The Disowned Complete - Бульвер-Литтон Эдвард Джордж 12 стр.

Nay, said Clarence, you confound the two loves, the Eros and the Anteros; gods whom my good tutor was wont so sedulously to distinguish: you surely do not inveigh thus against all love?

I cry you mercy, said Warner, with something of sarcasm in his pensiveness of tone. We must not dispute; so I will hold my peace: but make love all you will; what are the false smiles of a lip which a few years can blight as an autumn leaf? what the homage of a heart as feeble and mortal as your own? Why, I, with a few strokes of a little hair and an idle mixture of worthless colours, will create a beauty in whose mouth there shall be no hollowness, in whose lip there shall be no fading; there, in your admiration, you shall have no need of flattery and no fear of falsehood; you shall not be stung with jealousy nor maddened with treachery; nor watch with a breaking heart over the waning bloom, and departing health, till the grave open, and your perishable paradise is not. No: the mimic work is mightier than the original, for it outlasts it; your love cannot wither it, or your desertion destroy; your very death, as the being who called it into life, only stamps it with a holier value.

And so then, said Clarence, you would seriously relinquish, for the mute copy of the mere features, those affections which no painting can express?

Ay, said the painter, with an energy unusual to his quiet manner, and slightly wandering in his answer from Clarences remark, ay, one serves not two mistresses: mine is the glory of my art. Oh! what are the cold shapes of this tame earth, where the footsteps of the gods have vanished, and left no trace, the blemished forms, the debased brows, and the jarring features, to the glorious and gorgeous images which I can conjure up at my will? Away with human beauties, to him whose nights are haunted with the forms of angels and wanderers from the stars, the spirits of all things lovely and exalted in the universe: the universe as it was; when to fountain, and stream, and hill, and to every tree which the summer clothed, was allotted the vigil of a Nymph! when through glade, and by waterfall, at glossy noontide, or under the silver stars, the forms of Godhead and Spirit were seen to walk; when the sculptor modelled his mighty work from the beauty and strength of Heaven, and the poet lay in the shade to dream of the Naiad and the Faun, and the Olympian dwellers whom he walked in rapture to behold; and the painter, not as now, shaping from shadow and in solitude the dim glories of his heart, caught at once his inspiration from the glow of earth and its living wanderers, and, lo, the canvas breathed! Oh! what are the dull realities and the abortive offspring of this altered and humbled worldthe world of meaner and dwarfish mento him whose realms are peopled with visions like these?

And the artist, whose ardour, long excited and pent within, had at last thus audibly, and to Clarences astonishment, burst forth, paused, as if to recall himself from his wandering enthusiasm. Such moments of excitement were indeed rare with him, except when utterly alone, and even then, were almost invariably followed by that depression of spirit by which all over-wrought susceptibility is succeeded. A change came over his face, like that of a cloud when the sunbeam which gilded leaves it; and, with a slight sigh and a subdued tone, he resumed,

So, my friend, you see what our art can do even for the humblest professor, when I, a poor, friendless, patronless artist, can thus indulge myself by forgetting the present. But I have not yet explained to you the attitude of my principal figure; and Warner proceeded once more to detail the particulars of his intended picture. It must be confessed that he had chosen a fine though an arduous subject: it was the Trial of Charles the First; and as the painter, with the enthusiasm of his profession and the eloquence peculiar to himself, dwelt upon the various expressions of the various forms which that extraordinary judgment-court afforded, no wonder that Clarence forgot, with the artist himself, the disadvantages Warner had to encounter in the inexperience of an unregulated taste and an imperfect professional education.

CHAPTER XIV

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

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 Algernons 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.

It was this which gave to Algernons 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 worlds 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 artists 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 fellowshipa group on which low vice had set her sordid and hideous stampto 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 beggars 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 felons cell, on the very scaffolds 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 potters 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 Samaritans 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 Lindens, he drew him away.

As the picture grew beneath the painters 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 Clarences remark upon the sternness of the features. But that originala 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 hairthen, with all the better ranks, a principal object of cultivationwas 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.