Next morning I took a final farewell of the Professor. The good man was much agitated, for, besides his bodily terror, he had been suffering from the effects of a violent purgative attack.
"I have thought seriously over what you said, my dear boy, and I begin to perceive that I have been acting very much like a fool. I shall pack up my chattels this evening, wash my hands of public affairs, and return to lay my old bones in peace beside those of my predecessors in the university."
"You can't do better, Professor; and if, in your prelections, you would omit all notice of Harmodius and Aristogiton, and say as little as possible about the Lacedæmonian code, it might tend to promote the welfare of your students, both in this world and in the next."
"Of that, my dear August Reignold, I am now thoroughly convinced. But you must admit that the abstract idea of unity—"
"Is utter fudge! You see the result of it already in the blood which is thickening in the streets. Adieu, Professor! Put your cockade in the fire, and offer my warmest congratulations to your friend Mr Simon of Treves."
Two days afterwards I experienced a genuine spasm of satisfaction while setting my foot on Dutch ground at Arnheim. The change from a democratic to a conservative country was so exhilarating, that I nearly slew myself by drinking confusion to democracy in bumpers of veritable Schiedam.
[SATIRES AND CARICATURES OF THE EIGHTEENTH CENTURY.][1]
A Comic History of England would be an exceedingly curious, and even a valuable work. We do not mean a caricatured history, with great men turned into ridicule, and important events burlesqued; such absurdities may provoke pity, but they will hardly extort a smile from any whose suffrage is worth courting. We have had a vast deal of comic literature in this country during the last dozen years; quite a torrent of facetiæ, a surfeit of slang and puns. One or two popular humorists gave the impetus, and set a host of imitators sliding and wriggling down the inclined plane leading from wit and humour to buffoonery and bad taste. The majority reached in an instant the bottom of the slope, and have ever since remained there. The truth is, the funny style has been overdone; the supply of jokers has exceeded the demand for jokes, until the very word "comic" resounds unpleasantly upon the public tympanum. It were a change to revert for a while to the wit of our forefathers, at least as good, we suspect, as much of more modern manufacture. And therefore, we repeat, a comic English history, whose claims to the quality should be founded on its illustration by the songs, satires, and caricatures of its respective periods, would be interesting and precious in many ways; particularly as giving an insight into popular feelings and characteristics, and often as throwing additional light upon the causes of important revolutions and political changes. It would certainly be a very difficult book to compile. Instead of beginning at the usual starting-post of Roman invasion, it could hardly be carried back to the first William. The Saxons may possibly have revenged themselves on their conquerors by satirical ditties, and by rude and grotesque delineations; but it may be doubted whether any authenticated specimens of either their poetry or painting are in existence at the present day. It would not surprise us if King John's courtiers had curried favour with their master by lampooning the absent Cœur-de-Lion; and doubtless when there were men sufficiently sacrilegious to slay a churchman at the altar, others may have ventured to satirise in rude doggrel the pride and presumption of Thomas à Becket. But have their graceless effusions survived? Can they be traced in black letter, or deciphered on the blocks of wood and stone referred to in Mr Wright's preface? We fear not; and we believe that, up to the date of the invention of printing, the history suggested would be very meagre, and the task of writing it most ungrateful. For some time after that date the humorous illustrations would be written, and not pictorial; songs and lampoons, perhaps, but of caricatures few or none. For although caricature, in one variety or other, is ancient as the Pyramids, its introduction is recent into the country where, of all others, it seems most at home. Fostered by political liberty, it has naturalised itself kindly on English soil, but its foreign origin remains undeniable. Already, in the sixteenth century, Italy had her Caracci, and France her Callot; whilst in England we vainly seek, until the appearance of Hogarth, a caricaturist whose name abides in our memories, or whose works grace our museums.