Чарльз Диккенс
Contributions to All The Year Round
THE LATE MR. STANFIELD
Every Artist, be he writer, painter, musician, or actor, must bear his private sorrows as he best can, and must separate them from the exercise of his public pursuit. But it sometimes happens, in compensation, that his private loss of a dear friend represents a loss on the part of the whole community. Then he may, without obtrusion of his individuality, step forth to lay his little wreath upon that dear friend's grave.
On Saturday, the eighteenth of this present month, Clarkson Stanfield died. On the afternoon of that day, England lost the great marine painter of whom she will be boastful ages hence; the National Historian of her speciality, the Sea; the man famous in all countries for his marvellous rendering of the waves that break upon her shores, of her ships and seamen, of her coasts and skies, of her storms and sunshine, of the many marvels of the deep. He who holds the oceans in the hollow of His hand had given, associated with them, wonderful gifts into his keeping; he had used them well through threescore and fourteen years; and, on the afternoon of that spring day, relinquished them for ever.
It is superfluous to record that the painter of "The Battle of Trafalgar", of the "Victory being towed into Gibraltar with the body of Nelson on Board", of "The Morning after the Wreck", of "The Abandoned", of fifty more such works, died in his seventy-fourth year, "Mr." Stanfield. – He was an Englishman.
Those grand pictures will proclaim his powers while paint and canvas last. But the writer of these words had been his friend for thirty years; and when, a short week or two before his death, he laid that once so skilful hand upon the writer's breast and told him they would meet again, "but not here", the thoughts of the latter turned, for the time, so little to his noble genius, and so much to his noble nature!
He was the soul of frankness, generosity, and simplicity. The most genial, the most affectionate, the most loving, and the most lovable of men. Success had never for an instant spoiled him. His interest in the Theatre as an Institution – the best picturesqueness of which may be said to be wholly due to him – was faithful to the last. His belief in a Play, his delight in one, the ease with which it moved him to tears or to laughter, were most remarkable evidences of the heart he must have put into his old theatrical work, and of the thorough purpose and sincerity with which it must have been done. The writer was very intimately associated with him in some amateur plays; and day after day, and night after night, there were the same unquenchable freshness, enthusiasm, and impressibility in him, though broken in health, even then.
No Artist can ever have stood by his art with a quieter dignity than he always did. Nothing would have induced him to lay it at the feet of any human creature. To fawn, or to toady, or to do undeserved homage to any one, was an absolute impossibility with him. And yet his character was so nicely balanced that he was the last man in the world to be suspected of self-assertion, and his modesty was one of his most special qualities.
He was a charitable, religious, gentle, truly good man. A genuine man, incapable of pretence or of concealment. He had been a sailor once; and all the best characteristics that are popularly attributed to sailors, being his, and being in him refined by the influences of his Art, formed a whole not likely to be often seen. There is no smile that the writer can recall, like his; no manner so naturally confiding and so cheerfully engaging. When the writer saw him for the last time on earth, the smile and the manner shone out once through the weakness, still: the bright unchanging Soul within the altered face and form.
No man was ever held in higher respect by his friends, and yet his intimate friends invariably addressed him and spoke of him by a pet name. It may need, perhaps, the writer's memory and associations to find in this a touching expression of his winning character, his playful smile, and pleasant ways. "You know Mrs. Inchbald's story, Nature and Art?" wrote Thomas Hood, once, in a letter: "What a fine Edition of Nature and Art is Stanfield!"
Gone! And many and many a dear old day gone with him! But their memories remain. And his memory will not soon fade out, for he has set his mark upon the restless waters, and his fame will long be sounded in the roar of the sea.
A SLIGHT QUESTION OF FACT
It is never well for the public interest that the originator of any social reform should be soon forgotten. Further, it is neither wholesome nor right (being neither generous nor just) that the merit of his work should be gradually transferred elsewhere.
Some few weeks ago, our contemporary, the Pall Mall Gazette, in certain strictures on our Theatres which we are very far indeed from challenging, remarked on the first effectual discouragement of an outrage upon decency which the lobbies and upper-boxes of even our best Theatres habitually paraded within the last twenty or thirty years. From those remarks it might appear as though no such Manager of Covent Garden or Drury Lane as Mr. Macready had ever existed.
It is a fact beyond all possibility of question, that Mr. Macready, on assuming the management of Covent Garden Theatre in 1837, did instantly set himself, regardless of precedent and custom down to that hour obtaining, rigidly to suppress this shameful thing, and did rigidly suppress and crush it during his whole management of that theatre, and during his whole subsequent management of Drury Lane. That he did so, as certainly without favour as without fear; that he did so, against his own immediate interests; that he did so, against vexations and oppositions which might have cooled the ardour of a less earnest man, or a less devoted artist; can be better known to no one than the writer of the present words, whose name stands at the head of these pages.
