But with the varied and overflowing gladness of those three memorable weeks it would be unworthy now to associate only the saddened recollection of the sole survivor. "Blessed star of morning!" wrote Dickens to Felton while yet the glow of its enjoyment was upon him. "Such a trip as we had into Cornwall just after Longfellow went away! . . . Sometimes we travelled all night, sometimes all day, sometimes both. . . . Heavens! If you could have seen the necks of bottles, distracting in their immense varieties of shape, peering out of the carriage pockets! If you could have witnessed the deep devotion of the post-boys, the wild attachment of the hostlers, the maniac glee of the waiters! If you could have followed us into the earthy old churches we visited, and into the strange caverns on the gloomy sea-shore, and down into the depths of mines, and up to the tops of giddy heights where the unspeakable green water was roaring, I don't know how many hundred feet below! If you could have seen but one gleam of the bright fires by which we sat in the big rooms of ancient inns at night, until long after the small hours had come and gone. . . . I never laughed in my life as I did on this journey. It would have done you good to hear me. I was choking and gasping and bursting the buckle off the back of my stock, all the way. And Stanfield got into such apoplectic entanglements that we were often obliged to beat him on the back with portmanteaus before we could recover him. Seriously, I do believe there never was such a trip. And they made such sketches, those two men, in the most romantic of our halting-places, that you would have sworn we had the Spirit of Beauty with us, as well as the Spirit of Fun."[64]
The Logan Stone, by Stanfield, was one of them; and it laughingly sketched both the charm of what was seen and the mirth of what was done, for it perched me on the top of the stone. It is historical, however, the ascent having been made; and of this and other examples of steadiness at heights which deterred the rest, as well as of a subject suggested for a painting of which Dickens became the unknown purchaser, Maclise reminded me in some pleasant allusions many years later, which, notwithstanding their tribute to my athletic achievements, the good-natured reader must forgive my printing. They complete the little picture of our trip. Something I had written to him of recent travel among the mountain scenery of the wilder coasts of Donegal had touched the chord of these old remembrances. "As to your clambering," he replied, "don't I know what happened of old? Don't I still see the Logan Stone, and you perched on the giddy top, while we, rocking it on its pivot, shrank from all that lay concealed below! Should I ever have blundered on the waterfall of St. Wighton, if you had not piloted the way? And when we got to Land's-end, with the green sea far under us lapping into solitary rocky nooks where the mermaids live, who but you only had the courage to stretch over, to see those diamond jets of brightness that I swore then, and believe still, were the flappings of their tails! And don't I recall you again, sitting on the tip-top stone of the cradle-turret over the highest battlement of the castle of St. Michael's Mount, with not a ledge or coigne of vantage 'twixt you and the fathomless ocean under you, distant three thousand feet? Last, do I forget you clambering up the goat-path to King Arthur's castle of Tintagel, when, in my vain wish to follow, I grovelled and clung to the soil like a Caliban, and you, in the manner of a tricksy spirit and stout Ariel, actually danced up and down before me!"
The waterfall I led him to was among the records of the famous holiday, celebrated also by Thackeray in one of his pen-and-ink pleasantries, which were sent by both painters to the next year's Academy; and so eager was Dickens to possess this landscape by Maclise which included the likeness of a member of his family, yet so anxious that our friend should be spared the sacrifice which he knew would follow an avowal of his wish, that he bought it under a feigned name before the Academy opened, and steadily refused to take back the money which on discovery of the artifice Maclise pressed upon him.[65] Our friend, who already had munificently given him a charming drawing of his four eldest children to accompany him and his wife to America, had his generous way nevertheless; and as a voluntary offering four years later, painted Mrs. Dickens on a canvas of the same size as the picture of her husband in 1839.
