Two Years Ago, Volume I

As all this was spoken while both her hands were clasped round Elsley's neck, and with looks and tones of the very sweetest as well as the very sauciest, no offence was given, and none taken: but Elsley's voice was sad as he asked,—

"So you really do care for my poems?"

"You great silly creature? Why else did I marry you at all? As if I cared for anything in the world but your poems; as if I did not love everybody who praises them; and if any stupid reviewer dares to say a word against them I could kill him on the spot. I care for nothing in the world but what people say of you.—And yet I don't care one pin; I know what your poems are, if nobody else does; and they belong to me, because you belong to me, and I must be the best judge, and care for nobody, no not I!"—And she began singing, and then hung over him, tormenting him lovingly while he read.

It was a true American review, utterly extravagant in its laudations, whether from over-kindness, or from a certain love of exaggeration and magniloquence, which makes one suspect that a large proportion of the Transatlantic gentlemen of the press must be natives of the sister isle: but it was all the more pleasant to the soul of Elsley.

"There," said Lucia, as she clung croodling to him; "there is a pretty character of you, sir! Make the most of it, for it is all those Yankees will ever send you."

"Yes," said Elsley, "if they would send one a little money, instead of making endless dollars by printing one's books, and then a few more by praising one at a penny a line."

"That's talking like a man of business: if instead of the review, now, a cheque for fifty pounds had come, how I would have rushed out and paid the bills!"

"And liked it a great deal better than the review?"

"You jealous creature! No. If I could always have you praised, I'd live in a cabin, and go about the world barefoot, like a wild Irish girl."

"You would make a very charming one."

"I used to, once, I can tell you, Valencia and I used to run about without shoes and stockings at Kilanbaggan, and you can't think how pretty and white this little foot used to look on a nice soft carpet of green moss."

"I shall write a sonnet to it."

"You may if you choose, provided you don't publish it."

"You may trust me for that. I am not one of those who anatomise their own married happiness for the edification of the whole public, and make fame, if not money, out of their own wives' hearts."

"How I should hate you, if you did! Not that I believe their fine stories about themselves. At least, I am certain it's only half the story. They have their quarrels, my dear, just as you and I have but they take care not to put them into poetry."

"Well, but who could? Whether they have a right or not to publish the poetical side of their married life, it is too much to ask them to give you the unpoetical also."

"Then they are all humbugs, and I believe, if they really love their wives so very much, they would not be at all that pains to persuade the world of it."

"You are very satirical and spiteful, ma'am."

"I always am when I am pleased. If I am particularly happy, I always long to pinch somebody. I suppose it's Irish—

"'Comes out, meets a friend, and for love knocks him down.'"

"But you know, you rogue, that you care to read no poetry but love poetry."

"Of course not every woman does, but let me find you publishing any such about me, and see what I will do to you! There, now I must go to my work, and you go and write something extra superfinely grand, because I have been so good to you. No. Let me go; what a bother you are. Good-bye."

And away she tripped, and he returned to his work, happier than he had been for a week past.

His happiness, truly, was only on the surface. The old wound had been salved—as what wound cannot be?—by woman's love and woman's wit but it was not healed. The cause of his wrong doing, the vain, self-indulgent spirit, was there still unchastened, and he was destined, that very day, to find that he had still to bear the punishment of it.

Now the reader must understand, that though one may laugh at Elsley Vavasour, because it is more pleasant than scolding at him, yet have Philistia and Fogeydom neither right nor reason to consider him a despicable or merely ludicrous person, or to cry, "Ah, if he had been as we are!"

Had he been merely ludicrous, Lucia would never have married him; and he could only have been spoken of with indignation, or left utterly out of the story, as a simply unpleasant figure, beyond the purposes of a novel, though admissible now and then into tragedy. One cannot heartily laugh at a man if one has not a lurking love for him, as one really ought to have for Elsley. How much value is to be attached to his mere power of imagination and fancy, and so forth, is a question; but there was in him more than mere talent: there was, in thought at least, virtue and magnanimity.

