Ay, but he associates with prize-fighters; and that very fellow, Petulengro, is a prize-fighter, and has fought for a stake in a ring. Well, and if he had not associated with prize-fighters, how could he have used his fists? Oh, anybody can use his fists in his own defence, without being taught by prize-fighters. Can they? Then why does not the Italian, or Spaniard, or Affghan use his fists when insulted or outraged, instead of having recourse to the weapons which he has recourse to? Nobody can use his fists without being taught the use of them by those who have themselves been taught, no more than any one can “whiffle” without being taught by a master of the art. Now let any man of the present day try to whiffle. Would not any one who wished to whiffle have to go to a master of the art? Assuredly! but where would he find one at the present day? The last of the whifflers hanged himself about a fortnight ago on a bell-rope in a church steeple of “the old town,” from pure grief that there was no further demand for the exhibition of his art, there being no demand for whiffling since the discontinuation of Guildhall banquets. Whiffling is lost. The old chap left his sword behind him; let any one take up the old chap’s sword and try to whiffle. Now much the same hand as he would make who should take up the whiffler’s sword and try to whiffle, would he who should try to use his fists who had never had the advantage of a master. Let no one think that men use their fists naturally in their own disputes—men have naturally recourse to any other thing to defend themselves or to offend others; they fly to the stick, to the stone, to the murderous and cowardly knife, or to abuse as cowardly as the knife, and occasionally more murderous. Now which is best when you hate a person, or have a pique against a person, to clench your fist and say “Come on,” or to have recourse to the stone, the knife,—or murderous calumny? The use of the fist is almost lost in England. Yet are the people better than they were when they knew how to use their fists? The writer believes not. A fisty combat is at present a great rarity, but the use of the knife, the noose, and of poison, to say nothing of calumny, are of more frequent occurrence in England than perhaps in any country in Europe. Is polite taste better than when it could bear the details of a fight? The writer believes not. Two men cannot meet in a ring to settle a dispute in a manly manner without some trumpery local newspaper letting loose a volley of abuse against “the disgraceful exhibition,” in which abuse it is sure to be sanctioned by its dainty readers; whereas some murderous horror, the discovery for example of the mangled remains of a woman in some obscure den, is greedily seized hold of by the moral journal, and dressed up for its readers, who luxuriate and gloat upon the ghastly dish. Now, the writer of Lavengro has no sympathy with those who would shrink from striking a blow, but would not shrink from the use of poison or calumny; and his taste has little in common with that which cannot tolerate the hardy details of a prize-fight, but which luxuriates on descriptions of the murder dens of modern England. But prize-fighters and pugilists are blackguards, a reviewer has said; and blackguards they would be provided they employed their skill and their prowess for purposes of brutality and oppression; but prize-fighters and pugilists are seldom friends to brutality and oppression; and which is the blackguard, the writer would ask, he who uses his fists to take his own part, or instructs others to use theirs for the same purpose, or the being who from envy and malice, or at the bidding of a malicious scoundrel, endeavours by calumny, falsehood, and misrepresentation to impede the efforts of lonely and unprotected genius?
One word more about the race, all but extinct, of the people opprobriously called prize-fighters. Some of them have been as noble, kindly men as the world ever produced. Can the rolls of the English aristocracy exhibit names belonging to more noble, more heroic men than those who were called respectively Pearce, Cribb, and Spring? Did ever one of the English aristocracy contract the seeds of fatal consumption by rushing up the stairs of a burning edifice, even to the topmost garret, and rescuing a woman from seemingly inevitable destruction? The writer says no. A woman was rescued from the top of a burning house; but the man who rescued her was no aristocrat; it was Pearce, not Percy, who ran up the burning stairs. Did ever one of those glittering ones save a fainting female from the libidinous rage of six ruffians? The writer believes not. A woman was rescued from the libidinous fury of six monsters on --- Down; but the man who rescued her was no aristocrat; it was Pearce not Paulet, who rescued the woman, and thrashed my lord’s six gamekeepers—Pearce, whose equal never was, and probably never will be, found in sturdy combat. Are there any of the aristocracy of whom it can be said that they never did a cowardly, cruel, or mean action, and that they invariably took the part of the unfortunate and weak against cruelty and oppression? As much can be said of Cribb, of Spring, and the other; but where is the aristocrat of whom as much can be said? Wellington? Wellington indeed! a skilful general, and a good man of valour, it is true, but with that cant word of “duty” continually on his lips, did he rescue Ney from his butchers? Did he lend a helping hand to Warner?