LANDOR'S LIFE
Prefixed to the second volume of Mr. Forster's admirable biography of Walter Savage Landor,1is an engraving from a portrait of that remarkable man when seventy-seven years of age, by Boxall. The writer of these lines can testify that the original picture is a singularly good likeness, the result of close and subtle observation on the part of the painter; but, for this very reason, the engraving gives a most inadequate idea of the merit of the picture and the character of the man.
From the engraving, the arms and hands are omitted. In the picture, they are, as they were in nature, indispensable to a correct reading of the vigorous face. The arms were very peculiar. They were rather short, and were curiously restrained and checked in their action at the elbows; in the action of the hands, even when separately clenched, there was the same kind of pause, and a noticeable tendency to relaxation on the part of the thumb. Let the face be never so intense or fierce, there was a commentary of gentleness in the hands, essential to be taken along with it. Like Hamlet, Landor would speak daggers, but use none. In the expression of his hands, though angrily closed, there was always gentleness and tenderness; just as when they were open, and the handsome old gentleman would wave them with a little courtly flourish that sat well upon him, as he recalled some classic compliment that he had rendered to some reigning Beauty, there was a chivalrous grace about them such as pervades his softer verses. Thus the fictitious Mr. Boythorn (to whom we may refer without impropriety in this connexion, as Mr. Forster does) declaims "with unimaginable energy" the while his bird is "perched upon his thumb", and he "softly smooths its feathers with his forefinger".
From the spirit of Mr. Forster's Biography these characteristic hands are never omitted, and hence (apart from its literary merits) its great value. As the same masterly writer's Life and Times of Oliver Goldsmith is a generous and yet conscientious picture of a period, so this is a not less generous and yet conscientious picture of one life; of a life, with all its aspirations, achievements, and disappointments; all its capabilities, opportunities, and irretrievable mistakes. It is essentially a sad book, and herein lies proof of its truth and worth. The life of almost any man possessing great gifts, would be a sad book to himself; and this book enables us not only to see its subject, but to be its subject, if we will.
Mr. Forster is of opinion that "Landor's fame very surely awaits him". This point admitted or doubted, the value of the book remains the same. It needs not to know his works (otherwise than through his biographer's exposition), it needs not to have known himself, to find a deep interest in these pages. More or less of their warning is in every conscience; and some admiration of a fine genius, and of a great, wild, generous nature, incapable of mean self-extenuation or dissimulation – if unhappily incapable of self-repression too – should be in every breast. "There may be still living many persons", Walter Landor's brother, Robert, writes to Mr. Forster of this book, "who would contradict any narrative of yours in which the best qualities were remembered, the worst forgotten." Mr. Forster's comment is: "I had not waited for this appeal to resolve, that, if this memoir were written at all, it should contain, as far as might lie within my power, a fair statement of the truth". And this eloquent passage of truth immediately follows: "Few of his infirmities are without something kindly or generous about them; and we are not long in discovering there is nothing so wildly incredible that he will not himself in perfect good faith believe. When he published his first book of poems on quitting Oxford, the profits were to be reserved for a distressed clergyman. When he published his Latin poems, the poor of Leipzig were to have the sum they realised. When his comedy was ready to be acted, a Spaniard who had sheltered him at Castro was to be made richer by it. When he competed for the prize of the Academy of Stockholm, it was to go to the poor of Sweden. If nobody got anything from any one of these enterprises, the fault at all events was not his. With his extraordinary power of forgetting disappointments, he was prepared at each successive failure to start afresh, as if each had been a triumph. I shall have to delineate this peculiarity as strongly in the last half as in the first half of his life, and it was certainly an amiable one. He was ready at all times to set aside, out of his own possessions, something for somebody who might please him for the time; and when frailties of temper and tongue are noted, this other eccentricity should not be omitted. He desired eagerly the love as well as the good opinion of those whom for the time he esteemed, and no one was more affectionate while under such influences. It is not a small virtue to feel such genuine pleasure, as he always did in giving and receiving pleasure. His generosity, too, was bestowed chiefly on those who could make small acknowledgment in thanks and no return in kind."
