Celt and Saxon — Volume 2

by George Meredith

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.

There he stands, a lover of the sea, and a scientific seaman and engineer to boot, practical in every line of his face, defying mankind to suspect that he cherishes a grain of romance. On the wall, just above his shoulder, is a sketch of a Viking putting the lighted brand to his ship in mid sea, and you are to understand that his time is come and so should a Viking die: further, if you will, the subject is a modern Viking, ready for the responsibilities of the title. Sketches of our ancient wooden walls and our iron and plated defences line the panellings. These degenerate artists do work hard for their money.

The portrait of John's father, dated a generation back, is just the man and little else, phantomly the man. His brown coat struggles out of the obscurity of the background, but it is chiefly background clothing him. His features are distinguishable and delicate: you would suppose him appearing to you under the beams of a common candle, or cottage coalfire —ferruginously opaque. The object of the artist (apart from the triumph of tone on the canvas) is to introduce him as an elegant and faded gentleman, rather retiring into darkness than emerging. He is the ghost of the painter's impasto. Yet this is Ezra Mattock, who multipled the inheritance of the hundreds of thousands into millions, and died, after covering Europe, Asia, and the Americas with iron rails, one of the few Christians that can hold up their heads beside the banking Jew as magnates in the lists of gold. The portrait is clearly no frontispiece of his qualities. He married an accomplished and charitable lady, and she did not spoil the stock in refining it. His life passed quietly; his death shook the country: for though it had been known that he had been one of our potentates, how mightily he was one had not entered into the calculations of the public until the will of the late Ezra Mattock, cited in our prints, received comments from various newspaper articles. A chuckle of collateral satisfaction ran through the empire. All England and her dependencies felt the state of cousinship with the fruits of energy; and it was an agreeable sentiment, coming opportunely, as it did, at the tail of articles that had been discussing a curious manifestation of late—to-wit, the awakening energy of the foreigner—a prodigious apparition on our horizon. Others were energetic too! We were not, the sermon ran, to imagine we were without rivals in the field. We were possessed of certain positive advantages; we had coal, iron, and an industrious population, but we were, it was to be feared, by no means a thrifty race, and there was reason for doubt whether in the matter of industry we were quite up to the mark of our forefathers. No deterioration of the stock was apprehended, still the nation must be accused of a lack of vigilance. We must look round us, and accept the facts as they stood. So accustomed had we become to the predominance of our position that it was difficult at first to realise a position of rivalry that threatened our manufacturing interests in their hitherto undisputed lead in the world's markets. The tale of our exports for the last five years conveys at once its moral and its warning. Statistics were then cited.

As when the gloomy pedagogue has concluded his exhortation, statistics birched the land. They were started at our dinner-tables, and scourged the social converse. Not less than in the articles, they were perhaps livelier than in the preface; they were distressing nevertheless; they led invariably to the question of our decadence. Carthage was named; a great mercantile community absolutely obliterated! Senatorial men were led to propose in their thoughtfullest tones that we should turn our attention to Art. Why should we not learn to excel in Art? We excelled in Poetry. Our Poets were cited: not that there was a notion that poems would pay as an export but to show that if we excel in one of the Arts we may in others of them. The poetry was not cited, nor was it necessary, the object being to inflate the balloon of paradox with a light-flying gas, and prove a poem-producing people to be of their nature born artists; if they did but know it. The explosion of a particular trade points to your taking up another. Energy is adapted to flourish equally in every branch of labour.

It is the genius of the will, commanding all the crossroads. A country breeding hugely must prove its energy likewise in the departments of the mind, or it will ultimately be unable to feed its young—nay, to feast its aldermen! Let us be up and alive.—Such was the exhortation of a profound depression. Outside these dismal assemblies, in the streets, an ancient song of raven recurrence croaked of 'Old England a-going down the hill'; for there is a link of electricity between the street-boy and the leading article in days when the Poles exchange salutations.

Mr. Ezra's legacy of his millions to son and daughter broke like a golden evening on the borders of the raincloud. Things could not be so bad when a plain untitled English gentleman bequeathed in the simplest manner possible such giant heaps, a very Pelion upon Ossa, of wealth to his children. The minds of the readers of journals were now directed to think of the hoarded treasures of this favoured country. They might approximately be counted, but even if counted they would be past conception, like the sidereal system. The contemplation of a million stupefies: consider the figures of millions and millions! Articles were written on Lombard Street, the world's gold-mine, our granary of energy, surpassing all actual and fabulous gold-mines ever spoken of: Aladdin's magician would find his purse contracting and squeaking in the comparison. Then, too, the store of jewels held by certain private families called for remark and an allusion to Sindbad the sailor, whose eyes were to dilate wider than they did in the valley of diamonds. Why, we could, if we pleased, lie by and pass two or three decades as jolly cricketers and scullers, and resume the race for wealth with the rest of mankind, hardly sensible of the holiday in our pockets though we were the last people to do it, we were the sole people that had the option. Our Fortunatus' cap was put to better purposes, but to have the cap, and not to be emasculated by the possession, might excuse a little reasonable pride in ourselves.

Thus did Optimism and Pessimism have their turn, like the two great parties in the State, and the subsiding see-saw restored a proper balance, much to the nation's comfort. Unhappily, it was remembered, there are spectators of its method of getting to an equipoise out of the agitation of extremes. The peep at our treasures to regain composure had, we fear, given the foreigner glimpses, and whetted the appetite of our masses. No sooner are we at peace than these are heard uttering low howls, and those are seen enviously glaring. The spectre, Panic, that ever dogs the optimistic feast, warns us of a sack under our beds, and robbers about to try a barely-bolted door. . . Then do we, who have so sweetly sung our senses to sleep, start up, in their grip, rush to the doctor and the blacksmith, rig alarums, proclaim ourselves intestinally torn, defenceless, a prey to foes within and without. It is discovered to be no worse than an alderman's dream, but the pessimist frenzy of the night has tossed a quieting sop to the Radical, and summoned the volunteers to a review. Laudatory articles upon the soldierly 'march past' of our volunteers permit of a spell of soft repose, deeper than prudent, at the end of it, India and Ireland consenting.