In conclusion, the writer would advise those of his country-folks who read his book to have nothing to do with the two kinds of canting nonsense described above, but in their progress through life to enjoy as well as they can, but always with moderation, the good things of this world, to put confidence in God, to be as independent as possible, and to take their own parts. If they are low-spirited, let them not make themselves foolish by putting on sackcloth, drinking water, or chewing ashes, but let them take wholesome exercise, and eat the most generous food they can get, taking up and reading occasionally, not the lives of Ignatius Loyola and Francis Spira, but something more agreeable; for example, the life and adventures of Mr. Duncan Campbell, the deaf and dumb gentleman; the travels of Captain Falconer in America, and the journal of John Randall, who went to Virginia and married an Indian wife; not forgetting, amidst their eating and drinking, their walks over heaths, and by the sea-side, and their agreeable literature, to be charitable to the poor, to read the Psalms and to go to church twice on a Sunday. In their dealings with people, to be courteous to everybody, as Lavengro was, but always independent like him; and if people meddle with them, to give them as good as they bring, even as he and Isopel Berners were in the habit of doing; and it will be as well for him to observe that he by no means advises women to be too womanly, but bearing the conduct of Isopel Berners in mind, to take their own parts, and if anybody strikes them, to strike again.
Beating of women by the lords of the creation has become very prevalent in England since pugilism has been discountenanced. Now the writer strongly advises any woman who is struck by a ruffian to strike him again; or if she cannot clench her fists, and he advises all women in these singular times to learn to clench their fists, to go at him with tooth and nail, and not to be afraid of the result, for any fellow who is dastard enough to strike a woman, would allow himself to be beaten by a woman, were she to make at him in self-defence, even if, instead of possessing the stately height and athletic proportions of the aforesaid Isopel, she were as diminutive in stature, and had a hand as delicate, and foot as small, as a certain royal lady, who was some time ago assaulted by a fellow upwards of six feet high, whom the writer has no doubt she could have beaten had she thought proper to go at him. Such is the deliberate advice of the author to his countrymen and women—advice in which he believes there is nothing unscriptural or repugnant to common sense.
The writer is perfectly well aware that, by the plain language which he has used in speaking of the various kinds of nonsense prevalent in England, he shall make himself a multitude of enemies; but he is not going to conceal the truth or to tamper with nonsense, from the fear of provoking hostility. He has a duty to perform and he will perform it resolutely; he is the person who carried the Bible to Spain; and as resolutely as he spoke in Spain against the superstitions of Spain, will he speak in England against the nonsense of his own native land. He is not one of those who, before they sit down to write a book, say to themselves, what cry shall we take up? what principles shall we advocate? what principles shall we abuse? before we put pen to paper we must find out what cry is the loudest, what principle has the most advocates, otherwise, after having written our book, we may find ourselves on the weaker side.
A sailor of the “Bounty,” waked from his sleep by the noise of the mutiny, lay still in his hammock for some time, quite undecided whether to take part with the captain or to join the mutineers. “I must mind what I do,” said he to himself, “lest, in the end, I find myself on the weaker side;” finally, on hearing that the mutineers were successful, he went on deck, and seeing Bligh pinioned to the mast, he put his fist to his nose, and otherwise insulted him. Now, there are many writers of the present day whose conduct is very similar to that of the sailor. They lie listening in their corners till they have ascertained which principle has most advocates; then, presently, they make their appearance on the deck of the world with their book; if truth has been victorious, then has truth the hurrah! but if truth is pinioned against the mast, then is their fist thrust against the nose of truth, and their gibe and their insult spirted in her face. The strongest party had the sailor, and the strongest party has almost invariably the writer of the present day.
CHAPTER IX—Pseudo-Critics.
A certain set of individuals calling themselves critics have attacked Lavengro with much virulence and malice. If what they call criticism had been founded on truth, the author would have had nothing to say. The book contains plenty of blemishes, some of them, by the bye, wilful ones, as the writer will presently show; not one of these, however, has been detected and pointed out; but the best passages in the book, indeed whatever was calculated to make the book valuable, have been assailed with abuse and misrepresentation. The duty of the true critic is to play the part of a leech, and not of a viper. Upon true and upon malignant criticism there is an excellent fable by the Spaniard Iriarte. The viper says to the leech, “Why do people invite your bite, and flee from mine?” “Because,” says the leech, “people receive health from my bite, and poison from yours.” “There is as much difference,” says the clever Spaniard, “between true and malignant criticism, as between poison and medicine.” Certainly a great many meritorious writers have allowed themselves to be poisoned by malignant criticism; the writer, however, is not one of those who allow themselves to be poisoned by pseudo-critics; no! no! he will rather hold them up by their tails, and show the creatures wriggling, blood and foam streaming from their broken jaws. First of all, however, he will notice one of their objections. “The book isn’t true,” say they. Now one of the principal reasons with those that have attacked Lavengro for their abuse of it is, that it is particularly true in one instance, namely, that it exposes their own nonsense, their love of humbug, their slavishness, their dressings, their goings out, their scraping and bowing to great people; it is the showing up of “gentility-nonsense” in Lavengro that has been one principal reason for raising the above cry; for in Lavengro is denounced the besetting folly of the English people, a folly which those who call themselves guardians of the public taste are far from being above. “We can’t abide anything that isn’t true!” they exclaim. Can’t they? Then why are they so enraptured with any fiction that is adapted to purposes of humbug, which tends to make them satisfied with their own proceedings, with their own nonsense, which does not tell them to reform, to become more alive to their own failings, and less sensitive about the tyrannical goings on of the masters, and the degraded condition, the sufferings, and the trials of the serfs in the star Jupiter? Had Lavengro, instead of being the work of an independent mind, been written in order to further any of the thousand and one cants, and species of nonsense prevalent in England, the author would have heard much less about its not being true, both from public detractors and private censurers.
