Regarded as a sample of Cruikshank’s art power, these plates are far below the level of his best. We do not perceive here the master-craftsman. His dramatic force is evident in every plate. He tells his story with the fulness and intensity which are in all his pictorial narratives; but the drawing is without grace, and the types, with the exception of the husband, are wanting in that strong individuality he generally realized.
In a letter to Mr. Forster (September 2nd, 1847), Mr. Dickens describes the impression “The Bottle” made on him:—
“At Canterbury yesterday, I bought George Cruikshank’s ‘Bottle.’ I think it very powerful indeed: the two last plates most admirable, except that the boy and girl in the very last are too young, and the girl more like a circus-phenomenon than that no-phenomenon she is intended to represent. I question, however, whether anybody else living could have done it so well. There is a woman in the last plate but one, garrulous about the murder, with a child in her arms, that is as good as Hogarth. Also the man who is stooping down, looking at the body. The philosophy of the thing, as a great lesson, I think all wrong; because, to be striking, and original too, the drinking should have begun in sorrow, or poverty, or ignorance—the three things in which, in its awful aspect, it does begin. The design would thus have been a double-handed sword—but too ‘radical’ for good old George, I suppose.”
And yet such calamities as that which “old George” has drawn happen every day; beginning not in sorrow, or poverty, or ignorance, but in little yieldings to temptation, in apparently trivial and accidental excesses. What constitutes intemperance? According to Dr. Alfred Carpenter, any consumption of alcohol sufficient to furnish the blood with one part of alcohol in five hundred of blood, is dangerous to health, and therefore is an act of intemperance. A more moderate indulgence, he says, is not yet proved to be deleterious. The late Dr. Anstie put temperance in a different way. An average man or woman cannot, according to him, take more than a couple of glasses of sherry daily without injury. Dr. Carpenter has denounced the habitual use of stimulants, even in a very diluted form, to enable the drinker to do more work than he could get through without them, as unquestionably injurious—and therefore an act of intemperance. There is not a middle-aged man of education who has not come across the wrecks of lives where the ruin was a gradual giving way to-the temptation of stimulants.
The police courts unfold daily stories of clerks and others, holding positions of honour and of trust, who have first staggered out of the straight path under the influence of drink. Cruikshank’s beginning of his drama is only too true to life; and I think he would have made a mistake, that he would have weakened the tremendous force of his moral, if he had put the excuse of sorrow, or poverty, or ignorance into his opening scene. As his story, stands, it teaches humble and happy households, in a rough text which all who run may read, to have a care whenever the bottle appears on the scene; and to lose no opportunity of impressing, upon the children the danger, of putting; the enemy near, their mouths, who may steal away, not their brains only, but their heart and soul.
“Coarsely designed and coarsely executed, yet very suggestive, very full of that story-teller’s power which was so much Hogarth’s and his own,” as Mr. Frederick Wedmore remarks, “Cruikshank’s ‘Bottle,’ and the ‘Drunkard’s Children,’ which immediately followed it, albeit executed when the finer qualities of his genius were suffering decay, must always be welcomed as admirable contributions to the matériel of Temperance advocacy.” Cruikshank used to relate how, when his “Bottle” was finished, and he was anxious to secure for this first Temperance sermon the widest possible publicity, he carried the plates to Mr. William Cash, then chairman of the National Temperance Society, for his approval, and the support of his powerful Association. Mr. Cash, although a Quaker, was a gentleman with a very sharp, humorous manner. Having attentively examined the series, he turned upon the artist, and asked him how he himself could ever have anything to do with using “The Bottle,” which, by his own showing, was the means of such dreadful evil? Cruikshank, in his own forcible way, described how he was “completely staggered” by this point-blank question. He said, when he had left Mr. Cash, he could not rid himself of the impression that had been made upon him. After a struggle, he did not get rid of it, but acted upon it, by resolving to give his example as well as his art to the total abstainers.
He was immediately rewarded by the extraordinary success which “The Bottle” achieved. It was sold by tens of thousands, and was the talk of the day. If it has not directly led to a tangible result, as Hogarth’s “Harlot’s Progress” is said to have led to the foundation of the Magdalen Hospital, it and the “Drunkard’s Children,” a poor sequel (but then sequels are always poor), have had the effect of powerful, popular, and permanent sermons against the monster evil of our time.
Not the least of the artist’s rewards was the tribute to his genius it inspired in Mr. Matthew Arnold, who wrote:—
TO G. CRUIKSHANK,
ON SEEING, IN THE COUNTRY, HIS PICTURE OF “THE BOTTLE.”
“Artist, whose hand, with horror wing’d hath torn
From the rank life of towns this leaf! and flung
The prodigy of full-blown crime among
Valleys and men to middle fortune born,
Not innocent, indeed, yet not forlorn—
Say, what shall calm us when such guests intrude
Like comets on the heavenly solitude?
Shall breathless glades, cheer’d by shy Dian’s horn,
Cold-bubbling springs, or caves?—Not so!
The soul Breasts her own griefs, and, urged too fiercely, says—
‘Why tremble? True, the nobleness of man
May be effaced; man can control
To pain, to death, the bent of his own days.
Know thou the worst!
So much, not more, he can. ‘”