True, the best part of him, perhaps almost all the good part of him, spent itself in words, and must be looked for, not in his life, but in his books. But in those books it can be found; and if you look through them, you will see that he has not touched upon a subject without taking, on the whole, the right, and pure, and lofty view of it. Howsoever extravagant he may be in his notions of poetic licence, that licence is never with him a synonym for licentiousness. Whatever is tender and true, whatever is chivalrous and high-minded, he loves at first sight, and reproduces it lovingly. And it may be possible that his own estimate of his poems was not altogether wrong; that his words may have awakened here and there in others a love for that which is morally as well as physically beautiful, and may have kept alive in their hearts the recollection that, both for the bodies and the souls of men forms of life far nobler and fairer than those which we see now are possible; that they have appeared, in fragments at least, already on the earth; that they are destined, perhaps, to reappear and combine themselves in some ideal state, and in

"One far-off divine event,Toward which the whole creation moves."

This is the special and proper function of the poet; that he may do this, does God touch his lips with that which, however it may be misused, is still fire from off the altar beneath which the spirits of his saints cry,—"Lord, how long?" If he "reproduce the beautiful" with this intent, however so little, then is he of the sacred guild. And because Vavasour had this gift, therefore he was a poet.

But in this he was weak: that he did not feel, or at least was forgetting fast, that this gift had been bestowed on him for any practical purpose. No one would demand that he should have gone forth with some grand social scheme, to reform a world which looked to him so mean and evil. He was not a man of business, and was not meant to be one. But it was ill for him that in his fastidiousness and touchiness he had shut himself out from that world, till he had quite forgotten how much good there was in it as well as evil; how many people—commonplace and unpoetical it may be—but still heroical in God's sight, were working harder than he ever worked, at the divine drudgery of doing good, and that in dens of darkness and sloughs of filth, from which he would have turned with disgust; so that the sympathy with the sinful and fallen which marks his earlier poems, and which perhaps verges on sentimentalism, gradually gives place to a Pharisaic and contemptuous tone; a tone more lofty and manful in seeming, but far less divine in fact. Perhaps comparative success had injured him. Whilst struggling himself against circumstances, poor, untaught, unhappy, he had more fellow-feeling, with those whom circumstance oppressed. At least, the pity which he could once bestow upon the misery which he met in his daily walks, he now kept for the more picturesque woes of Italy and Greece.

In this, too, he was weak; that he had altogether forgotten that the fire from off the altar could only be kept alight by continual self-restraint and self-sacrifice, by continual gentleness and humility, shown in the petty matters of everyday home-life; and that he who cannot rule his own household can never rule the Church of God. And so it befell, that amid the little cross-blasts of home squabbles the sacred spark was fast going out. The poems written after he settled at Penalva are marked by a less definite purpose, by a lower tone of feeling: not, perhaps, by a lower moral tone; but simply by less of any moral tone at all. They are more and more full of merely sensuous beauty, mere word-painting, mere word-hunting. The desire of finding something worth saying gives place more and more to that of saying something in a new fashion. As the originality of thought (which accompanies only vigorous moral purpose) decreases, the attempt at originality of language increases. Manner, in short, has taken the place of matter. The art, it may be, of his latest poems is greatest: but it has been expended on the most unworthy themes. The later are mannered caricatures of the earlier, without their soul; and the same change seems to have passed over him which (with Mr. Ruskin's pardon) transformed the Turner of 1820 into the Turner of 1850.