Some of his earlier contemporaries may have thought him a vain man. Most assuredly he was not, in the common acceptation of the term. A vain man has little or no admiration to bestow upon competitors. Landor had an inexhaustible fund. He thought well of his writings, or he would not have preserved them. He said and wrote that he thought well of them, because that was his mind about them, and he said and wrote his mind. He was one of the few men of whom you might always know the whole: of whom you might always know the worst, as well as the best. He had no reservations or duplicities. "No, by Heaven!" he would say ("with unimaginable energy"), if any good adjective were coupled with him which he did not deserve: "I am nothing of the kind. I wish I were; but I don't deserve the attribute, and I never did, and I never shall!" His intense consciousness of himself never led to his poorly excusing himself, and seldom to his violently asserting himself. When he told some little story of his bygone social experiences, in Florence, or where not, as he was fond of doing, it took the innocent form of making all the interlocutors, Landors. It was observable, too, that they always called him "Mr. Landor" – rather ceremoniously and submissively. There was a certain "Caro Pedre Abete Marina" – invariably so addressed in these anecdotes – who figured through a great many of them, and who always expressed himself in this deferential tone.
Mr. Forster writes of Landor's character thus:
"A man must be judged, at first, by what he says and does. But with him such extravagance as I have referred to was little more than the habitual indulgence (on such themes) of passionate feelings and language, indecent indeed but utterly purposeless; the mere explosion of wrath provoked by tyranny or cruelty; the irregularities of an overheated steam-engine too weak for its own vapour. It is very certain that no one could detest oppression more truly than Landor did in all seasons and times; and if no one expressed that scorn, that abhorrence of tyranny and fraud, more hastily or more intemperately, all his fire and fury signified really little else than ill-temper too easily provoked. Not to justify or excuse such language, but to explain it, this consideration is urged. If not uniformly placable, Landor was always compassionate. He was tender-hearted rather than bloody- minded at all times, and upon only the most partial acquaintance with his writings could other opinion be formed. A completer knowledge of them would satisfy any one that he had as little real disposition to kill a king as to kill a mouse. In fact there is not a more marked peculiarity in his genius than the union with its strength of a most uncommon gentleness, and in the personal ways of the man this was equally manifest." – Vol. i. p. 496.
Of his works, thus:
"Though his mind was cast in the antique mould, it had opened itself to every kind of impression through a long and varied life; he has written with equal excellence in both poetry and prose, which can hardly be said of any of his contemporaries; and perhaps the single epithet by which his books would be best described is that reserved exclusively for books not characterised only by genius, but also by special individuality. They are unique. Having possessed them, we should miss them. Their place would be supplied by no others. They have that about them, moreover, which renders it almost certain that they will frequently be resorted to in future time. There are none in the language more quotable. Even where impulsiveness and want of patience have left them most fragmentary, this rich compensation is offered to the reader. There is hardly a conceivable subject, in life or literature, which they do not illustrate by striking aphorisms, by concise and profound observations, by wisdom ever applicable to the deeds of men, and by wit as available for their enjoyment. Nor, above all, will there anywhere be found a more pervading passion for liberty, a fiercer hatred of the base, a wider sympathy with the wronged and the oppressed, or help more ready at all times for those who fight at odds and disadvantage against the powerful and the fortunate, than in the writings of Walter Savage Landor." – Last page of second volume.
The impression was strong upon the present writer's mind, as on Mr. Forster's, during years of close friendship with the subject of this biography, that his animosities were chiefly referable to the singular inability in him to dissociate other people's ways of thinking from his own. He had, to the last, a ludicrous grievance (both Mr. Forster and the writer have often amused themselves with it) against a good-natured nobleman, doubtless perfectly unconscious of having ever given him offence. The offence was, that on the occasion of some dinner party in another nobleman's house, many years before, this innocent lord (then a commoner) had passed in to dinner, through some door, before him, as he himself was about to pass in through that same door with a lady on his arm. Now, Landor was a gentleman of most scrupulous politeness, and in his carriage of himself towards ladies there was a certain mixture of stateliness and deference, belonging to quite another time, and, as Mr. Pepys would observe, "mighty pretty to see". If he could by any effort imagine himself committing such a high crime and misdemeanour as that in question, he could only imagine himself as doing it of a set purpose, under the sting of some vast injury, to inflict a great affront. A deliberately designed affront on the part of another man, it therefore remained to the end of his days. The manner in which, as time went on, he permeated the unfortunate lord's ancestry with this offence, was whimsically characteristic of Landor. The writer remembers very well when only the individual himself was held responsible in the story for the breach of good breeding; but in another ten years or so, it began to appear that his father had always been remarkable for ill manners; and in yet another ten years or so, his grandfather developed into quite a prodigy of coarse behaviour.
Mr. Boythorn – if he may again be quoted – said of his adversary, Sir Leicester Dedlock: "That fellow is, AND HIS FATHER WAS, AND HIS GRANDFATHER WAS, the most stiff-necked, arrogant, imbecile, pig- headed numskull, ever, by some inexplicable mistake of Nature, born in any station of life but a walking-stick's!"
