Part 7 (2/2)

But this benefit of fiction becomes lost with more sophisticated hearers and authors: a man is no longer the dupe of his own artifice, and cannot deal playfully with truths that are a matter of bitter concern to him in his life. And hence, in the progressive centralisation of modern thought, we should expect the old form of fable to fall gradually into desuetude, and be gradually succeeded by another, which is a fable in all points except that it is not altogether fabulous. And this new form, such as we should expect, and such as we do indeed find, still presents the essential character of brevity; as in any other fable also, there is, underlying and animating the brief action, a moral idea; and as in any other fable, the object is to bring this home to the reader through the intellect rather than through the feelings; so that, without being very deeply moved or interested by the characters of the piece, we should recognise vividly the hinges on which the little plot revolves. But the fabulist now seeks a.n.a.logies where before he merely sought humorous situations. There will be now a logical nexus between the moral expressed and the machinery employed to express it. The machinery, in fact, as this change is developed, becomes less and less fabulous. We find ourselves in presence of quite a serious, if quite a miniature division of creative literature; and sometimes we have the lesson embodied in a sober, everyday narration, as in the parables of the New Testament, and sometimes merely the statement or, at most, the collocation of significant facts in life, the reader being left to resolve for himself the vague, troublesome, and not yet definitely moral sentiment which has been thus created. And step by step with the development of this change, yet another is developed: the moral tends to become more indeterminate and large. It ceases to be possible to append it, in a tag, to the bottom of the piece, as one might write the name below a caricature; and the fable begins to take rank with all other forms of creative literature, as something too ambitious, in spite of its miniature dimensions, to be resumed in any succinct formula without the loss of all that is deepest and most suggestive in it.

Now it is in this widest sense that Lord Lytton understands the term; there are examples in his two pleasant volumes of all the forms already mentioned, and even of another which can only be admitted among fables by the utmost possible leniency of construction. 'Composure,' 'Et Caetera,'

and several more, are merely similes poetically elaborated. So, too, is the pathetic story of the grandfather and grandchild: the child, having treasured away an icicle and forgotten it for ten minutes, comes back to find it already nearly melted, and no longer beautiful: at the same time, the grandfather has just remembered and taken out a bundle of love-letters, which he too had stored away in years gone by, and then long neglected; and, behold! the letters are as faded and sorrowfully disappointing as the icicle. This is merely a simile poetically worked out; and yet it is in such as these, and some others, to be mentioned further on, that the author seems at his best. Wherever he has really written after the old model, there is something to be deprecated: in spite of all the spirit and freshness, in spite of his happy a.s.sumption of that cheerful acceptation of things as they are, which, rightly or wrongly, we come to attribute to the ideal fabulist, there is ever a sense as of something a little out of place. A form of literature so very innocent and primitive looks a little over-written in Lord Lytton's conscious and highly-coloured style. It may be bad taste, but sometimes we should prefer a few sentences of plain prose narration, and a little Bewick by way of tail-piece. So that it is not among those fables that conform most nearly to the old model, but one had nearly said among those that most widely differ from it, that we find the most satisfactory examples of the author's manner.

In the mere matter of ingenuity, the metaphysical fables are the most remarkable; such as that of the windmill who imagined that it was he who raised the wind; or that of the grocer's balance ('Cogito ergo sum') who considered himself endowed with free-will, reason, and an infallible practical judgment; until, one fine day, the police made a descent upon the shop, and find the weights false and the scales unequal; and the whole thing is broken up for old iron. Capital fables, also, in the same ironical spirit, are 'Prometheus Unbound,' the tale of the vainglorying of a champagne-cork, and 'Teleology,' where a nettle justifies the ways of G.o.d to nettles while all goes well with it, and, upon a change of luck, promptly changes its divinity.