Thus had Elsley transferred what sympathy he had left from needle-women and ragged schools, dwellers in Jacob's Island and sleepers in the dry arches of Waterloo Bridge, to sufferers of a more poetic class. Whether his sympathies showed thereby that he had risen or fallen, let my readers decide each for himself. It is a credit to any man to feel for any human being; and Italy, as she is at this moment, is certainly one of the most tragic spectacles which the world has ever seen. Elsley need not be blamed for pitying her; only for holding, with most of our poets, a vague notion that her woes were to be cured by a hair of the dog who bit her; viz., by homoeopathic doses of that same "art" which has been all along her morbid and self-deceiving substitute for virtue and industry. So, as she had sung herself down to the nether pit, Elsley would help to sing her up again; and had already been throwing off, ever since 1848, a series of sonnets which he entitled Eurydice, intimating, of course, that he acted as the Orpheus. Whether he had hopes of drawing iron tears down Pluto Radetzky's cheek, does not appear; but certainly the longer poem which had sprung from his fancy, at the urgent call of Messrs. Brown and Younger, would have been likely to draw nothing but iron balls from Radetzky's cannon; or failing so vast an effect, an immediate external application to the poet himself of that famous herb Pantagruelion, cure for all public ills and private woes, which men call hemp. Nevertheless, it was a noble subject; one which ought surely to have been taken up by some of our poets, for if they do not make a noble poem of it, it will be their own fault. I mean that sad and fantastic tragedy of Fra Dolcino and Margaret, which Signor Mariotti has lately given to the English public, in a book which, both for its matter and its manner, should be better known than it is. Elsley's soul had been filled (it would have been a dull one else) with the conception of the handsome and gifted patriot-monk, his soul delirious with, the dream of realising a perfect Church on earth; battling with tongue and pen, and at last with sword, against the villanies of pope and kaiser, and all the old devourers of the earth, cheered only by the wild love of her who had given up wealth, fame, friends, all which render life worth having, to die with him a death too horrible for words. And he had conceived (and not altogether ill) a vision, in which, wandering along some bright Italian bay, he met Dolcino sitting, a spirit at rest but not yet glorified, waiting for the revival of that dead land for which he had died; and Margaret by him, dipping her scorched feet for ever in the cooling wave, and looking up to the hero for whom she had given up all, with eyes of everlasting love. There they were to prophesy to him such things as seemed fit to him, of the future of Italy and of Europe, of the doom of priests and tyrants, of the sorrows and rewards of genius unappreciated and before its age; for Elsley's secret vanity could see in himself a far greater likeness to Dolcino, than Dolcino—the preacher, confessor, bender of all hearts, man of the world and man of action, at last crafty and all but unconquerable guerilla warrior—would ever have acknowledged in the self-indulgent dreamer. However, it was a fair conception enough; though perhaps it never would have entered Elsley's head, had Shelley never written the opening canto of the Revolt of Islam.

So Elsley, on a burning July forenoon, strolled up the lane and over the down to King Arthur's Nose, that he might find materials for his sea-shore scene. For he was not one of those men who live in such quiet, everyday communication with nature, that they drink in her various aspects as unconsciously as the air they breathe; and so can reproduce them, out of an inexhaustible stock of details, simply and accurately, and yet freshly too, tinged by the peculiar hue of the mind in which they have been long sleeping. He walked the world, either blind to the beauty round him, and trying to compose instead some little scrap of beauty in his own self-imprisoned thoughts; or else he was looking out consciously and spasmodically for views, effects, emotions, images; something striking and uncommon which would suggest a poetic figure, or help out a description, or in some way re-furnish his mind with thought. From which method it befell, that his lamp of truth was too often burnt out just when it was needed; and that, like the foolish virgins, he had to go and buy oil when it was too late; or failing that, to supply its place with some baser artificial material.

That day, however, he was fortunate enough; for wandering and scrambling among the rocks, at a dead low spring tide, he came upon a spot which would have made a poem of itself better than all Elsley ever wrote, had he, forgetting all about Fra Dolcino, Italy, priests, and tyrants, set down in black and white just what he saw; provided, of course, that he had patience first to see the same.

It was none other than that ghastly chasm across which Thurnall had been so miraculously swept, on the night of his shipwreck. The same ghastly chasm: but ghastly now no longer; and as Elsley looked down, the beauty below invited him, and the coolness also; for the sun beat on the flat rock above till it scorched the feet, and dazzled the eye, and crisped up the blackening sea-weeds; while every sea-snail crept to hide itself under the bladder-tangle, and nothing dared to peep or stir save certain grains of gunpowder, which seemed to have gone mad, so merrily did they hop about upon the surface of the fast evaporating salt-pools. That wonder, indeed, Elsley stooped to examine, and drew back his hands with an "ugh!" and a gesture of disgust, when he found that they were "nasty little insects." For Elsley held fully the poet's right to believe that all things are not very good; none, indeed, save such as suited his eclectic and fastidious taste; and to hold (on high aesthetic grounds, of course) toads and spiders in as much abhorrence as does any boarding-school girl. However, finding some rock ledges which formed a natural ladder, down he scrambled, gingerly enough, for he was neither an active nor a courageous man. But, once down, I will do him the justice to say, that for five whole minutes he forgot all about Fra Dolcino, and, what was better, about himself also.

