Celt and Saxon — Complete

by George Meredith

CHAPTER XV. THE MATTOCK FAMILY

That evening's report of the demeanour of the young Irish secretary in harness was not so exhilarating as John Mattock had expected, and he inclined to think his sister guilty of casting her protecting veil over the youth. It appeared that Mr. O'Donnell had been studious of his duties, had spoken upon no other topic, had asked pertinent questions, shown no flippancy, indulged in no extravagances. He seemed, Jane said, eager to master details. A certain eagerness of her own in speaking of it sharpened her clear features as if they were cutting through derision. She stated it to propitiate her brother, as it might have done but for the veracious picture of Patrick in the word 'eager,' which pricked the scepticism of a practical man. He locked his mouth, looking at her with a twinkle she refused to notice. 'Determined to master details' he could have accepted. One may be determined to find a needle in a dust-heap; one does not with any stiffness of purpose go at a dust-heap eagerly. Hungry men have eaten husks; they have not betrayed eagerness for such dry stuff. Patrick's voracity after details exhibited a doubtfully genuine appetite, and John deferred his amusement until the termination of the week or month when his dear good Jane would visit the office to behold a vacated seat, or be assailed by the customary proposal. Irishmen were not likely to be far behind curates in besieging an heiress. For that matter, Jane was her own mistress and could very well take care of herself; he had confidence in her wisdom.

He was besides of an unsuspicious and an unexacting temperament. The things he would strongly object to he did not specify to himself because he was untroubled by any forethought of them. Business, political, commercial and marine, left few vacancies in his mind other than for the pleasures he could command and enjoy. He surveyed his England with a ruddy countenance, and saw the country in the reflection. His England saw much of itself in him. Behind each there was more, behind the country a great deal more, than could be displayed by a glass. The salient features wore a resemblance. Prosperity and heartiness; a ready hand on, and over, a full purse; a recognised ability of the second-rate order; a stout hold of patent principles; inherited and embraced, to make the day secure and supply a somniferous pillow for the night; occasional fits of anxiety about affairs, followed by an illuminating conviction that the world is a changing one and our construction not of granite, nevertheless that a justifiable faith in the ship, joined to a constant study of the chart, will pull us through, as it has done before, despite all assaults and underminings of the common enemy and the particular; these, with the humorous indifference of familiarity and constitutional annoyances, excepting when they grew acute and called for drugs, and with friendliness to the race of man of both colours, in the belief that our Creator originally composed in black and white, together with a liking for matters on their present footing in slow motion, partly under his conductorship, were the prominent characteristics of the grandson of the founder of the house, who had built it from a spade.

The story of the building was notorious; popular books for the inciting of young Englishmen to dig to fortune had a place for it among the chapters, where we read of the kind of man, and the means by which the country has executed its later giant strides of advancement. The first John Mattock was a representative of his time; he moved when the country was moving, and in the right direction, finding himself at the auspicious moment upon a line of rail. Elsewhere he would have moved, we may suppose, for the spade-like virtues bear their fruits; persistent and thrifty, solid and square, will fetch some sort of yield out of any soil; but he would not have gone far. The Lord, to whom an old man of a mind totally Hebrew ascribed the plenitude of material success, the Lord and he would have reared a garden in the desert; in proximity to an oasis, still on the sands, against obstacles. An accumulation of upwards of four hundred thousand pounds required, as the moral of the popular books does not sufficiently indicate, a moving country, an ardent sphere, to produce the sum: and since, where so much was done, we are bound to conceive others at work as well as he, it seems to follow that the exemplar outstripping them vastly must have profited by situation at the start, which is a lucky accident; and an accident is an indigestible lump in a moral tale, real though the story be. It was not mentioned in the popular books; nor did those worthy guides to the pursuit of wealth contain any reminder of old John Mattock's dependence upon the conjoint labour of his fellows to push him to his elevation. As little did they think of foretelling a day, generations hence, when the empty heirs of his fellows might prefer a modest claim (confused in statement) to compensation against the estate he bequeathed: for such prophecy as that would have hinted at a tenderness for the mass to the detriment of the individual, and such tenderness as that is an element of our religion, not the drift of our teaching.

