It seems as if Lord Lytton, in this new book of his, had found the form most natural to his talent. In some ways, indeed, it may be held inferior to Chronicles and Characters; we look in vain for anything like the terrible intensity of the night-scene in Irene, or for any such passages of massive and memorable writing as appeared, here and there, in the earlier work, and made it not altogether unworthy of its model, Hugo’s Legend of the Ages. But it becomes evident, on the most hasty retrospect, that this earlier work was a step on the way towards the later. It seems as if the author had been feeling about for his definite medium, and was already, in the language of the child’s game, growing hot. There are many pieces in Chronicles and Characters that might be detached from their original setting, and embodied, as they stand, among the Fables in Song.
For the term Fable is not very easy to define rigorously. In the most typical form some moral precept is set forth by means of a conception purely fantastic, and usually somewhat trivial into the bargain; there is something playful about it, that will not support a very exacting criticism, and the lesson must be apprehended by the fancy at half a hint. Such is the great mass of the old stories of wise animals or foolish men that have amused our childhood. But we should expect the fable, in company with other and more important literary forms, to be more and more loosely, or at least largely, comprehended as time went on, and so to degenerate in conception from this original type. That depended for much of its piquancy on the very fact that it was fantastic: the point of the thing lay in a sort of humorous inappropriateness; and it is natural enough that pleasantry of this description should become less common, as men learn to suspect some serious analogy underneath. Thus a comical story of an ape touches us quite differently after the proposition of Mr. Darwin’s theory. Moreover, there lay, perhaps, at the bottom of this primitive sort of fable, a humanity, a tenderness of rough truths; so that at the end of some story, in which vice or folly had met with its destined punishment, the fabulist might be able to assure his auditors, as we have often to assure tearful children on the like occasions, that they may dry their eyes, for none of it was true.
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 analogies 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 assumption 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 God 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 assemble 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, passes 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 arsenal 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 Gods call Guilt. Blossoms and grass 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 passion 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 fashion, 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 circumstances, 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 fashion. 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
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 butting 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 astonishing 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 passages 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 passage 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 passages 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 Laocoon ‘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.
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 pass 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-inthe-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 Othello 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 friendship. 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!’
The murder scene, as was to be expected, pleased the audience best. Macbeth’s voice, in the talk with his wife, was a thing not to be forgotten; and when he spoke of his hangman’s hands he seemed to have blood in his utterance. Never for a moment, even in the very article of the murder, does he possess his own soul. He is a man on wires. From first to last it is an exhibition of hideous cowardice. For, after all, it is not here, but in broad daylight, with the exhilaration of conflict, where he can assure himself at every blow he has the longest sword and the heaviest hand, that this man’s physical bravery can keep him up; he is an unwieldy ship, and needs plenty of way on before he will steer.
In the banquet scene, while the first murderer gives account of what he has done, there comes a flash of truculent joy at the ‘twenty trenched gashes’ on Banquo’s head. Thus Macbeth makes welcome to his imagination those very details of physical horror which are so soon to turn sour in him. As he runs out to embrace these cruel circumstances, as he seeks to realise to his mind’s eye the reassuring spectacle of his dead enemy, he is dressing out the phantom to terrify himself; and his imagination, playing the part of justice, is to ‘commend to his own lips the ingredients of his poisoned chalice.’ With the recollection of Hamlet and his father’s spirit still fresh upon him, and the holy awe with which that good man encountered things not dreamt of in his philosophy, it was not possible to avoid looking for resemblances between the two apparitions and the two men haunted. But there are none to be found. Macbeth has a purely physical dislike for Banquo’s spirit and the ‘twenty trenched gashes.’ He is afraid of he knows not what. He is abject, and again blustering. In the end he so far forgets himself, his terror, and the nature of what is before him, that he rushes upon it as he would upon a man. When his wife tells him he needs repose, there is something really childish in the way he looks about the room, and, seeing nothing, with an expression of almost sensual relief, plucks up heart enough to go to bed. And what is the upshot of the visitation? It is written in Shakespeare, but should be read with the commentary of Salvini’s voice and expression:— ‘O! siam nell’ opra ancor fanciulli’— ‘We are yet but young in deed.’ Circle below circle. He is looking with horrible satisfaction into the mouth of hell. There may still be a prick today; but tomorrow conscience will be dead, and he may move untroubled in this element of blood.