The chasm may have been fifteen feet deep, and above, about half that breadth; but below, the waves had hollowed it into dark overhanging caverns. Just in front of him a huge boulder spanned the crack; and formed a natural doorway, through which he saw, like a picture set in a frame, the far-off blue sea softening into the blue sky among brown Eastern haze. Amid the haze a single ship hung motionless, like a white cloud. Nearer, a black cormorant floated sleepily along, and dived, and rose again. Nearer again, long lines of flat tide-rock, glittering and quivering in the heat, sloped gradually under the waves, till they ended in half-sunken beds of olive oar-weed, which bent their tangled stems into a hundred graceful curves, and swayed to and fro slowly and sleepily. The low swell slid whispering among their floating palms, and slipped on toward the cavern's mouth, as if asking wistfully (so Elsley fancied) when it would be time for it to return to that cool shade, and hide from all the blinding blaze outside. But when his eye was enough accustomed to the shade within, it withdrew gladly from the glaring sea and glaring tide-rocks to the walls of the chasm itself; to curved and polished sheets of stone, rich brown, with snow-white veins, on which danced for ever a dappled network of pale yellow light; to crusted beds of pink coralline; to caverns, in the dark crannies of which hung branching sponges and tufts of purple sea-moss; to strips of clear white sand, bestrewn with shells; to pools, each a gay flower-garden of all hues, where branching sea-weeds reflected blue light from every point, like a thousand damasked sword-blades; while among them, dahlias and chrysanthemums, and many another mimic of our earth-born flowers, spread blooms of crimson, and purple, and lilac, and creamy grey, half-buried among feathered weeds as brightly coloured as they; and strange and gaudy fishes shot across from side to side, and chased each other in and out of hidden cells.

Within and without all was at rest; the silence was broken only by the timid whisper of the swell, and by the chime of dropping water within some unseen cave: but what a different rest! Without, all lying breathless, stupefied, sun-stricken, in blinding glare; within, all coolness, and refreshing sleep. Without, all simple, broad, and vast; within, all various, with infinite richness of form and colour.—An Hairoun Alraschid's bower, looking out upon the—

Bother the fellow! Why will he go on analysing and figuring in this way? Why not let the blessed place tell him what it means, instead of telling it what he thinks? And—why, he is actually writing verses, though not about Fra Dolcino!

"How rests yon rock, whoso half-day's bath is done,With broad bright sight, beneath the broad bright sun,Like sea-nymph tired, on cushioned mosses sleeping.Yet, nearer drawn, beneath her purple tresses,From down-bent brows we find her slowly weeping,So many a heart for cruel man's caressesMust only pine and pine, and yet must bearA gallant front beneath life's gaudy glare."

Silly fellow! Do you think that Nature had time to think of such a far-fetched conceit as that while it was making that rock and peopling it with a million tiny living things, of which not one falleth to the ground without your Father's knowledge, and each more beautiful than any sea-nymph whom you ever fancied? For, after all, you cannot fancy a whole sea nymph (perhaps in that case you could make one), but only a very little scrap of her outside. Or if, as you boast, you are inspired by the Creative Spirit, tell us what the Creative Spirit says about that rock, and not such verse as that, the lesson of which you don't yourself really feel. Pretty enough it is, perhaps: but in your haste to say a pretty thing, just because it was pretty, you have not cared to condemn yourself out of your own mouth. Why were you sulky, sir, with Mrs. Vavasour this very morning, after all that passed, because she would look over the washing-books, while you wanted her to hear about Fra Dolcino? And why, though she was up to her knees among your dirty shirts when you went out, did you not give her one parting kiss, which would have transfigured her virtuous drudgery for her into a sacred pleasure? One is heartily glad to see you disturbed, cross though you may look at it, by that sturdy step and jolly whistle which burst in on you from the other end of the chasm, as Tom Thurnall, with an old smock frock over his coat and a large basket on his arm, comes stumbling and hopping towards you, dropping every now and then on hands and knees, and turning over on his back, to squeeze his head into some muddy crack, and then withdraw it with the salt water dripping down his nose.

