Impressions of Theophrastus Such

by George Eliot

As to Scintilla's acquaintance with her lover's tastes on these subjects, she was equally convinced on her side that a husband's queer ways while he was a bachelor would be easily laughed out of him when he had married an adroit woman. Mixtus, she felt, was an excellent creature, quite likable, who was getting rich; and Scintilla meant to have all the advantages of a rich man's wife. She was not in the least a wicked woman; she was simply a pretty animal of the ape kind, with an aptitude for certain accomplishments which education had made the most of.

But we have seen what has been the result to poor Mixtus. He has become richer even than he dreamed of being, has a little palace in London, and entertains with splendour the half-aristocratic, professional, and artistic society which he is proud to think select. This society regards him as a clever fellow in his particular branch, seeing that he has become a considerable capitalist, and as a man desirable to have on the list of one's acquaintance. But from every other point of view Mixtus finds himself personally submerged: what he happens to think is not felt by his esteemed guests to be of any consequence, and what he used to think with the ardour of conviction he now hardly ever expresses. He is transplanted, and the sap within him has long been diverted into other than the old lines of vigorous growth. How could he speak to the artist Crespi or to Sir Hong Kong Bantam about the enlarged doctrine of Mr Apollos? How could he mention to them his former efforts towards evangelising the inhabitants of the X. alleys? And his references to his historical and geographical studies towards a survey of possible markets for English products are received with an air of ironical suspicion by many of his political friends, who take his pretension to give advice concerning the Amazon, the Euphrates, and the Niger as equivalent to the currier's wide views on the applicability of leather. He can only make a figure through his genial hospitality. It is in vain that he buys the best pictures and statues of the best artists. Nobody will call him a judge in art. If his pictures and statues are well chosen it is generally thought that Scintilla told him what to buy; and yet Scintilla in other connections is spoken of as having only a superficial and often questionable taste. Mixtus, it is decided, is a good fellow, not ignorant—no, really having a good deal of knowledge as well as sense, but not easy to classify otherwise than as a rich man. He has consequently become a little uncertain as to his own point of view, and in his most unreserved moments of friendly intercourse, even when speaking to listeners whom he thinks likely to sympathise with the earlier part of his career, he presents himself in all his various aspects and feels himself in turn what he has been, what he is, and what others take him to be (for this last status is what we must all more or less accept). He will recover with some glow of enthusiasm the vision of his old associates, the particular limit he was once accustomed to trace of freedom in religious speculation, and his old ideal of a worthy life; but he will presently pass to the argument that money is the only means by which you can get what is best worth having in the world, and will arrive at the exclamation "Give me money!" with the tone and gesture of a man who both feels and knows. Then if one of his audience, not having money, remarks that a man may have made up his mind to do without money because he prefers something else, Mixtus is with him immediately, cordially concurring in the supreme value of mind and genius, which indeed make his own chief delight, in that he is able to entertain the admirable possessors of these attributes at his own table, though not himself reckoned among them. Yet, he will proceed to observe, there was a time when he sacrificed his sleep to study, and even now amid the press of business he from time to time thinks of taking up the manuscripts which he hopes some day to complete, and is always increasing his collection of valuable works bearing on his favourite topics. And it is true that he has read much in certain directions, and can remember what he has read; he knows the history and theories of colonisation and the social condition of countries that do not at present consume a sufficiently large share of our products and manufactures. He continues his early habit of regarding the spread of Christianity as a great result of our commercial intercourse with black, brown, and yellow populations; but this is an idea not spoken of in the sort of fashionable society that Scintilla collects round her husband's table, and Mixtus now philosophically reflects that the cause must come before the effect, and that the thing to be directly striven for is the commercial intercourse, not excluding a little war if that also should prove needful as a pioneer of Christianity. He has long been wont to feel bashful about his former religion; as if it were an old attachment having consequences which he did not abandon but kept in decent privacy, his avowed objects and actual position being incompatible with their public acknowledgment.

There is the same kind of fluctuation in his aspect towards social questions and duties. He has not lost the kindness that used to make him a benefactor and succourer of the needy, and he is still liberal in helping forward the clever and industrious; but in his active superintendence of commercial undertakings he has contracted more and more of the bitterness which capitalists and employers often feel to be a reasonable mood towards obstructive proletaries. Hence many who have occasionally met him when trade questions were being discussed, conclude him to be indistinguishable from the ordinary run of moneyed and money-getting men. Indeed, hardly any of his acquaintances know what Mixtus really is, considered as a whole—nor does Mixtus himself know it.

X.

DEBASING THE MORAL CURRENCY.

"Il ne faut pas mettre un ridicule où il n'y en a point: c'est se gâter le goût, c'est corrompre son jugement et celui des autres. Mais le ridicule qui est quelque part, il faut l'y voir, l'en tirer avec grâce et d'une manière qui plaise et qui instruise."