In the fifth act we see this lowest circle reached; and it is Salvini’s finest moment throughout the play. From the first he was admirably made up, and looked Macbeth to the full as perfectly as ever he looked Othello. From the first moment he steps upon the stage you can see this character is a creation to the fullest meaning of the phrase; for the man before you is a type you know well already. He arrives with Banquo on the heath, fair and red-bearded, sparing of gesture, full of pride and the sense of animal wellbeing, and satisfied after the battle like a beast who has eaten his fill. But in the fifth act there is a change. This is still the big, burly, fleshly, handsome-looking Thane; here is still the same face which in the earlier acts could be superficially good-humoured and sometimes royally courteous. But now the atmosphere of blood, which pervades the whole tragedy, has entered into the man and subdued him to its own nature; and an indescribable degradation, a slackness and puffiness, has overtaken his features. He has breathed the air of carnage, and supped full of horrors. Lady Macbeth complains of the smell of blood on her hand: Macbeth makes no complaint — he has ceased to notice it now; but the same smell is in his nostrils. A contained fury and disgust possesses him. He taunts the messenger and the doctor as people would taunt their mortal enemies. And, indeed, as he knows right well, every one is his enemy now, except his wife. About her he questions the doctor with something like a last human anxiety; and, in tones of grisly mystery, asks him if he can ‘minister to a mind diseased.’ When the news of her death is brought him, he is staggered and falls into a seat; but somehow it is not anything we can call grief that he displays. There had been two of them against God and man; and now, when there is only one, it makes perhaps less difference than he had expected. And so her death is not only an affliction, but one more disillusion; and he redoubles in bitterness. The speech that follows, given with tragic cynicism in every word, is a dirge, not so much for her as for himself. From that time forth there is nothing human left in him, only ‘the fiend of Scotland,’ Macduff’s ‘hell-hound,’ whom, with a stern glee, we see baited like a bear and hunted down like a wolf. He is inspired and set above fate by a demoniacal energy, a lust of wounds and slaughter. Even after he meets Macduff his courage does not fail; but when he hears the Thane was not born of woman, all virtue goes out of him; and though he speaks sounding words of defiance, the last combat is little better than a suicide.
The whole performance is, as I said, so full of gusto and a headlong unity; the personality of Macbeth is so sharp and powerful; and within these somewhat narrow limits there is so much play and saliency that, so far as concerns Salvini himself, a third great success seems indubitable. Unfortunately, however, a great actor cannot fill more than a very small fraction of the boards; and though Banquo’s ghost will probably be more seasonable in his future apparitions, there are some more inherent difficulties in the piece. The company at large did not distinguish themselves. Macduff, to the huge delight of the gallery, out-Macduff’d the average ranter. The lady who filled the principal female part has done better on other occasions, but I fear she has not metal for what she tried last week. Not to succeed in the sleep-walking scene is to make a memorable failure. As it was given, it succeeded in being wrong in art without being true to nature.
And there is yet another difficulty, happily easy to reform, which somewhat interfered with the success of the performance. At the end of the incantation scene the Italian translator has made Macbeth fall insensible upon the stage. This is a change of questionable propriety from a psychological point of view; while in point of view of effect it leaves the stage for some moments empty of all business. To remedy this, a bevy of green ballet-girls came forth and pointed their toes about the prostrate king. A dance of High Church curates, or a hornpipe by Mr. T. P. Cooke, would not be more out of the key; though the gravity of a Scots audience was not to be overcome, and they merely expressed their disapprobation by a round of moderate hisses, a similar irruption of Christmas fairies would most likely convulse a London theatre from pit to gallery with inextinguishable laughter. It is, I am told, the Italian tradition; but it is one more honoured in the breach than the observance. With the total disappearance of these damsels, with a stronger Lady Macbeth, and, if possible, with some compression of those scenes in which Salvini does not appear, and the spectator is left at the mercy of Macduffs and Duncans, the play would go twice as well, and we should be better able to follow and enjoy an admirable work of dramatic art.