“But Lavengro pretends to be an autobiography,” say the critics; and here the writer begs leave to observe, that it would be well for people who profess to have a regard for truth, not to exhibit in every assertion which they make a most profligate disregard of it; this assertion of theirs is a falsehood, and they know it to be a falsehood. In the preface Lavengro is stated to be a dream; and the writer takes this opportunity of stating that he never said it was an autobiography; never authorized any person to say that it was one; and that he has in innumerable instances declared in public and private, both before and after the work was published, that it was not what is generally termed an autobiography: but a set of people who pretend to write criticisms on books, hating the author for various reasons,—amongst others, because, having the proper pride of a gentleman and a scholar, he did not, in the year ’43, choose to permit himself to be exhibited and made a zany of in London, and especially because he will neither associate with, nor curry favour with, them who are neither gentlemen nor scholars,—attack his book with abuse and calumny. He is, perhaps, condescending too much when he takes any notice of such people; as, however, the English public is wonderfully led by cries and shouts, and generally ready to take part against any person who is either unwilling or unable to defend himself, he deems it advisable not to be altogether quiet with those who assail him. The best way to deal with vipers is to tear out their teeth; and the best way to deal with pseudo-critics is to deprive them of their poison-bag, which is easily done by exposing their ignorance. The writer knew perfectly well the description of people with whom he would have to do, he therefore very quietly prepared a stratagem, by means of which he could at any time exhibit them, powerless and helpless, in his hand. Critics, when they review books, ought to have a competent knowledge of the subjects which those books discuss.
Lavengro is a philological book, a poem if you choose to call it so. Now, what a fine triumph it would have been for those who wished to vilify the book and its author, provided they could have detected the latter tripping in his philology—they might have instantly said that he was an ignorant pretender to philology—they laughed at the idea of his taking up a viper by its tail, a trick which hundreds of country urchins do every September, but they were silent about the really wonderful part of the book, the philological matter—they thought philology was his stronghold, and that it would be useless to attack him there; they of course would give him no credit as a philologist, for anything like fair treatment towards him was not to be expected at their hands, but they were afraid to attack his philology—yet that was the point, and the only point in which they might have attacked him successfully; he was vulnerable there. How was this? Why, in order to have an opportunity of holding up pseudo-critics by the tails, he wilfully spelt various foreign words wrong—Welsh words, and even Italian words—did they detect these misspellings? not one of them, even as he knew they would not, and he now taunts them with ignorance; and the power of taunting them with ignorance is the punishment which he designed for them—a power which they might but for their ignorance have used against him. The writer besides knowing something of Italian and Welsh, knows a little of Armenian language and literature; but who knowing anything of the Armenian language, unless he had an end in view, would say, that the word sea in Armenian is anything like the word tide in English? The word for sea in Armenian is dzow, a word connected with the Tebetian word for water, and the Chinese shuy, and the Turkish su, signifying the same thing; but where is the resemblance between dzow and tide? Again, the word for bread in ancient Armenian is hats; yet the Armenian on London Bridge is made to say zhats, which is not the nominative of the Armenian noun for bread, but the accusative: now, critics, ravening against a man because he is a gentleman and a scholar, and has not only the power but also the courage to write original works, why did you not discover that weak point? Why, because you were ignorant, so here ye are held up! Moreover, who with a name commencing with Z, ever wrote fables in Armenian? There are two writers of fables in Armenian—Varthan and Koscht, and illustrious writers they are, one in the simple, and the other in the ornate style of Armenian composition, but neither of their names begins with a Z. Oh, what a precious opportunity ye lost, ye ravening crew, of convicting the poor, half-starved, friendless boy of the book, of ignorance or misrepresentation, by asking who with a name beginning with Z ever wrote fables in Armenian; but ye couldn’t help yourselves, ye are duncie. We duncie! Ay, duncie. So here ye are held up by the tails, blood and foam streaming from your jaws.