‘Like that old fabled swan, in music die.’
And now appear, dim at first and distant, but brightening and 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 schoolboy; 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 in 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 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 the 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-preraphaelite 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. I 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 muward; and, therefore, a healthy soul can be only exprest 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 Rafaelle 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 Manichæan pictures in an age of natural science; and Art will let the dead bury their dead, and beginning again where Michael Angelo and Rafaelle 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 foxhounds. 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 foxhound, lion and fawn in one; just as he might create noble human beings; did he 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 head 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, ‘drank 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 am 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-stems 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 anywise not ‘masters of the situation.’