I have here before me an edition of the Pilgrim’s Progress, bound in green, without a date, and described as ‘illustrated by nearly three hundred engravings, and memoir of Bunyan.’ On the outside it is lettered ‘Bagster’s Illustrated Edition,’ and after the author’s apology, facing the first page of the tale, a folding pictorial ‘Plan of the Road’ is marked as ‘drawn by the late Mr. T. Conder,’ and engraved by J. Basire. No further information is anywhere vouchsafed; perhaps the publishers had judged the work too unimportant; and we are still left ignorant whether or not we owe the woodcuts in the body of the volume to the same hand that drew the plan. It seems, however, more than probable. The literal particularity of mind which, in the map, laid down the flower-plots in the devil’s garden, and carefully introduced the court-house in the town of Vanity, is closely paralleled in many of the cuts; and in both, the architecture of the buildings and the disposition of the gardens have a kindred and entirely English air. Whoever he was, the author of these wonderful little pictures may lay claim to be the best illustrator of Bunyan. They are not only good illustrations, like so many others; but they are like so few, good illustrations of Bunyan. Their spirit, in defect and quality, is still the same as his own. The designer also has lain down and dreamed a dream, as literal, as quaint, and almost as apposite as Bunyan’s; and text and pictures make but the two sides of the same homespun yet impassioned story. To do justice to the designs, it will be necessary to say, for the hundredth time, a word or two about the masterpiece which they adorn.
All allegories have a tendency to escape from the purpose of their creators; and as the characters and incidents become more and more interesting in themselves, the moral, which these were to show forth, falls more and more into neglect. An architect may command a wreath of vine-leaves round the cornice of a monument; but if, as each leaf came from the chisel, it took proper life and fluttered freely on the wall, and if the vine grew, and the building were hidden over with foliage and fruit, the architect would stand in much the same situation as the writer of allegories. The Faery Queen was an allegory, I am willing to believe; but it survives as an imaginative tale in incomparable verse. The case of Bunyan is widely different; and yet in this also Allegory, poor nymph, although never quite forgotten, is sometimes rudely thrust against the wall. Bunyan was fervently in earnest; with ‘his fingers in his ears, he ran on,’ straight for his mark. He tells us himself, in the conclusion to the first part, that he did not fear to raise a laugh; indeed, he feared nothing, and said anything; and he was greatly served in this by a certain rustic privilege of his style, which, like the talk of strong uneducated men, when it does not impress by its force, still charms by its simplicity. The mere story and the allegorical design enjoyed perhaps his equal favour. He believed in both with an energy of faith that was capable of moving mountains. And we have to remark in him, not the parts where inspiration fails and is supplied by cold and merely decorative invention, but the parts where faith has grown to be credulity, and his characters become so real to him that he forgets the end of their creation. We can follow him step by step into the trap which he lays for himself by his own entire good faith and triumphant literality of vision, till the trap closes and shuts him in an inconsistency. The allegories of the Interpreter and of the Shepherds of the Delectable Mountains are all actually performed, like stage-plays, before the pilgrims. The son of Mr. Great-grace visibly ‘tumbles hills about with his words.’ Adam the First has his condemnation written visibly on his forehead, so that Faithful reads it. At the very instant the net closes round the pilgrims, ‘the white robe falls from the black man’s body.’ Despair ‘getteth him a grievous crab-tree cudgel’; it was in ‘sunshiny weather’ that he had his fits; and the birds in the grove about the House Beautiful, ‘our country birds,’ only sing their little pious verses ‘at the spring, when the flowers appear and the sun shines warm.’ ‘I often,’ says Piety, ‘go out to hear them; we also ofttimes keep them tame on our house.’ The post between Beulah and the Celestial City sounds his horn, as you may yet hear in country places. Madam Bubble, that ‘tall, comely dame, something of a swarthy complexion, in very pleasant attire, but old,’ ‘gives you a smile at the end of each sentence’— a real woman she; we all know her. Christiana dying ‘gave Mr. Stand-fast a ring,’ for no possible reason in the allegory, merely because the touch was human and affecting. Look at Great-heart, with his soldierly ways, garrison ways, as I had almost called them; with his taste in weapons; his delight in any that ‘he found to be a man of his hands’; his chivalrous point of honour, letting Giant Maul get up again when he was down, a thing fairly flying in the teeth of the moral; above all, with his language in the inimitable tale of Mr. Fearing: ‘I thought I should have lost my man’—‘chicken-hearted’—‘at last he came in, and I will say that for my lord, he carried it wonderful lovingly to him.’ This is no Independent minister; this is a stout, honest, big-busted ancient, adjusting his shoulder-belts, twirling his long moustaches as he speaks. Last and most remarkable, ‘My sword,’ says the dying Valiant-for-Truth, he in whom Great-heart delighted, ‘my sword I give to him that shall succeed me in my pilgrimage, and my courage and skill to him that can get it.’ And after this boast, more arrogantly unorthodox than was ever dreamed of by the rejected Ignorance, we are told that ‘all the trumpets sounded for him on the other side.’
In every page the book is stamped with the same energy of vision and the same energy of belief. The quality is equally and indifferently displayed in the spirit of the fighting, the tenderness of the pathos, the startling vigour and strangeness of the incidents, the natural strain of the conversations, and the humanity and charm of the characters. Trivial talk over a meal, the dying words of heroes, the delights of Beulah or the Celestial City, Apollyon and my Lord Hate-good, Great-heart, and Mr. Worldly-Wiseman, all have been imagined with the same clearness, all written of with equal gusto and precision, all created in the same mixed element, of simplicity that is almost comical, and art that, for its purpose, is faultless.
It was in much the same spirit that our artist sat down to his drawings. He is by nature a Bunyan of the pencil. He, too, will draw anything, from a butcher at work on a dead sheep, up to the courts of Heaven. ‘A Lamb for Supper’ is the name of one of his designs, ‘Their Glorious Entry’ of another. He has the same disregard for the ridiculous, and enjoys somewhat of the same privilege of style, so that we are pleased even when we laugh the most. He is literal to the verge of folly. If dust is to be raised from the unswept parlour, you may be sure it will ‘fly abundantly’ in the picture. If Faithful is to lie ‘as dead’ before Moses, dead he shall lie with a warrant — dead and stiff like granite; nay (and here the artist must enhance upon the symbolism of the author), it is with the identical stone tables of the law that Moses fells the sinner. Good and bad people, whom we at once distinguish in the text by their names, Hopeful, Honest, and Valiant-for-Truth, on the one hand, as against By-ends, Sir Having Greedy, and the Lord Old-man on the other, are in these drawings as simply distinguished by their costume. Good people, when not armed cap-a-pie, wear a speckled tunic girt about the waist, and low hats, apparently of straw. Bad people swagger in tail-coats and chimney-pots, a few with knee-breeches, but the large majority in trousers, and for all the world like guests at a garden-party. Worldly-Wiseman alone, by some inexplicable quirk, stands before Christian in laced hat, embroidered waistcoat, and trunk-hose. But above all examples of this artist’s intrepidity, commend me to the print entitled ‘Christian Finds it Deep.’ ‘A great darkness and horror,’ says the text, have fallen on the pilgrim; it is the comfortless deathbed with which Bunyan so strikingly concludes the sorrows and conflicts of his hero. How to represent this worthily the artist knew not; and yet he was determined to represent it somehow. This was how he did: Hopeful is still shown to his neck above the water of death; but Christian has bodily disappeared, and a blot of solid blackness indicates his place.