The strength of some of Mr. Landor's most captivating kind qualities was traceable to the same source. Knowing how keenly he himself would feel the being at any small social disadvantage, or the being unconsciously placed in any ridiculous light, he was wonderfully considerate of shy people, or of such as might be below the level of his usual conversation, or otherwise out of their element. The writer once observed him in the keenest distress of mind in behalf of a modest young stranger who came into a drawing-room with a glove on his head. An expressive commentary on this sympathetic condition, and on the delicacy with which he advanced to the young stranger's rescue, was afterwards furnished by himself at a friendly dinner at Gore House, when it was the most delightful of houses. His dress – say, his cravat or shirt-collar – had become slightly disarranged on a hot evening, and Count D'Orsay laughingly called his attention to the circumstance as we rose from table. Landor became flushed, and greatly agitated: "My dear Count D'Orsay, I thank you! My dear Count D'Orsay, I thank you from my soul for pointing out to me the abominable condition to which I am reduced! If I had entered the Drawing-room, and presented myself before Lady Blessington in so absurd a light, I would have instantly gone home, put a pistol to my head, and blown my brains out!"
Mr. Forster tells a similar story of his keeping a company waiting dinner, through losing his way; and of his seeing no remedy for that breach of politeness but cutting his throat, or drowning himself, unless a countryman whom he met could direct him by a short road to the house where the party were assembled. Surely these are expressive notes on the gravity and reality of his explosive inclinations to kill kings!
His manner towards boys was charming, and the earnestness of his wish to be on equal terms with them and to win their confidence was quite touching. Few, reading Mr. Forster's book, can fall to see in this, his pensive remembrance of that "studious wilful boy at once shy and impetuous", who had not many intimacies at Rugby, but who was "generally popular and respected, and used his influence often to save the younger boys from undue harshness or violence". The impulsive yearnings of his passionate heart towards his own boy, on their meeting at Bath, after years of separation, likewise burn through this phase of his character.
But a more spiritual, softened, and unselfish aspect of it, was to derived from his respectful belief in happiness which he himself had missed. His marriage had not been a felicitous one – it may be fairly assumed for either side – but no trace of bitterness or distrust concerning other marriages was in his mind. He was never more serene than in the midst of a domestic circle, and was invariably remarkable for a perfectly benignant interest in young couples and young lovers. That, in his ever-fresh fancy, he conceived in this association innumerable histories of himself involving far more unlikely events that never happened than Isaac D'Israeli ever imagined, is hardly to be doubted; but as to this part of his real history he was mute, or revealed his nobleness in an impulse to be generously just. We verge on delicate ground, but a slight remembrance rises in the writer which can grate nowhere. Mr. Forster relates how a certain friend, being in Florence, sent him home a leaf from the garden of his old house at Fiesole. That friend had first asked him what he should send him home, and he had stipulated for this gift – found by Mr. Forster among his papers after his death. The friend, on coming back to England, related to Landor that he had been much embarrassed, on going in search of the leaf, by his driver's suddenly stopping his horses in a narrow lane, and presenting him (the friend) to "La Signora Landora". The lady was walking alone on a bright Italian-winter-day; and the man, having been told to drive to the Villa Landora, inferred that he must be conveying a guest or visitor. "I pulled off my hat," said the friend, "apologised for the coachman's mistake, and drove on. The lady was walking with a rapid and firm step, had bright eyes, a fine fresh colour, and looked animated and agreeable." Landor checked off each clause of the description, with a stately nod of more than ready assent, and replied, with all his tremendous energy concentrated into the sentence: "And the Lord forbid that I should do otherwise than declare that she always WAS agreeable – to every one but ME!"
Mr. Forster step by step builds up the evidence on which he writes this life and states this character. In like manner, he gives the evidence for his high estimation of Landor's works, and – it may be added – for their recompense against some neglect, in finding so sympathetic, acute, and devoted a champion. Nothing in the book is more remarkable than his examination of each of Landor's successive pieces of writing, his delicate discernment of their beauties, and his strong desire to impart his own perceptions in this wise to the great audience that is yet to come. It rarely befalls an author to have such a commentator: to become the subject of so much artistic skill and knowledge, combined with such infinite and loving pains. Alike as a piece of Biography, and as a commentary upon the beauties of a great writer, the book is a massive book; as the man and the writer were massive too. Sometimes, when the balance held by Mr. Forster has seemed for a moment to turn a little heavily against the infirmities of temperament of a grand old friend, we have felt something of a shock; but we have not once been able to gainsay the justice of the scales. This feeling, too, has only fluttered out of the detail, here or there, and has vanished before the whole. We fully agree with Mr. Forster that "judgment has been passed" – as it should be – "with an equal desire to be only just on all the qualities of his temperament which affected necessarily not his own life only. But, now that the story is told, no one will have difficulty in striking the balance between its good and ill; and what was really imperishable in Landor's genius will not be treasured less, or less understood, for the more perfect knowledge of his character".
