Читать книгу The Disowned — Complete - Baron Edward Bulwer Lytton Lytton - Страница 18

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All manners take a tincture from our own,

Or come discoloured through our passions shown.—POPE.

What! give up liberty, property, and, as the Gazeteer says, lie down to be saddled with wooden shoes?—Vicar of Wakefield.

There was something in the melancholy and reflective character of Warner resembling that of Mordaunt; had they lived in these days perhaps both the artist and the philosopher had been poets. But (with regard to the latter) at that time poetry was not the customary vent for deep thought or passionate feeling. Gray, it is true, though unjustly condemned as artificial and meretricious in his style, had infused into the scanty works which he has bequeathed to immortality a pathos and a richness foreign to the literature of the age; and, subsequently, Goldsmith, in the affecting yet somewhat enervate simplicity of his verse, had obtained for Poetry a brief respite from a school at once declamatory and powerless, and led her forth for a “Sunshine Holiday” into the village green and under the hawthorn shade. But, though the softer and meeker feelings had struggled into a partial and occasional vent, those which partook more of passion and of thought, the deep, the wild, the fervid, were still without “the music of a voice.” For the after century it was reserved to restore what we may be permitted to call the spirit of our national literature; to forsake the clinquant of the French mimickers of classic gold; to exchange a thrice-adulterated Hippocrene for the pure well of Shakspeare and of Nature; to clothe philosophy in the gorgeous and solemn majesty of appropriate music; and to invest passion with a language as burning as its thought and rapid as its impulse. At that time reflection found its natural channel in metaphysical inquiry or political speculation; both valuable, perhaps, but neither profound. It was a bold, and a free, and an inquisitive age, but not one in which thought ran over its set and stationary banks, and watered even the common flowers of verse: not one in which Lucretius could have embodied the dreams of Epicurus; Shakspeare lavished the mines of a superhuman wisdom upon his fairy palaces and enchanted isles; or the Beautifier [Wordsworth] of this common earth have called forth

“The motion of the spirit that impels

All thinking things, all objects of all thought;”

or Disappointment and Satiety have hallowed their human griefs by a pathos wrought from whatever is magnificent and grand and lovely in the unknown universe; or the speculations of a great but visionary mind [Shelley] have raised, upon subtlety and doubt, a vast and irregular pile of verse, full of dim-lighted cells, and winding galleries, in which what treasures lie concealed! That was an age in which poetry took one path and contemplation another; those who were addicted to the latter pursued it in its orthodox roads; and many, whom Nature, perhaps intended for poets, the wizard Custom converted into speculators or critics.

It was this which gave to Algernon’s studies their peculiar hue; while, on the other hand, the taste for the fine arts which then universally prevailed, directed to the creations of painting, rather than those of poetry, more really congenial to his powers, the intense imagination and passion for glory which marked and pervaded the character of the artist.

But as we have seen that that passion for glory made the great characteristic difference between Clarence and Warner, so also did that passion terminate any resemblance which Warner bore to Algernon Mordaunt. With the former a rank and unwholesome plant, it grew up to the exclusion of all else; with the latter, subdued and regulated, it sheltered, not withered, the virtues by which it was surrounded. With Warner, ambition was a passionate desire to separate himself by fame from the herd of other men; with Mordaunt, to bind himself by charity yet closer to his kind: with the one, it produced a disgust to his species; with the other, a pity and a love: with the one, power was the badge of distinction; with the other, the means to bless! But our story lingers.

It was now the custom of Warner to spend the whole day at his work, and wander out with Clarence, when the evening darkened, to snatch a brief respite of exercise and air. Often, along the lighted and populous streets, would the two young and unfriended competitors for this world’s high places roam with the various crowd, moralizing as they went or holding dim conjecture upon their destinies to be. And often would they linger beneath the portico of some house where, “haunted with great resort,” Pleasure and Pomp held their nightly revels, to listen to the music that, through the open windows, stole over the rare exotics with which wealth mimics the southern scents, and floated, mellowing by distance, along the unworthy streets; and while they stood together, silent and each feeding upon separate thoughts, the artist’s pale lip would curl with scorn, as he heard the laugh and the sounds of a frivolous and hollow mirth ring from the crowd within, and startle the air from the silver spell which music had laid upon it. “These,” would he say to Clarence, “these are the dupes of the same fever as ourselves: like us, they strive and toil and vex their little lives for a distinction from their race. Ambition comes to them, as to all: but they throw for a different prize than we do; theirs is the honour of a day, ours is immortality; yet they take the same labour and are consumed by the same care. And, fools that they are, with their gilded names and their gaudy trappings, they would shrink in disdain from that comparison with us which we, with a juster fastidiousness, blush at this moment to acknowledge.”