As you continue to look at these pictures, about an inch square for the most part, sometimes printed three or more to the page, and each having a printed legend of its own, however trivial the event recorded, you will soon become aware of two things: first, that the man can draw, and, second, that he possesses the gift of an imagination. ‘Obstinate reviles,’ says the legend; and you should see Obstinate reviling. ‘He warily retraces his steps’; and there is Christian, posting through the plain, terror and speed in every muscle. ‘Mercy yearns to go’ shows you a plain interior with packing going forward, and, right in the middle, Mercy yearning to go — every line of the girl’s figure yearning. In ‘The Chamber called Peace’ we see a simple English room, bed with white curtains, window valance and door, as may be found in many thousand unpretentious houses; but far off, through the open window, we behold the sun uprising out of a great plain, and Christian hails it with his hand:
‘Where am I now! is this the love and care Of Jesus, for the men that pilgrims are! Thus to provide! That I should be forgiven! And dwell already the next door to heaven!’
A page or two further, from the top of the House Beautiful, the damsels point his gaze toward the Delectable Mountains: ‘The Prospect,’ so the cut is ticketed — and I shall be surprised, if on less than a square inch of paper you can show me one so wide and fair. Down a cross road on an English plain, a cathedral city outlined on the horizon, a hazel shaw upon the left, comes Madam Wanton dancing with her fair enchanted cup, and Faithful, book in hand, half pauses. The cut is perfect as a symbol; the giddy movement of the sorceress, the uncertain poise of the man struck to the heart by a temptation, the contrast of that even plain of life whereon he journeys with the bold, ideal bearing of the wanton — the artist who invented and portrayed this had not merely read Bunyan, he had also thoughtfully lived. The Delectable Mountains — I continue skimming the first part — are not on the whole happily rendered. Once, and once only, the note is struck, when Christian and Hopeful are seen coming, shoulder-high, through a thicket of green shrubs — box, perhaps, or perfumed nutmeg; while behind them, domed or pointed, the hills stand ranged against the sky. A little further, and we come to that masterpiece of Bunyan’s insight into life, the Enchanted Ground; where, in a few traits, he has set down the latter end of such a number of the would-be good; where his allegory goes so deep that, to people looking seriously on life, it cuts like satire. The true significance of this invention lies, of course, far out of the way of drawing; only one feature, the great tedium of the land, the growing weariness in well-doing, may be somewhat represented in a symbol. The pilgrims are near the end: ‘Two Miles Yet,’ says the legend. The road goes ploughing up and down over a rolling heath; the wayfarers, with outstretched arms, are already sunk to the knees over the brow of the nearest hill; they have just passed a milestone with the cipher two; from overhead a great, piled, summer cumulus, as of a slumberous summer afternoon, beshadows them: two miles! it might be hundreds. In dealing with the Land of Beulah the artist lags, in both parts, miserably behind the text, but in the distant prospect of the Celestial City more than regains his own. You will remember when Christian and Hopeful ‘with desire fell sick.’ ‘Effect of the Sunbeams’ is the artist’s title. Against the sky, upon a cliffy mountain, the radiant temple beams upon them over deep, subjacent woods; they, behind a mound, as if seeking shelter from the splendour — one prostrate on his face, one kneeling, and with hands ecstatically lifted — yearn with passion after that immortal city. Turn the page, and we behold them walking by the very shores of death; Heaven, from this nigher view, has risen half-way to the zenith, and sheds a wider glory; and the two pilgrims, dark against that brightness, walk and sing out of the fulness of their hearts. No cut more thoroughly illustrates at once the merit and the weakness of the artist. Each pilgrim sings with a book in his grasp — a family Bible at the least for bigness; tomes so recklessly enormous that our second, impulse is to laughter. And yet that is not the first thought, nor perhaps the last. Something in the attitude of the manikins — faces they have none, they are too small for that — something in the way they swing these monstrous volumes to their singing, something perhaps borrowed from the text, some subtle differentiation from the cut that went before and the cut that follows after — something, at least, speaks clearly of a fearful joy, of Heaven seen from the deathbed, of the horror of the last passage no less than of the glorious coming home. There is that in the action of one of them which always reminds me, with a difference, of that haunting last glimpse of Thomas Idle, travelling to Tyburn in the cart. Next come the Shining Ones, wooden and trivial enough; the pilgrims pass into the river; the blot already mentioned settles over and obliterates Christian. In two more cuts we behold them drawing nearer to the other shore; and then, between two radiant angels, one of whom points upward, we see them mounting in new weeds, their former lendings left behind them on the inky river. More angels meet them; Heaven is displayed, and if no better, certainly no worse, than it has been shown by others — a place, at least, infinitely populous and glorious with light — a place that haunts solemnly the hearts of children. And then this symbolic draughtsman once more strikes into his proper vein. Three cuts conclude the first part. In the first the gates close, black against the glory struggling from within. The second shows us Ignorance — alas! poor Arminian! — hailing, in a sad twilight, the ferryman Vain-Hope; and in the third we behold him, bound hand and foot, and black already with the hue of his eternal fate, carried high over the mountain-tops of the world by two angels of the anger of the Lord. ‘Carried to Another Place,’ the artist enigmatically names his plate — a terrible design.
Wherever he touches on the black side of the supernatural his pencil grows more daring and incisive. He has many true inventions in the perilous and diabolic; he has many startling nightmares realised. It is not easy to select the best; some may like one and some another; the nude, depilated devil bounding and casting darts against the Wicket Gate; the scroll of flying horrors that hang over Christian by the Mouth of Hell; the horned shade that comes behind him whispering blasphemies; the daylight breaking through that rent cave-mouth of the mountains and falling chill adown the haunted tunnel; Christian’s further progress along the causeway, between the two black pools, where, at every yard or two, a gin, a pitfall, or a snare awaits the passer-by — loathsome white devilkins harbouring close under the bank to work the springes, Christian himself pausing and pricking with his sword’s point at the nearest noose, and pale discomfortable mountains rising on the farther side; or yet again, the two ill-favoured ones that beset the first of Christian’s journey, with the frog-like structure of the skull, the frog-like limberness of limbs — crafty, slippery, lustful-looking devils, drawn always in outline as though possessed of a dim, infernal luminosity. Horrid fellows are they, one and all; horrid fellows and horrific scenes. In another spirit that Good-Conscience ‘to whom Mr. Honest had spoken in his lifetime,’ a cowled, grey, awful figure, one hand pointing to the heavenly shore, realises, I will not say all, but some at least of the strange impressiveness of Bunyan’s words. It is no easy nor pleasant thing to speak in one’s lifetime with Good-Conscience; he is an austere, unearthly friend, whom maybe Torquemada knew; and the folds of his raiment are not merely claustral, but have something of the horror of the pall. Be not afraid, however; with the hand of that appearance Mr. Honest will get safe across.