I am fond of quoting this passage from La Bruyère, because the subject is one where I like to show a Frenchman on my side, to save my sentiments from being set down to my peculiar dulness and deficient sense of the ludicrous, and also that they may profit by that enhancement of ideas when presented in a foreign tongue, that glamour of unfamiliarity conferring a dignity on the foreign names of very common things, of which even a philosopher like Dugald Stewart confesses the influence. I remember hearing a fervid woman attempt to recite in English the narrative of a begging Frenchman who described the violent death of his father in the July days. The narrative had impressed her, through the mists of her flushed anxiety to understand it, as something quite grandly pathetic; but finding the facts turn out meagre, and her audience cold, she broke off, saying, "It sounded so much finer in French—j'ai vu le sang de mon père, and so on—I wish I could repeat it in French." This was a pardonable illusion in an old-fashioned lady who had not received the polyglot education of the present day; but I observe that even now much nonsense and bad taste win admiring acceptance solely by virtue of the French language, and one may fairly desire that what seems a just discrimination should profit by the fashionable prejudice in favour of La Bruyère's idiom. But I wish he had added that the habit of dragging the ludicrous into topics where the chief interest is of a different or even opposite kind is a sign not of endowment, but of deficiency. The art of spoiling is within reach of the dullest faculty: the coarsest clown with a hammer in his hand might chip the nose off every statue and bust in the Vatican, and stand grinning at the effect of his work. Because wit is an exquisite product of high powers, we are not therefore forced to admit the sadly confused inference of the monotonous jester that he is establishing his superiority over every less facetious person, and over every topic on which he is ignorant or insensible, by being uneasy until he has distorted it in the small cracked mirror which he carries about with him as a joking apparatus. Some high authority is needed to give many worthy and timid persons the freedom of muscular repose under the growing demand on them to laugh when they have no other reason than the peril of being taken for dullards; still more to inspire them with the courage to say that they object to the theatrical spoiling for themselves and their children of all affecting themes, all the grander deeds and aims of men, by burlesque associations adapted to the taste of rich fishmongers in the stalls and their assistants in the gallery. The English people in the present generation are falsely reputed to know Shakspere (as, by some innocent persons, the Florentine mule-drivers are believed to have known the Divina Commedia, not, perhaps, excluding all the subtle discourses in the Purgatorio and Paradiso); but there seems a clear prospect that in the coming generation he will be known to them through burlesques, and that his plays will find a new life as pantomimes. A bottle-nosed Lear will come on with a monstrous corpulence from which he will frantically dance himself free during the midnight storm; Rosalind and Celia will join in a grotesque ballet with shepherds and shepherdesses; Ophelia in fleshings and a voluminous brevity of grenadine will dance through the mad scene, finishing with the famous "attitude of the scissors" in the arms of Laertes; and all the speeches in "Hamlet" will be so ingeniously parodied that the originals will be reduced to a mere memoria technica of the improver's puns—premonitory signs of a hideous millennium, in which the lion will have to lie down with the lascivious monkeys whom (if we may trust Pliny) his soul naturally abhors.

I have been amazed to find that some artists whose own works have the ideal stamp, are quite insensible to the damaging tendency of the burlesquing spirit which ranges to and fro and up and down on the earth, seeing no reason (except a precarious censorship) why it should not appropriate every sacred, heroic, and pathetic theme which serves to make up the treasure of human admiration, hope, and love. One would have thought that their own half-despairing efforts to invest in worthy outward shape the vague inward impressions of sublimity, and the consciousness of an implicit ideal in the commonest scenes, might have made them susceptible of some disgust or alarm at a species of burlesque which is likely to render their compositions no better than a dissolving view, where every noble form is seen melting into its preposterous caricature. It used to be imagined of the unhappy medieval Jews that they parodied Calvary by crucifying dogs; if they had been guilty they would at least have had the excuse of the hatred and rage begotten by persecution. Are we on the way to a parody which shall have no other excuse than the reckless search after fodder for degraded appetites—after the pay to be earned by pasturing Circe's herd where they may defile every monument of that growing life which should have kept them human?

The world seems to me well supplied with what is genuinely ridiculous: wit and humour may play as harmlessly or beneficently round the changing facets of egoism, absurdity, and vice, as the sunshine over the rippling sea or the dewy meadows. Why should we make our delicious sense of the ludicrous, with its invigorating shocks of laughter and its irrepressible smiles which are the outglow of an inward radiation as gentle and cheering as the warmth of morning, flourish like a brigand on the robbery of our mental wealth?—or let it take its exercise as a madman might, if allowed a free nightly promenade, by drawing the populace with bonfires which leave some venerable structure a blackened ruin or send a scorching smoke across the portraits of the past, at which we once looked with a loving recognition of fellowship, and disfigure them into butts of mockery?—nay, worse—use it to degrade the healthy appetites and affections of our nature as they are seen to be degraded in insane patients whose system, all out of joint, finds matter for screaming laughter in mere topsy-turvy, makes every passion preposterous or obscene, and turns the hard-won order of life into a second chaos hideous enough to make one wail that the first was ever thrilled with light?

This is what I call debasing the moral currency: lowering the value of every inspiring fact and tradition so that it will command less and less of the spiritual products, the generous motives which sustain the charm and elevation of our social existence—the something besides bread by which man saves his soul alive. The bread-winner of the family may demand more and more coppery shillings, or assignats, or greenbacks for his day's work, and so get the needful quantum of food; but let that moral currency be emptied of its value—let a greedy buffoonery debase all historic beauty, majesty, and pathos, and the more you heap up the desecrated symbols the greater will be the lack of the ennobling emotions which subdue the tyranny of suffering, and make ambition one with social virtue.