"Behold finally the title of the new book," was the first note I had from Dickens (12th of November) after our return; "don't lose it, for I have no copy." Title and even story had been undetermined while we travelled, from the lingering wish he still had to begin it among those Cornish scenes; but this intention had now been finally abandoned, and the reader lost nothing by his substitution for the lighthouse or mine in Cornwall, of the Wiltshire-village forge on the windy autumn evening which opens the tale of Martin Chuzzlewit. Into that name he finally settled, but only after much deliberation, as a mention of his changes will show. Martin was the prefix to all, but the surname varied from its first form of Sweezleden, Sweezleback, and Sweezlewag, to those of Chuzzletoe, Chuzzleboy, Chubblewig, and Chuzzlewig; nor was Chuzzlewit chosen at last until after more hesitation and discussion. What he had sent me in his letter as finally adopted, ran thus: "The Life and Adventures of Martin Chuzzlewig, his family, friends, and enemies. Comprising all his wills and his ways. With an historical record of what he did and what he didn't. The whole forming a complete key to the house of Chuzzlewig." All which latter portion of the title was of course dropped as the work became modified, in its progress, by changes at first not contemplated; but as early as the third number he sent me the plan of "old Martin's plot to degrade and punish Pecksniff," and the difficulties he encountered in departing from other portions of his scheme were such as to render him, in his subsequent stories, more bent upon constructive care at the outset, and adherence as far as might be to any design he had formed.
The first number, which appeared in January 1843, had not been quite finished when he wrote to me on the 8th of December: "The Chuzzlewit copy makes so much more than I supposed, that the number is nearly done. Thank God!" Beginning so hurriedly as at last he did, altering his course at the opening and seeing little as yet of the main track of his design, perhaps no story was ever begun by him with stronger heart or confidence. Illness kept me to my rooms for some days, and he was so eager to try the effect of Pecksniff and Pinch that he came down with the ink hardly dry on the last slip to read the manuscript to me. Well did Sydney Smith, in writing to say how very much the number had pleased him, foresee the promise there was in those characters. "Pecksniff and his daughters, and Pinch, are admirable—quite first-rate painting, such as no one but yourself can execute!" And let me here at once remark that the notion of taking Pecksniff for a type of character was really the origin of the book; the design being to show, more or less by every person introduced, the number and variety of humours and vices that have their root in selfishness.
Another piece of his writing that claims mention at the close of 1842 was a prologue contributed to the Patrician's Daughter, Mr. Westland Marston's first dramatic effort, which had attracted him by the beauty of its composition less than by the courage with which its subject had been chosen from the actual life of the time.
"Not light its import, and not poor its mien;
Yourselves the actors, and your homes the scene."
This was the date, too, of Mr. Browning's tragedy of the Blot on the 'Scutcheon, which I took upon myself, after reading it in the manuscript, privately to impart to Dickens; and I was not mistaken in the belief that it would profoundly touch him. "Browning's play," he wrote (25th of November), "has thrown me into a perfect passion of sorrow. To say that there is anything in its subject save what is lovely, true, deeply affecting, full of the best emotion, the most earnest feeling, and the most true and tender source of interest, is to say that there is no light in the sun, and no heat in blood. It is full of genius, natural and great thoughts, profound and yet simple and beautiful in its vigour. I know nothing that is so affecting, nothing in any book I have ever read, as Mildred's recurrence to that 'I was so young—I had no mother.' I know no love like it, no passion like it, no moulding of a splendid thing after its conception, like it. And I swear it is a tragedy that must be played; and must be played, moreover, by Macready. There are some things I would have changed if I could (they are very slight, mostly broken lines); and I assuredly would have the old servant begin his tale upon the scene; and be taken by the throat, or drawn upon, by his master, in its commencement. But the tragedy I never shall forget, or less vividly remember than I do now. And if you tell Browning that I have seen it, tell him that I believe from my soul there is no man living (and not many dead) who could produce such a work.—Macready likes the altered prologue very much." . . . There will come a more convenient time to speak of his general literary likings, or special regard for contemporary books; but I will say now that nothing interested him more than successes won honestly in his own field, and that in his large and open nature there was no hiding-place for little jealousies. An instance occurs to me which may be named at once, when, many years after the present date, he called my attention very earnestly to two tales then in course of publication in Blackwood's Magazine, and afterwards collected under the title of Scenes of Clerical Life. "Do read them," he wrote. "They are the best things I have seen since I began my course."
Maclise, R.A. C.H. Jeens.