Yet perhaps it is in sequences that this artist best displays himself. He loves to look at either side of a thing: as, for instance, when he shows us both sides of the wall —‘Grace Inextinguishable’ on the one side, with the devil vainly pouring buckets on the flame, and ‘The Oil of Grace’ on the other, where the Holy Spirit, vessel in hand, still secretly supplies the fire. He loves, also, to show us the same event twice over, and to repeat his instantaneous photographs at the interval of but a moment. So we have, first, the whole troop of pilgrims coming up to Valiant, and Great-heart to the front, spear in hand and parleying; and next, the same cross-roads, from a more distant view, the convoy now scattered and looking safely and curiously on, and Valiant handing over for inspection his ‘right Jerusalem blade.’ It is true that this designer has no great care after consistency: Apollyon’s spear is laid by, his quiver of darts will disappear, whenever they might hinder the designer’s freedom; and the fiend’s tail is blobbed or forked at his good pleasure. But this is not unsuitable to the illustration of the fervent Bunyan, breathing hurry and momentary inspiration. He, with his hot purpose, hunting sinners with a lasso, shall himself forget the things that he has written yesterday. He shall first slay Heedless in the Valley of the Shadow, and then take leave of him talking in his sleep, as if nothing had happened, in an arbour on the Enchanted Ground. And again, in his rhymed prologue, he shall assign some of the glory of the siege of Doubting Castle to his favourite Valiant-for-the-Truth, who did not meet with the besiegers till long after, at that dangerous corner by Deadman’s Lane. And, with all inconsistencies and freedoms, there is a power shown in these sequences of cuts: a power of joining on one action or one humour to another; a power of following out the moods, even of the dismal subterhuman fiends engendered by the artist’s fancy; a power of sustained continuous realisation, step by step, in nature’s order, that can tell a story, in all its ins and outs, its pauses and surprises, fully and figuratively, like the art of words.
One such sequence is the fight of Christian and Apollyon — six cuts, weird and fiery, like the text. The pilgrim is throughout a pale and stockish figure; but the devil covers a multitude of defects. There is no better devil of the conventional order than our artist’s Apollyon, with his mane, his wings, his bestial legs, his changing and terrifying expression, his infernal energy to slay. In cut the first you see him afar off, still obscure in form, but already formidable in suggestion. Cut the second, ‘The Fiend in Discourse,’ represents him, not reasoning, railing rather, shaking his spear at the pilgrim, his shoulder advanced, his tail writhing in the air, his foot ready for a spring, while Christian stands back a little, timidly defensive. The third illustrates these magnificent words: ‘Then Apollyon straddled quite over the whole breadth of the way, and said, I am void of fear in this matter: prepare thyself to die; for I swear by my infernal den that thou shalt go no farther: here will I spill thy soul! And with that he threw a flaming dart at his breast.’ In the cut he throws a dart with either hand, belching pointed flames out of his mouth, spreading his broad vans, and straddling the while across the path, as only a fiend can straddle who has just sworn by his infernal den. The defence will not be long against such vice, such flames, such red-hot nether energy. And in the fourth cut, to be sure, he has leaped bodily upon his victim, sped by foot and pinion, and roaring as he leaps. The fifth shows the climacteric of the battle; Christian has reached nimbly out and got his sword, and dealt that deadly home-thrust, the fiend still stretched upon him, but ‘giving back, as one that had received his mortal wound.’ The raised head, the bellowing mouth, the paw clapped upon the sword, the one wing relaxed in agony, all realise vividly these words of the text. In the sixth and last, the trivial armed figure of the pilgrim is seen kneeling with clasped hands on the betrodden scene of contest and among the shivers of the darts; while just at the margin the hinder quarters and the tail of Apollyon are whisking off, indignant and discounted.
In one point only do these pictures seem to be unworthy of the text, and that point is one rather of the difference of arts than the difference of artists. Throughout his best and worst, in his highest and most divine imaginations as in the narrowest sallies of his sectarianism, the human-hearted piety of Bunyan touches and ennobles, convinces, accuses the reader. Through no art beside the art of words can the kindness of a man’s affections be expressed. In the cuts you shall find faithfully parodied the quaintness and the power, the triviality and the surprising freshness of the author’s fancy; there you shall find him out-stripped in ready symbolism and the art of bringing things essentially invisible before the eyes: but to feel the contact of essential goodness, to be made in love with piety, the book must be read and not the prints examined.
Farewell should not be taken with a grudge; nor can I dismiss in any other words than those of gratitude a series of pictures which have, to one at least, been the visible embodiment of Bunyan from childhood up, and shown him, through all his years, Great-heart lungeing at Giant Maul, and Apollyon breathing fire at Christian, and every turn and town along the road to the Celestial City, and that bright place itself, seen as to a stave of music, shining afar off upon the hill-top, the candle of the world.
Last updated Monday, December 22, 2014 at 10:55