In all these there is still plenty of the fabulous if you will, although, even here, there may be two opinions possible; but there is another group, of an order of merit perhaps still higher, where we look in vain for any such playful liberties with Nature. Thus we have 'Conservation of Force'; where a musician, thinking of a certain picture, improvises in the twilight; a poet, hearing the music, goes home inspired, and writes a poem; and then a painter, under the influence of this poem, paints another picture, thus lineally descended from the first. This is fiction, but not what we have been used to call fable. We miss the incredible element, the point of audacity with which the fabulist was wont to mock at his readers. And still more so is this the case with others. 'The Horse and the Fly' states one of the unanswerable problems of life in quite a realistic and straightforward way. A fly startles a cab-horse, the coach is overset; a newly-married pair within and the driver, a man with a wife and family, are all killed. The horse continues to gallop off in the loose traces, and ends the tragedy by running over an only child; and there is some little pathetic detail here introduced in the telling, that makes the reader's indignation very white-hot against some one. It remains to be seen who that some one is to be: the fly? Nay, but on closer inspection, it appears that the fly, actuated by maternal instinct, was only seeking a place for her eggs: is maternal instinct, then, 'sole author of these mischiefs all'? 'Who's in the Right?' one of the best fables in the book, is somewhat in the same vein. After a battle has been won, a group of officers a.s.semble inside a battery, and debate together who should have the honour of the success; the Prince, the general staff, the cavalry, the engineer who posted the battery in which they then stand talking, are successively named: the sergeant, who pointed the guns, sneers to himself at the mention of the engineer; and, close by, the gunner, who had applied the match, pa.s.ses away with a smile of triumph, since it was through his hand that the victorious blow had been dealt. Meanwhile, the cannon claims the honour over the gunner; the cannon-ball, who actually goes forth on the dread mission, claims it over the cannon, who remains idly behind; the powder reminds the cannon-ball that, but for him, it would still be lying on the a.r.s.enal floor; and the match caps the discussion; powder, cannon-ball, and cannon would be all equally vain and ineffectual without fire. Just then there comes on a shower of rain, which wets the powder and puts out the match, and completes this lesson of dependence, by indicating the negative conditions which are as necessary for any effect, in their absence, as is the presence of this great fraternity of positive conditions, not any one of which can claim priority over any other. But the fable does not end here, as perhaps, in all logical strictness, it should. It wanders off into a discussion as to which is the truer greatness, that of the vanquished fire or that of the victorious rain.

And the speech of the rain is charming:

'Lo, with my little drops I bless again And beautify the fields which thou didst blast!

Rend, wither, waste, and ruin, what thou wilt, But call not Greatness what the G.o.ds call Guilt.

Blossoms and gra.s.s from blood in battle spilt, And poppied corn, I bring.

'Mid mouldering Babels, to oblivion built, My violets spring.

Little by little my small drops have strength To deck with green delights the grateful earth.'

And so forth, not quite germane (it seems to me) to the matter in hand, but welcome for its own sake.

Best of all are the fables that deal more immediately with the emotions.