He grumbled at the heavy taxation of his estate during life: yearly this oppressed old man paid thousands of pounds to the Government. It was poor encouragement to shoulder and elbow your way from a hovel to a mansion!

He paid the money, dying sour; a splendid example of energy on the road, a forbidding one at the terminus. And here the moral of the popular books turned aside from him to snatch at humanity for an instance of our frailness and dealt in portentous shadows:—we are, it should be known, not the great creatures we assume ourselves to be. Six months before his death he appeared in the garb of a navvy, humbly soliciting employment at his own house-door. There he appealed to the white calves of his footmen for a day's work, upon the plea that he had never been a democrat.

The scene had been described with humanely-moralising pathos in the various books of stories of Men who have come to Fortune, and it had for a length of seasons an annual position in the foremost rank (on the line, facing the door) in our exhibition of the chosen artists, where, as our popular words should do, it struck the spectator's eye and his brain simultaneously with pugilistic force: a reference to the picture in the catalogue furnishing a recapitulation of the incident. 'I've worked a good bit in my time, gentlemen, and I baint done yet':—SEE PROFESSOR SUMMIT'S 'MEN WHO HAVE COME TO FORTUNE.' There is, we perceive at a glance, a contrast in the bowed master of the Mansion applying to his menials for a day's work at the rate of pay to able-bodied men:—which he is not, but the deception is not disingenuous. The contrast flashed with the rapid exchange of two prizefighters in a ring, very popularly. The fustian suit and string below the knee, on the one side, and the purple plush breeches and twinkling airy calves (fascinating his attention as he makes his humble request to his own, these domestic knights) to right and left of the doorway and in front, hit straight out of the canvas. And as quickly as you perceive the contrast you swallow the moral. The dreaded thing is down in a trice, to do what salutary work it may within you. That it passed into the blood of England's middle-class population, and set many heads philosophically shaking, and filled the sails of many a sermon, is known to those who lived in days when Art and the classes patronising our Native Art existed happily upon the terms of venerable School-Dame and studious pupils, before the sickly era displacing Exhibitions full of meaning for tricks of colour, monstrous atmospherical vagaries that teach nothing, strange experiments on the complexion of the human face divine—the feminine hyper-aethereally. Like the first John Mattock, it was formerly of, and yet by dint of sturdy energy, above the people. They learnt from it; they flocked to it thirsting and retired from it thoughtful, with some belief of having drunk of nature in art, as you will see the countless troops of urchins about the one cow of London, in the Great City's Green Park.

A bequest to the nation of the best of these pictures of Old John, by a very old Yorkshire collector, makes it milk for all time, a perpetual contrast, and a rebuke. Compared with the portrait of Jane Mattock in her fiery aureole of hair on the walls of the breakfast-room, it marks that fatal period of degeneracy for us, which our critics of Literature as well as Art are one voice in denouncing, when the complex overwhelms the simple, and excess of signification is attempted, instead of letting plain nature speak her uncorrupted tongue to the contemplative mind. Degeneracy is the critical history of the Arts. Jane's hair was of a reddish gold-inwoven cast that would, in her grandfather's epoch, have shone unambiguously as carrots. The girl of his day thus adorned by Nature, would have been shown wearing her ridiculous crown with some decent sulkiness; and we should not have had her so unsparingly crowned; the truth would have been told in a dexterous concealment—a rope of it wound up for a bed of the tortoise-shell comb behind, and a pair of tight cornucopias at the temples. What does our modern artist do but flare it to right and left, lift it wavily over her forehead, revel in the oriental superabundance, and really seem to swear we shall admire it, against our traditions of the vegetable, as a poetical splendour. The head of the heiress is in a Jovian shower. Marigolds are in her hand. The whole square of canvas is like a meadow on the borders of June. It causes blinking.

Her brother also is presented: a fine portrait of him, with clipped red locks, in blue array, smiling, wearing the rose of briny breezes, a telescope under his left arm, his right forefinger on a map, a view of Spitzbergen through a cabin-window: for John had notions about the north-west passage, he had spent a winter in the ice, and if an amateur, was not the less a true sailor.

With his brass-buttoned blue coat, and his high coloured cheeks, and his convict hair—a layer of brickdust—and his air of princely wealth, and the icebergs and hummocks about him, he looks for adventure without a thought of his heroism—the country all over.