From these scenes they would rove on, and, both delighting in contrast, enter some squalid and obscure quarter of the city. There, one night, quiet observers of their kind, they paused beside a group congregated together by some common cause of obscene merriment or unholy fellowship—a group on which low vice had set her sordid and hideous stamp—to gaze and draw strange humours or a motley moral from that depth and ferment of human nature into whose sink the thousand streams of civilization had poured their dregs and offal.

“You survey these,” said the painter, marking each with the curious eye of his profession: “they are a base horde, it is true; but they have their thirst of fame, their aspirations even in the abyss of crime or the loathsomeness of famished want. Down in yon cellar, where a farthing rushlight glimmers upon haggard cheeks, distorted with the idiotcy of drink; there, in that foul attic, from whose casement you see the beggar’s rags hang to dry, or rather to crumble in the reeking and filthy air; farther on, within those walls which, black and heavy as the hearts they hide, close our miserable prospect,—there, even there, in the mildewed dungeon, in the felon’s cell, on the very scaffold’s self, Ambition hugs her own hope or scowls upon her own despair. Yes! the inmates of those walls had their perilous game of honour, their ‘hazard of the die,’ in which vice was triumph and infamy success. We do but share their passion, though we direct it to a better object.”

Pausing for a moment, as his thoughts flowed into a somewhat different channel of his character, Warner continued, “We have now caught a glimpse of the two great divisions of mankind; they who riot in palaces, and they who make mirth hideous in rags and hovels: own that it is but a poor survey in either. Can we be contemptible with these or loathsome with those? Or rather have we not a nobler spark within us, which we have but to fan into a flame that shall burn forever, when these miserable meteors sink into the corruption from which they rise?”

“But,” observed Clarence, “these are the two extremes; the pinnacle of civilization, too worn and bare for any more noble and vigorous fruit, and the base upon which the cloud descends in rain and storm. Look to the central portion of society; there the soil is more genial, and its produce more rich.”

“Is it so, in truth?” answered Warner; “pardon me, I believe not: the middling classes are as human as the rest. There is the region, the heart, of Avarice,—systematized, spreading, rotting, the very fungus and leprosy of social states; suspicion, craft, hypocrisy, servility to the great, oppression to the low, the waxlike mimicry of courtly vices, the hardness of flint to humble woes; thought, feeling, the faculties and impulses of man, all ulcered into one great canker, Gain,—these make the general character of the middling class, the unleavened mass of that mediocrity which it has been the wisdom of the shallow to applaud. Pah! we too are of this class, this potter’s earth, this paltry mixture of mud and stone; but we, my friend, we will knead gold into our clay.”

“But look,” said Clarence, pointing to the group before them, “look, yon wretched mother, whose voice an instant ago uttered the coarsest accents of maudlin and intoxicated prostitution, is now fostering her infant, with a fondness stamped upon her worn cheek and hollow eye, which might shame the nice maternity of nobles; and there, too, yon wretch whom, in the reckless effrontery of hardened abandonment, we ourselves heard a few minutes since boast of his dexterity in theft, and openly exhibit its token,—look, he is now, with a Samaritan’s own charity, giving the very goods for which his miserable life was risked to that attenuated and starving stripling! No, Warner, no! even this mass is not unleavened. The vilest infamy is not too deep for the Seraph Virtue to descend and illumine its abyss!”

“Out on the weak fools!” said the artist, bitterly: “it would be something, if they could be consistent even in crime!” and, placing his arm in Linden’s, he drew him away.

As the picture grew beneath the painter’s hand, Clarence was much struck with the outline and expression of countenance given to the regicide Bradshaw.

“They are but an imperfect copy of the living original from whom I have borrowed them,” said Warner, in answer to Clarence’s remark upon the sternness of the features. “But that original—a relation of mine, is coming here to-day: you shall see him.”