There is, for instance, that of 'The Two Travellers,' which is profoundly moving in conception, although by no means as well written as some others. In this, one of the two, fearfully frost-bitten, saves his life out of the snow at the cost of all that was comely in his body; just as, long before, the other, who has now quietly resigned himself to death, had violently freed himself from Love at the cost of all that was finest and fairest in his character. Very graceful and sweet is the fable (if so it should be called) in which the author sings the praises of that 'kindly perspective,' which lets a wheat-stalk near the eye cover twenty leagues of distant country, and makes the humble circle about a man's hearth more to him than all the possibilities of the external world. The companion fable to this is also excellent. It tells us of a man who had, all his life through, entertained a pa.s.sion for certain blue hills on the far horizon, and had promised himself to travel thither ere he died, and become familiar with these distant friends. At last, in some political trouble, he is banished to the very place of his dreams. He arrives there overnight, and, when he rises and goes forth in the morning, there sure enough are the blue hills, only now they have changed places with him, and smile across to him, distant as ever, from the old home whence he has come. Such a story might have been very cynically treated; but it is not so done, the whole tone is kindly and consolatory, and the disenchanted man submissively takes the lesson, and understands that things far away are to be loved for their own sake, and that the unattainable is not truly unattainable, when we can make the beauty of it our own. Indeed, throughout all these two volumes, though there is much practical scepticism, and much irony on abstract questions, this kindly and consolatory spirit is never absent. There is much that is cheerful and, after a sedate, fireside fas.h.i.+on, hopeful. No one will be discouraged by reading the book; but the ground of all this hopefulness and cheerfulness remains to the end somewhat vague. It does not seem to arise from any practical belief in the future either of the individual or the race, but rather from the profound personal contentment of the writer. This is, I suppose, all we must look for in the case. It is as much as we can expect, if the fabulist shall prove a shrewd and cheerful fellow-wayfarer, one with whom the world does not seem to have gone much amiss, but who has yet laughingly learned something of its evil. It will depend much, of course, upon our own character and circ.u.mstances, whether the encounter will be agreeable and bracing to the spirits, or offend us as an ill-timed mockery. But where, as here, there is a little tincture of bitterness along with the good-nature, where it is plainly not the humour of a man cheerfully ignorant, but of one who looks on, tolerant and superior and smilingly attentive, upon the good and bad of our existence, it will go hardly if we do not catch some reflection of the same spirit to help us on our way. There is here no impertinent and lying proclamation of peace-none of the cheap optimism of the well-to-do; what we find here is a view of life that would be even grievous, were it not enlivened with this abiding cheerfulness, and ever and anon redeemed by a stroke of pathos.

It is natural enough, I suppose, that we should find wanting in this book some of the intenser qualities of the author's work; and their absence is made up for by much happy description after a quieter fas.h.i.+on. The burst of jubilation over the departure of the snow, which forms the prelude to 'The Thistle,' is full of spirit and of pleasant images. The speech of the forest in 'Sans Souci' is inspired by a beautiful sentiment for nature of the modern sort, and pleases us more, I think, as poetry should please us, than anything in _Chronicles and Characters_. There are some admirable felicities of expression here and there; as that of the hill, whose summit

'Did print The azure air with pines.'

Moreover, I do not recollect in the author's former work any symptom of that sympathetic treatment of still life, which is noticeable now and again in the fables; and perhaps most noticeably, when he sketches the burned letters as they hover along the gusty flue, 'Thin, sable veils, wherein a restless spark Yet trembled.' But the description is at its best when the subjects are unpleasant, or even grisly. There are a few capital lines in this key on the last spasm of the battle before alluded to. Surely nothing could be better, in its own way, than the fish in 'The Last Cruise of the Arrogant,' 'the shadowy, side-faced, silent things,' that come b.u.t.ting and staring with lidless eyes at the sunken steam-engine. And although, in yet another, we are told, pleasantly enough, how the water went down into the valleys, where it set itself gaily to saw wood, and on into the plains, where it would soberly carry grain to town; yet the real strength of the fable is when it dealt with the shut pool in which certain unfortunate raindrops are imprisoned among slugs and snails, and in the company of an old toad. The sodden contentment of the fallen acorn is strangely significant; and it is astonis.h.i.+ng how unpleasantly we are startled by the appearance of her horrible lover, the maggot.

And now for a last word, about the style. This is not easy to criticise.

