For forty years Adams kept this drawing on his mantelpiece, partly for its own interest, but largely for curiosity to see whether any critic or artist would ever stop to look at it. None ever did, unless he knew the story. Adams himself never wanted to know more about it. He refused to seek further light. He never cared to learn whether the drawing was Rafael's, or whether the verse was Rafael's, or whether even the water-mark was Rafael's. The experts--some scores of them including the British Museum,--had affirmed that the drawing was worth a certain moiety of twelve shillings. On that point, also, Adams could offer no opinion, but he was clear that his education had profited by it to that extent--his amusement even more.
Art was a superb field for education, but at every turn he met the same old figure, like a battered and illegible signpost that ought to direct him to the next station but never did. There was no next station. All the art of a thousand--or ten thousand--years had brought England to stuff which Palgrave and Woolner brayed in their mortars; derided, tore in tatters, growled at, and howled at, and treated in terms beyond literary usage. Whistler had not yet made his appearance in London, but the others did quite as well. What result could a student reach from it? Once, on returning to London, dining with Stopford Brooke, some one asked Adams what impression the Royal Academy Exhibition made on him. With a little hesitation, he suggested that it was rather a chaos, which he meant for civility; but Stopford Brooke abruptly met it by asking whether chaos were not better than death. Truly the question was worth discussion. For his own part, Adams inclined to think that neither chaos nor death was an object to him as a searcher of knowledge--neither would have vogue in America--neither would help him to a career. Both of them led him away from his objects, into an English dilettante museum of scraps, with nothing but a wall-paper to unite them in any relation of sequence. Possibly English taste was one degree more fatal than English scholarship, but even this question was open to argument. Adams went to the sales and bought what he was told to buy; now a classical drawing by Rafael or Rubens; now a water-color by Girtin or Cotman, if possible unfinished because it was more likely to be a sketch from nature; and he bought them not because they went together--on the contrary, they made rather awkward spots on the wall as they did on the mind--but because he could afford to buy those, and not others. Ten pounds did not go far to buy a Michael Angelo, but was a great deal of money to a private secretary. The effect was spotty, fragmentary, feeble; and the more so because the British mind was constructed in that way--boasted of it, and held it to be true philosophy as well as sound method.
What was worse, no one had a right to denounce the English as wrong. Artistically their mind was scrappy, and every one knew it, but perhaps thought itself, history, and nature, were scrappy, and ought to be studied so. Turning from British art to British literature, one met the same dangers. The historical school was a playground of traps and pitfalls. Fatally one fell into the sink of history--antiquarianism. For one who nourished a natural weakness for what was called history, the whole of British literature in the nineteenth century was antiquarianism or anecdotage, for no one except Buckle had tried to link it with ideas, and commonly Buckle was regarded as having failed. Macaulay was the English historian. Adams had the greatest admiration for Macaulay, but he felt that any one who should even distantly imitate Macaulay would perish in self-contempt. One might as well imitate Shakespeare. Yet evidently something was wrong here, for the poet and the historian ought to have different methods, and Macaulay's method ought to be imitable if it were sound; yet the method was more doubtful than the style. He was a dramatist; a painter; a poet, like Carlyle. This was the English mind, method, genius, or whatever one might call it; but one never could quite admit that the method which ended in Froude and Kinglake could be sound for America where passion and poetry were eccentricities. Both Froude and Kinglake, when one met them at dinner, were very agreeable, very intelligent; and perhaps the English method was right, and art fragmentary by essence. History, like everything else, might be a field of scraps, like the refuse about a Staffordshire iron-furnace. One felt a little natural reluctance to decline and fall like Silas Wegg on the golden dust-heap of British refuse; but if one must, one could at least expect a degree from Oxford and the respect of the Athenæum Club.
