[37] Nineteenth Century, June, 1880.
[38] See Time and Tide, § 72.—Ed.
[39] Nell, in the "Old Curiosity Shop," was simply killed for the market, as a butcher kills a lamb (see Forster's "Life,") and Paul was written under the same conditions of illness which affected Scott—a part of the ominous palsies, grasping alike author and subject both in "Dombey" and "Little Dorrit."
[40] "Chourineur" not striking with dagger-point, but ripping with knife-edge. Yet I do him, and La Louve, injustice in classing them with the two others; they are put together only as parts in the same phantasm. Compare with La Louve, the strength of wild virtue in the "Louvécienne" (Lucienne) of Gaboriau—she, province-born and bred; and opposed to Parisian civilization in the character of her seamstress friend. "De ce Paris, où elle était née, elle savait tout—elle connaissait tout. Rien ne l'étonnait, nul ne l'intimidait. Sa science des détails matériels de l'existence était inconcevable. Impossible de la duper!—Eh bien! cette fille si laborieuse et si économe n'avait même pas la plus vague notion des sentiments qui sont l'honneur de la femme. Je n'avais pas idée d'une si complète absence de sens moral; d'une si inconscience dépravation, d'une impudence si effrontément naïve."—"L'Argent des autres," vol. i. p. 358.
[41] The reader who cares to seek it may easily find medical evidence of the physical effects of certain states of brain disease in producing especially images of truncated and Hermes-like deformity, complicated with grossness. Horace, in the "Epodes," scoffs at it, but not without horror. Luca Signorelli and Raphael in their arabesques are deeply struck by it: Dürer, defying and playing with it alternately, is almost beaten down again and again in the distorted faces, hewing halberts, and suspended satyrs of his arabesques round the polyglot Lord's Prayer; it takes entire possession of Balzac in the "Contes Drolatiques"; it struck Scott in the earliest days of his childish "visions" intensified by the ax-stroke murder of his grand aunt (L. i. 142, and see close of this note). It chose for him the subject of the "Heart of Midlothian," and produced afterwards all the recurrent ideas of executions, tainting "Nigel," almost spoiling "Quentin Durward"—utterly the "Fair Maid of Perth": and culminating in "Bizarro" (L. x. 149). It suggested all the deaths by falling, or sinking, as in delirious sleep—Kennedy, Eveline Neville (nearly repeated in Clara Mowbray), Amy Robsart, the Master of Ravenswood in the quicksand, Morris, and Corporal Grace-be-here—compare the dream of Gride, in "Nicholas Nickleby," and Dickens's own last words, on the ground (so also, in my own inflammation of the brain, two years ago, I dreamed that I fell through the earth and came out on the other side). In its grotesque and distorting power, it produced all the figures of the Lay Goblin, Pacolet, Flibbertigibbet, Cockledemoy, Geoffrey Hudson, Fenella, and Nectabanus; in Dickens it in like manner gives Quilp, Krook, Smike, Smallweed, Miss Mowcher, and the dwarfs and wax-work of Nell's caravan; and runs entirely wild in "Barnaby Budge," where, with a corps de drame composed of one idiot, two madmen, a gentleman-fool who is also a villain, a shop-boy fool who is also a blackguard, a hangman, a shriveled virago, and a doll in ribbons—carrying this company through riot and fire, till he hangs the hangman, one of the madmen, his mother, and the idiot, runs the gentleman-fool through in a bloody duel, and burns and crushes the shop-boy fool into shapelessness, he cannot yet be content without shooting the spare lover's leg off, and marrying him to the doll in a wooden one; the shapeless shop-boy being finally also married in two wooden ones. It is this mutilation, observe, which is the very sign manual of the plague; joined, in the artistic forms of it, with a love of thorniness—(in their mystic root, the truncation of the limbless serpent and the spines of the dragon's wing. Compare "Modern Painters," vol. iv., "Chapter on the Mountain Gloom," s. 19); and in all forms of it, with petrifaction or loss of power by cold in the blood, whence the last Darwinian process of the witches' charm—"cool it with a baboon's blood, then the charm is firm and good." The two frescoes in the colossal handbills which have lately decorated the streets of London (the baboon with the mirror, and the Maskelyne and Cooke decapitation) are the final English forms of Raphael's arabesque under this influence; and it is well worth while to get the number for the week ending April 3, 1880, of "Young Folks—a magazine of instructive and entertaining literature for boys and girls of all ages," containing "A Sequel to Desdichado" (the modern development of Ivanhoe), in which a quite monumental example of the kind of art in question will be found as a leading illustration of this characteristic sentence, "See, good Cerberus," said Sir Rupert, "my hand has been struck off. You must make me a hand of iron, one with springs in it, so that I can make it grasp a dagger." The text is also, as it professes to be, instructive; being the ultimate degeneration of what I have above called the "folly" of "Ivanhoe"; for the folly begets folly down, and down; and whatever Scott and Turner did wrong has thousands of imitators—their wisdom none will so much as hear, how much less follow!
In both of the Masters, it is always to be remembered that the evil and good are alike conditions of literal vision: and therefore also, inseparably connected with the state of the health. I believe the first elements of all Scott's errors were in the milk of his consumptive nurse, which all but killed him as an infant (L. i. 19)—and was without doubt the cause of the teething fever that ended in his lameness (L. i. 20). Then came (if the reader cares to know what I mean by "Fors," let him read the page carefully) the fearful accidents to his only sister, and her death (L. i. 17); then the madness of his nurse, who planned his own murder (21), then the stories continually told him of the executions at Carlisle (24), his aunt's husband having seen them; issuing, he himself scarcely knows how, in the unaccountable terror that came upon him at the sight of statuary (31)—especially Jacob's ladder; then the murder of Mrs. Swinton, and finally the nearly fatal bursting of the blood vessel at Kelso, with the succeeding nervous illness (65-67)—solaced, while he was being "bled and blistered till he had scarcely a pulse left," by that history of the Knights of Malta—fondly dwelt on and realized by actual modeling of their fortress, which returned to his mind for the theme of its last effort in passing away.
[42] "Se dit par dénigrement, d'un chrétien qui ne croit pas les dogmes de sa religion."—Fleming, vol. ii. p. 659.
[43] The novel alluded to is "The Mill on the Floss." See below, p. 272, § 108.—Ed.
[44] "A son nom," properly. The sentence is one of Victor Cherbuliez's, in "Prosper Randoce," which is full of other valuable ones. See the old nurse's "ici bas les choses vont de travers, comme un chien qui va à vêpres," p. 93; and compare Prosper's treasures, "la petite Vénus, et le petit Christ d'ivoire," p. 121; also Madame Brehanne's request for the divertissement of "quelque belle batterie à coups de couteau" with Didier's answer. "Hélas! madame, vous jouez de malheur, ici dans la Drôme, l'on se massacre aussi peu que possible," p. 33.
[45] Edgeworth's "Tales," (Hunter, 1827), "Harrington and Ormond," vol. iii. p. 260.