It is impossible to deny to it rapidity, spirit, and a full sound; the lines are never lame, and the sense is carried forward with an uninterrupted, impetuous rush. But it is not equal. After pa.s.sages of really admirable versification, the author falls back upon a sort of loose, cavalry manner, not unlike the style of some of Mr. Browning's minor pieces, and almost inseparable from wordiness, and an easy acceptation of somewhat cheap finish. There is nothing here of that compression which is the note of a really sovereign style. It is unfair, perhaps, to set a not remarkable pa.s.sage from Lord Lytton side by side with one of the signal masterpieces of another, and a very perfect poet; and yet it is interesting, when we see how the portraiture of a dog, detailed through thirty odd lines, is frittered down and finally almost lost in the mere laxity of the style, to compare it with the clear, simple, vigorous delineation that Burns, in four couplets, has given us of the ploughman's collie. It is interesting, at first, and then it becomes a little irritating; for when we think of other pa.s.sages so much more finished and adroit, we cannot help feeling, that with a little more ardour after perfection of form, criticism would have found nothing left for her to censure. A similar mark of precipitate work is the number of adjectives tumultuously heaped together, sometimes to help out the sense, and sometimes (as one cannot but suspect) to help out the sound of the verses. I do not believe, for instance, that Lord Lytton himself would defend the lines in which we are told how Laoc.o.o.n 'Revealed to Roman crowds, now _Christian_ grown, That _Pagan_ anguish which, in _Parian_ stone, The _Rhodian_ artist,' and so on. It is not only that this is bad in itself; but that it is unworthy of the company in which it is found; that such verses should not have appeared with the name of a good versifier like Lord Lytton. We must take exception, also, in conclusion, to the excess of alliteration. Alliteration is so liable to be abused that we can scarcely be too sparing of it; and yet it is a trick that seems to grow upon the author with years. It is a pity to see fine verses, such as some in 'Demos,' absolutely spoiled by the recurrence of one wearisome consonant.

CHAPTER II-SALVINI'S MACBETH

Salvini closed his short visit to Edinburgh by a performance of _Macbeth_. It was, perhaps, from a sentiment of local colour that he chose to play the Scottish usurper for the first time before Scotsmen; and the audience were not insensible of the privilege. Few things, indeed, can move a stronger interest than to see a great creation taking shape for the first time. If it is not purely artistic, the sentiment is surely human. And the thought that you are before all the world, and have the start of so many others as eager as yourself, at least keeps you in a more unbearable suspense before the curtain rises, if it does not enhance the delight with which you follow the performance and see the actor 'bend up each corporal agent' to realise a masterpiece of a few hours' duration. With a player so variable as Salvini, who trusts to the feelings of the moment for so much detail, and who, night after night, does the same thing differently but always well, it can never be safe to pa.s.s judgment after a single hearing. And this is more particularly true of last week's _Macbeth_; for the whole third act was marred by a grievously humorous misadventure. Several minutes too soon the ghost of Banquo joined the party, and after having sat helpless a while at a table, was ignominiously withdrawn. Twice was this ghostly Jack-in-the-box obtruded on the stage before his time; twice removed again; and yet he showed so little hurry when he was really wanted, that, after an awkward pause, Macbeth had to begin his apostrophe to empty air.

The arrival of the belated spectre in the middle, with a jerk that made him nod all over, was the last accident in the chapter, and worthily topped the whole. It may be imagined how lamely matters went throughout these cross purposes.

In spite of this, and some other hitches, Salvini's Macbeth had an emphatic success. The creation is worthy of a place beside the same artist's Oth.e.l.lo and Hamlet. It is the simplest and most unsympathetic of the three; but the absence of the finer lineaments of Hamlet is redeemed by gusto, breadth, and a headlong unity. Salvini sees nothing great in Macbeth beyond the royalty of muscle, and that courage which comes of strong and copious circulation. The moral smallness of the man is insisted on from the first, in the shudder of uncontrollable jealousy with which he sees Duncan embracing Banquo. He may have some northern poetry of speech, but he has not much logical understanding. In his dealings with the supernatural powers he is like a savage with his fetich, trusting them beyond bounds while all goes well, and whenever he is crossed, casting his belief aside and calling 'fate into the list.'

For his wife, he is little more than an agent, a frame of bone and sinew for her fiery spirit to command. The nature of his feeling towards her is rendered with a most precise and delicate touch. He always yields to the woman's fascination; and yet his caresses (and we know how much meaning Salvini can give to a caress) are singularly hard and unloving.

Sometimes he lays his hand on her as he might take hold of any one who happened to be nearest to him at a moment of excitement. Love has fallen out of this marriage by the way, and left a curious friends.h.i.+p. Only once-at the very moment when she is showing herself so little a woman and so much a high-spirited man-only once is he very deeply stirred towards her; and that finds expression in the strange and horrible transport of admiration, doubly strange and horrible on Salvini's lips-'Bring forth men-children only!'

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