While drifting, after the war ended, many old American friends came abroad for a holiday, and among the rest, Dr. Palfrey, busy with his "History of New England." Of all the relics of childhood, Dr. Palfrey was the most sympathetic, and perhaps the more so because he, too, had wandered into the pleasant meadows of antiquarianism, and had forgotten the world in his pursuit of the New England Puritan. Although America seemed becoming more and more indifferent to the Puritan except as a slightly rococo ornament, he was only the more amusing as a study for the Monkbarns of Boston Bay, and Dr. Palfrey took him seriously, as his clerical education required. His work was rather an Apologia in the Greek sense; a justification of the ways of God to Man, or, what was much the same thing, of Puritans to other men; and the task of justification was onerous enough to require the occasional relief of a contrast or scapegoat. When Dr. Palfrey happened on the picturesque but unpuritanic figure of Captain John Smith, he felt no call to beautify Smith's picture or to defend his moral character; he became impartial and penetrating. The famous story of Pocahontas roused his latent New England scepticism. He suggested to Adams, who wanted to make a position for himself, that an article in the North American Review on Captain John Smith's relations with Pocahontas would attract as much attention, and probably break as much glass, as any other stone that could be thrown by a beginner. Adams could suggest nothing better. The task seemed likely to be amusing. So he planted himself in the British Museum and patiently worked over all the material he could find, until, at last, after three or four months of labor, he got it in shape and sent it to Charles Norton, who was then editing the North American. Mr. Norton very civilly and even kindly accepted it. The article appeared in January, 1867.
Surely, here was something to ponder over, as a step in education; something that tended to stagger a sceptic! In spite of personal wishes, intentions, and prejudices; in spite of civil wars and diplomatic education; in spite of determination to be actual, daily, and practical, Henry Adams found himself, at twenty-eight, still in English society, dragged on one side into English dilettantism, which of all dilettantism he held the most futile; and, on the other, into American antiquarianism, which of all antiquarianism he held the most foolish. This was the result of five years in London. Even then he knew it to be a false start. He had wholly lost his way. If he were ever to amount to anything, he must begin a new education, in a new place, with a new purpose.
CHAPTER XV
DARWINISM (1867-1868)
POLITICS, diplomacy, law, art, and history had opened no outlet for future energy or effort, but a man must do something, even in Portland Place, when winter is dark and winter evenings are exceedingly long. At that moment Darwin was convulsing society. The geological champion of Darwin was Sir Charles Lyell, and the Lyells were intimate at the Legation. Sir Charles constantly said of Darwin, what Palgrave said of Tennyson, that the first time he came to town, Adams should be asked to meet him, but neither of them ever came to town, or ever cared to meet a young American, and one could not go to them because they were known to dislike intrusion. The only Americans who were not allowed to intrude were the half-dozen in the Legation. Adams was content to read Darwin, especially his "Origin of Species" and his "Voyage of the Beagle." He was a Darwinist before the letter; a predestined follower of the tide; but he was hardly trained to follow Darwin's evidences. Fragmentary the British mind might be, but in those days it was doing a great deal of work in a very un-English way, building up so many and such vast theories on such narrow foundations as to shock the conservative, and delight the frivolous. The atomic theory; the correlation and conservation of energy; the mechanical theory of the universe; the kinetic theory of gases, and Darwin's Law of Natural Selection, were examples of what a young man had to take on trust. Neither he nor any one else knew enough to verify them; in his ignorance of mathematics, he was particularly helpless; but this never stood in his way. The ideas were new and seemed to lead somewhere--to some great generalization which would finish one's clamor to be educated. That a beginner should understand them all, or believe them all, no one could expect, still less exact. Henry Adams was Darwinist because it was easier than not, for his ignorance exceeded belief, and one must know something in order to contradict even such triflers as Tyndall and Huxley.
By rights, he should have been also a Marxist but some narrow trait of the New England nature seemed to blight socialism, and he tried in vain to make himself a convert. He did the next best thing; he became a Comteist, within the limits of evolution. He was ready to become anything but quiet. As though the world had not been enough upset in his time, he was eager to see it upset more. He had his wish, but he lost his hold on the results by trying to understand them.