Elsley closed his eyes, and rested his head on his hand in a somewhat studied "pose." But as he wished not to be interrupted, it may not have been altogether unpardonable to pretend sleep. However, the sleeping posture had exactly the opposite effect to that which he designed.

"Ah, Mr. Vavasour!"

"Humph!" quoth he slowly, if not sulkily.

"I admire your taste, sir; a charming summerhouse old Triton has vacated for your use; but let me advise you not to go to sleep in it."

"Why then, sir?"

"Because—it's no business of mine, of course: but the tide has turned already; and if a breeze springs up old Triton will be back again in a hurry, and in a rage also; and—I may possibly lose a good patient."

Elsley, who knew nothing about the tides, save that "the moon wooed the ocean," or some such important fact, thanked him coolly enough, and returned to a meditative attitude. Tom saw that he was in the seventh heaven, and went on: but he had not gone three steps before he pulled up short, slapping his hands together once, as a man does who has found what he wants; and then plunged up to his knees in a rock pool, and then began working very gently at something under water.

Elsley watched him for full five minutes with so much curiosity, that, despite of himself, he asked him what he was doing.

Tom had his whole face under water, and did not hear, till Elsley had repeated the question.

"Only a rare zoophyte," said he at last, lifting his dripping visage, and gasping for breath; and then he dived again.

"Inexplicable pedantry of science!" thought Elsley to himself, while Tom worked on steadfastly, and at last rose, and, taking out a phial from his basket, was about to deposit in it something invisible.

"Stay a moment; you really have roused my curiosity by your earnestness. May I see what it is for which you have taken so much trouble?"

Tom held out on his finger a piece of slimy crust the size of a halfpenny. Elsley could only shrug his shoulders.

"Nothing to you, sir, I doubt not; but worth a guinea to me, even if it be only to mount bits of it as microscopic objects."

"So you mingle business with science?" said Elsley, rather in a contemptuous tone.

"Why not? I must live, and my father too; and it is as honest a way of making money as any other: I poach in no man's manor for my game."

"But what is your game! What possible attraction in that bit of dirt can make men spend their money on it?"

"You shall see," said Tom, dropping it into the phial of salt water, and offering it to Elsley, with his pocket magnifier.

"Judge for yourself."

Elsley did so, and beheld a new wonder—a living plant of crystal, studded with crystal bells, from each of which waved a crown of delicate arms. It was the first time that Elsley had ever seen one of those exquisite zoophytes which stud every rock and every tuft of weed.

"This is most beautiful," said he at length.

"Humph! why should not Mr. Vavasour write a poem about it?"

"Why not indeed?" thought Elsley.

"It's no business of mine, no man's less: but I often wonder why you poets don't take to the microscope, and tell us a little more about the wonderful things which are here already, and not about those which are not, and which, perhaps, never will be."

"Well," said Elsley, after another look: "but, after all, these things have no human interest in them."

"I don't know that; they have to me, for instance. These are the things which I would write about if I had any turn for verse, not about human nature, of which I know, I'm afraid, a little too much already. I always like to read old Darwin's 'Loves of the Plants;' bosh as it is in a scientific point of view, it amuses one's fancy without making one lose one's temper, as one must when one begins to analyse the microscopic ape called self and friends.

"You would like, then, the old Cosmogonies, the Eddas and the Vedas," said Elsley, getting interested, as most people did after five minutes' talk with the cynical doctor. "I suppose you would not say much for their science; but, as poetry, they are just what you ask for—the expression of thoughtful spirits, who looked round upon nature with awe-struck, childlike eyes, and asked of all heaven and earth the question, 'What are you? How came you to be?' Yet—it may be my fault—while I admire them, I cannot sympathise with them. To me, this zoophyte is as a being of another sphere; and till I can create some link in my own mind between it and humanity it is as nothing in my eyes."