“‘Very well,’ sais he, ‘here goes.’
“‘Well, then,’ sais you, ‘paint a party of gipsies there; mind their different coloured clothes, and different attitudes, and different occupations. Here a man mendin’ a harness, there a woman pickin’ a stolen fowl, there a man skinnin’ a rabbit, there a woman with her petticoat up, a puttin’ of a patch in it. Here two boys a fishin’, and there a little gall a playin’ with a dog, that’s a racin’ and a yelpin’, and a barkin’ like mad.’
“‘Well, when he’s done,’ sais you, ‘which pictur do you reckon is the best now, Squire Copely? speak candid for I want to know, and I ask you now as a countryman.’
“‘Well’ he’ll jist up and tell you, ‘Mr. Poker,’ sais he, ‘your fashionable party is the devil, that’s a fact. Man made the town, but God made the country. Your company is as formal, and as stiff, and as oninterestin’ as a row of poplars; but your gipsy scene is beautiful, because it’s nateral. It was me painted old Chatham’s death in the House of Lords; folks praised it a good deal; but it was no great shakes, there was no natur’ in it. The scene was real, the likenesses was good, and there was spirit in it, but their damned uniform toggery, spiled the whole thing—it was artificial, and wanted life and natur. Now, suppose, such a thing in Congress, or suppose some feller skiverd the speaker with a bowie knife as happened to Arkansaw, if I was to paint it, it would be beautiful. Our free and enlightened people is so different, so characteristic and peculiar, it would give a great field to a painter. To sketch the different style of man of each state, so that any citizen would sing right out; Heavens and airth if that don’t beat all! Why, as I am a livin’ sinner that’s the Hoosier of Indiana, or the Sucker of Illinois, or the Puke of Missouri, or the Bucky of Ohio, or the Red Horse of Kentucky, or the Mudhead of Tennesee, or the Wolverine of Michigan or the Eel of New England, or the Corn Cracker of Virginia! That’s the thing that gives inspiration. That’s the glass of talabogus that raises your spirits. There is much of elegance, and more of comfort in England. It is a great and a good country, Mr. Poker, but there is no natur in it.’
“It is as true as gospel,” said Mr. Slick, “I’m tellin’ you no lie. It’s a fact. If you expect to paint them English, as you have the Blue-Noses and us, you’ll pull your line up without a fish, oftener than you are a-thinkin’ on; that’s the reason all our folks have failed. ‘Rush’s book is jist molasses and water, not quite so sweet as ‘lasses, and not quite so good as water; but a spilin’ of both. And why? His pictur was of polished life, where there is no natur. Washington Irving’s book is like a Dutch paintin’, it is good, because it is faithful; the mop has the right number of yarns, and each yarn has the right number of twists, (altho’ he mistook the mop of the grandfather, for the mop of the man of the present day) and the pewter plates are on the kitchen dresser, and the other little notions are all there. He has done the most that could be done for them, but the painter desarves more praise than the subject.
“Why is it every man’s sketches of America takes? Do you suppose it is the sketches? No. Do you reckon it is the interest we create? No. Is it our grand experiments? No. They don’t care a brass button for us, or our country, or experiments nother. What is it then? It is because they are sketches of natur. Natur in every grade and every variety of form; from the silver plate, and silver fork, to the finger and huntin’ knife. Our artificials Britishers laugh at; they are bad copies, that’s a fact; I give them up. Let them laugh, and be darned; but I stick to my natur, and I stump them to produce the like.
“Oh, Squire, if you ever sketch me, for goodness gracious sake, don’t sketch me as an Attache to our embassy, with the Legation button, on the coat, and black Jube Japan in livery. Don’t do that; but paint me in my old waggon to Nova Scotier, with old Clay before me, you by my side, a segar in my mouth, and natur all round me. And if that is too artificial; oh, paint me in the back woods, with my huntin’ coat on, my leggins, my cap, my belt, and my powder-horn. Paint me with my talkin’ iron in my hand, wipin’ her, chargin’ her, selectin’ the bullet, placin’ it in the greased wad, and rammin’ it down. Then draw a splendid oak openin’ so as to give a good view, paint a squirrel on the tip top of the highest branch, of the loftiest tree, place me off at a hundred yards, drawin’ a bead on him fine, then show the smoke, and young squire squirrel comin’ tumblin’ down head over heels lumpus’, to see whether the ground was as hard as dead squirrels said it was. Paint me nateral, I besech you; for I tell you now, as I told you before, and ever shall say, there is nothin’ worth havin’ or knowin’, or hearin’, or readin’, or seein’, or tastin’, or smellin’, or feelin’ and above all and more than all, nothin’ worth affectionin’ but Natur.
CHAPTER XIV. THE SOCDOLAGER.
As soon as I found my friend Mr. Hopewell comfortably settled in his lodgings, I went to the office of the Belgian Consul and other persons to obtain the necessary passports for visiting Germany, where I had a son at school. Mr. Slick proceeded at the same time to the residence of his Excellency Abednego Layman, who had been sent to this country by the United States on a special mission, relative to the Tariff.