While Warner was yet speaking, the person in question entered. His were, indeed, the form and face worthy to be seized by the painter. The peculiarity of his character made him affect a plainness of dress unusual to the day, and approaching to the simplicity, but not the neatness, of Quakerism. His hair—then, with all the better ranks, a principal object of cultivation—was wild, dishevelled, and, in wiry flakes of the sablest hue, rose abruptly from a forehead on which either thought or passion had written its annals with an iron pen; the lower part of the brow, which overhung the eye, was singularly sharp and prominent; while the lines, or rather furrows, traced under the eyes and nostrils, spoke somewhat of exhaustion and internal fatigue. But this expression was contrasted and contradicted by the firmly compressed lip; the lighted, steady, stern eye; the resolute and even stubborn front, joined to proportions strikingly athletic and a stature of uncommon height.

“Well, Wolfe,” said the young painter to the person we have described, “it is indeed a kindness to give me a second sitting.”

“Tusk, boy!” answered Wolfe, “all men have their vain points, and I own that I am not ill pleased that these rugged features should be assigned, even in fancy, to one of the noblest of those men who judged the mightiest cause in which a country was ever plaintiff, a tyrant criminal, and a world witness!” While Wolfe was yet speaking his countenance, so naturally harsh, took a yet sterner aspect, and the artist, by a happy touch, succeeded in transferring it to the canvas.

“But, after all,” continued Wolfe, “it shames me to lend aid to an art frivolous in itself, and almost culpable in times when Freedom wants the head to design, and perhaps the hand to execute, far other and nobler works than the blazoning of her past deeds upon perishable canvas.”

A momentary anger at the slight put upon his art crossed the pale brow of the artist; but he remembered the character of the man and continued his work in silence. “You consider then, sir, that these are times in which liberty is attacked?” said Clarence.

“Attacked!” repeated Wolfe,—“attacked!” and then suddenly sinking his voice into a sort of sneer, “why, since the event which this painting is designed to commemorate, I know not if we have ever had one solitary gleam of liberty break along the great chaos of jarring prejudice and barbarous law which we term forsooth a glorious constitution. Liberty attacked! no, boy; but it is a time when liberty may be gained.”

Perfectly unacquainted with the excited politics of the day, or the growing and mighty spirit which then stirred through the minds of men, Clarence remained silent; but his evident attention flattered the fierce republican, and he proceeded.

“Ay,” he said slowly, and as if drinking in a deep and stern joy from his conviction in the truth of the words he uttered,—“ay, I have wandered over the face of the earth, and I have warmed my soul at the fires which lay hidden under its quiet surface; I have been in the city and the desert,—the herded and banded crimes of the Old World, and the scattered but bold hearts which are found among the savannahs of the New; and in either I have beheld that seed sown which, from a mustard grain, too scanty for a bird’s beak, shall grow up to be a shelter and a home for the whole family of man. I have looked upon the thrones of kings, and lo, the anointed ones were in purple and festive pomp; and I looked beneath the thrones, and I saw Want and Hunger, and despairing Wrath gnawing the foundations away. I have stood in the streets of that great city where Mirth seems to hold an eternal jubilee, and beheld the noble riot while the peasant starved; and the priest built altars to Mammon, piled from the earnings of groaning Labour and cemented with blood and tears. But I looked farther, and saw, in the rear, chains sharpened into swords, misery ripening into justice, and famine darkening into revenge; and I laughed as I beheld, for I knew that the day of the oppressed was at hand.”

Somewhat awed by the prophetic tone, though revolted by what seemed to him the novelty and the fierceness of the sentiments of the republican, Clarence, after a brief pause, said,—

“And what of our own country?”

Wolfe’s brow darkened. “The oppression here,” said he, “has not been so weighty, therefore the reaction will be less strong; the parties are more blended, therefore their separation will be more arduous; the extortion is less strained, therefore the endurance will be more meek; but, soon or late, the struggle must come: bloody will it be, if the strife be even; gentle and lasting, if the people predominate.”

“And if the rulers be the strongest?” said Clarence.

“The struggle will be renewed,” replied Wolfe, doggedly.

“You still attend those oratorical meetings, cousin, I think?” said Warner.

“I do,” said Wolfe; “and if you are not so utterly absorbed in your vain and idle art as to be indifferent to all things nobler, you will learn yourself to take interest in what concerns—I will not say your country, but mankind. For you, young man” (and the republican turned to Clarence), “I would fain hope that life has not already been diverted from the greatest of human objects; if so, come to-morrow night to our assembly, and learn from worthier lips than mine the precepts and the hopes for which good men live or die.”

“I will come at all events to listen, if not to learn,” said Clarence, eagerly, for his curiosity was excited. And the republican, having now fulfilled the end of his visit, rose and departed.