never did follow; therefore there was no knowing what he might not do next.



I heard of the parrots a year or two later as giving lessons in Italian to an English maid. I did not know what their terms were. Alas! since then both they and their mistress have joined the majority. When the poor lady felt her end was near she desired (and the responsibility for this must rest with her, not me) that the birds might be destroyed, as fearing that they might come to be neglected, and knowing that they could never be loved again as she had loved them. On being told that all was over, she said, "Thank you," and immediately expired.



Reflecting in such random fashion, and strolling with no greater method, I worked my way back through Cheapside and found myself once more in front of Sweeting's window. Again the turtles attracted me. They were alive, and so far at any rate they agreed with me. Nay, they had eyes, mouths, legs, if not arms, and feet, so there was much in which we were both of a mind, but surely they must be mistaken in arming themselves so very heavily. Any creature on getting what the turtle aimed at would overreach itself and be landed not in safety but annihilation. It should have no communion with the outside world at all, for death could creep in wherever the creature could creep out; and it must creed out somewhere it if was to hook on to outside things. What death can be more absolute than such absolute isolation? Perfect death, indeed if it were attainable (which it is not), is as near perfect security as we can reach, but it is not the kind of security aimed at by any animal that is at the pains of defending itself. For such want to have things both ways, desiring the livingness of life without its perils, and the safety of death without its deadness, and some of us do actually get this for a considerable time, but we do not get it by plating ourselves with armour as the turtle does. We tried this in the Middle Ages, and no longer mock ourselves with the weight of armour that our forefathers carried in battle. Indeed, the more deadly the weapons of attack become the more we go into the fight slug-wise.



Slugs have ridden their contempt for defensive armour as much to death as the turtles their pursuit of it. They have hardly more than skin enough to hold themselves together; they court death every time they cross the road. Yet death comes not to them more than to the turtle, whose defences are so great that there is little left inside to be defended. Moreover, the slugs fare best in the long run, for turtles are dying out, while slugs are not, and there must be millions of slugs all over the world over for every single turtle. Of the two vanities, therefore, that of the slug seems most substantial.



In either case the creature thinks itself safe, but is sure to be found out sooner or later; nor is it easy to explain this mockery save by reflecting that everything must have its meat in due season, and that meat can only be found for such a multitude of mouths by giving everything as meat in due season to something else. This is like the Kilkenny cats, or robbing Peter to pay Paul; but it is the way of the world, and as every animal must contribute in kind to the picnic of the universe, one does not see what better arrangement could be made than the providing each race with a hereditary fallacy, which shall in the end get it into a scrape, but which shall generally stand the wear and tear of life for some time. "Do ut des" is the writing on all flesh to him that eats it; and no creature is dearer to itself than it is to some other that would devour it.



Nor is there any statement or proposition more invulnerable than living forms are. Propositions prey upon and are grounded upon one another just like living forms. They support one another as plants and animals do; they are based ultimately on credit, or faith, rather than the cash of irrefragable conviction. The whole universe is carried on on the credit system, and if the mutual confidence on which it is based were to collapse, it must itself collapse immediately. Just or unjust, it lives by faith; it is based on vague and impalpable opinion that by some inscrutable process passes into will and action, and is made manifest in matter and in flesh; it is meteoric - suspended in mid-air; it is the baseless fabric of a vision to vast, so vivid, and so gorgeous that no base can seem more broad than such stupendous baselessness, and yet any man can bring it about his ears by being over-curious; when faith fails, a system based on faith fails also.



Whether the universe is really a paying concern, or whether it is an inflated bubble that must burst sooner or later, this is another matter. If people were to demand cash payment in irrefragable certainty for everything that they have taken hitherto as paper money on the credit of the bank of public opinion, is there money enough behind it all to stand so great a drain even on so great a reserve? Probably there is not, but happily there can be no such panic, for even though the cultured classes may do so, the uncultured are too dull to have brains enough to commit such stupendous folly. It takes a long course of academic training to educate a man up to the standard which he must reach before he can entertain such questions seriously, and by a merciful dispensation of Providence university training is almost as costly as it is unprofitable. The majority will thus be always unable to afford it, and will base their opinions on mother wit and current opinion rather than on demonstration.



So I turned my steps homewards; I saw a good many more things on my way home, but I was told that I was not to see more this time than I could get into twelve pages of the Universal Review; I must therefore reserve any remark which I think might perhaps entertain the reader for another occasion.





-- Samuel Butler.