The Crown of Wild Olive by John Ruskin (audio ebook reader txt) 📖
- Author: John Ruskin
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And thus an elaborate and ingenious scholasticism, in what may be called the Divinity of Decomposition, has established itself in connection with the more recent forms of romance, giving them at once a complacent tone of clerical dignity, and an agreeable dash of heretical impudence; while the inculcated doctrine has the double advantage of needing no laborious scholarship for its foundation, and no painful self-denial for its practice.
III. The monotony of life in the central streets of any great modern city, but especially in those of London, where every emotion intended to be derived by men from the sight of nature, or the sense of art, is forbidden for ever, leaves the craving of the heart for a sincere, yet changeful, interest, to be fed from one source only. Under natural conditions the degree of mental excitement necessary to bodily health is provided by the course of the seasons, and the various skill and fortune of agriculture. In the country every morning of the year brings with it a new aspect of springing or fading nature; a new duty to be fulfilled upon earth, and a new promise or warning in heaven. No day is without its innocent hope, its special prudence, its kindly gift, and its sublime danger; and in every process of wise husbandry, and every effort of contending or remedial courage, the wholesome passions, pride, and bodily power of the labourer are excited and exerted in happiest unison. The companionship of domestic, the care of serviceable, animals, soften and enlarge his life with lowly charities, and discipline him in familiar wisdoms and unboastful fortitudes; while the divine laws of seed-time which cannot be recalled, harvest which cannot be hastened, and winter in which no man can work, compel the impatiences and coveting of his heart into labour too submissive to be anxious, and rest too sweet to be wanton. What thought can enough comprehend the contrast between such life, and that in streets where summer and winter are only alternations of heat and cold; where snow never fell white, nor sunshine clear; where the ground is only a pavement, and the sky no more than the glass roof of an arcade; where the utmost power of a storm is to choke the gutters, and the finest magic of spring, to change mud into dust: where—chief and most fatal difference in state, there is no interest of occupation for any of the inhabitants but the routine of counter or desk within doors, and the effort to pass each other without collision outside; so that from morning to evening the only possible variation of the monotony of the hours, and lightening of the penalty of existence, must be some kind of mischief, limited, unless by more than ordinary godsend of fatality, to the fall of a horse, or the slitting of a pocket.
I said that under these laws of inanition, the craving of the human heart for some kind of excitement could be supplied from one source only. It might have been thought by any other than a sternly tentative philosopher, that the denial of their natural food to human feelings would have provoked a reactionary desire for it; and that the dreariness of the street would have been gilded by dreams of pastoral felicity. Experience has shown the fact to be otherwise; the thoroughly trained Londoner can enjoy no other excitement than that to which he has been accustomed, but asks for that in continually more ardent or more virulent concentration; and the ultimate power of fiction to entertain him is by varying to his fancy the modes, and defining for his dulness the horrors, of Death. In the single novel of Bleak House there are nine deaths (or left for death's, in the drop scene) carefully wrought out or led up to, either by way of pleasing surprise, as the baby's at the brickmaker's, or finished in their threatenings and sufferings, with as much enjoyment as can be contrived in the anticipation, and as much pathology as can be concentrated in the description. Under the following varieties of method:—
Besides the baby, by fever, and a lively young Frenchwoman left to be hanged.
And all this, observe, not in a tragic, adventurous, or military story, but merely as the further enlivenment of a narrative intended to be amusing; and as a properly representative average of the statistics of civilian mortality in the centre of London.
Observe further, and chiefly. It is not the mere number of deaths (which, if we count the odd troopers in the last scene, is exceeded in Old Mortality, and reached, within one or two, both in Waverley and Guy Mannering) that marks the peculiar tone of the modern novel. It is the fact that all these deaths, but one, are of inoffensive, or at least in the world's estimate respectable persons; and that they are all grotesquely either violent or miserable, purporting thus to illustrate the modern theology that the appointed destiny of a large average of our population is to die like rats in a drain, either by trap or poison. Not, indeed, that a lawyer in full practice can be usually supposed as faultless in the eye of heaven as a dove or a woodcock; but it is not, in former divinities, thought the will of Providence that he should be dropped by a shot from a client behind his fire-screen, and retrieved in the morning by his housemaid under the chandelier. Neither is Lady Dedlock less reprehensible in her conduct than many women of fashion have been and will be: but it would not therefore have been thought poetically just, in old-fashioned morality, that she should be found by her daughter lying dead, with her face in the mud of a St. Giles's churchyard.
In the work of the great masters death is always either heroic, deserved, or quiet and natural (unless their purpose be totally and deeply tragic, when collateral meaner death is permitted, like that of Polonius or Roderigo). In Old Mortality, four of the deaths, Bothwell's, Ensign Grahame's, Macbriar's, and Evandale's, are magnificently heroic; Burley's and Oliphant's long deserved, and swift; the troopers', met in the discharge of their military duty, and the old miser's, as gentle as the passing of a cloud, and almost beautiful in its last words of—now unselfish—care.
'Ailie' (he aye ca'd me Ailie, we were auld acquaintance,) 'Ailie, take ye care and haud the gear weel thegither; for the name of Morton of Milnwood's gane out like the last sough of an auld sang.' And sae he fell out o' ae dwam into another, and ne'er spak a word mair, unless it were something we cou'dna mak out, about a dipped candle being gude eneugh to see to dee wi'. He cou'd ne'er bide to see a moulded ane, and there was ane, by ill luck, on the table.
In Guy Mannering, the murder, though unpremeditated, of a single person, (himself not entirely innocent, but at least by heartlessness in a cruel function earning his fate,) is avenged to the uttermost on all the men conscious of the crime; Mr. Bertram's death, like that of his wife, brief in pain, and each told in the space of half-a-dozen lines; and that of the heroine of the tale, self-devoted, heroic in the highest, and happy.
Nor is it ever to be forgotten, in the comparison of Scott's with inferior work, that his own splendid powers were, even in early life, tainted, and in his latter years destroyed, by modern conditions of commercial excitement, then first, but rapidly, developing themselves. There are parts even in his best novels coloured to meet tastes which he despised; and many pages written in his later ones to lengthen his article for the indiscriminate market.
But there was one weakness of which his healthy mind remained incapable to the last. In modern stories prepared for more refined or fastidious audiences than those of Dickens, the funereal excitement is obtained, for the most part, not by the infliction of violent or disgusting death; but in the suspense, the pathos, and the more or less by all felt, and recognised, mortal phenomena of the sick-room. The temptation, to weak writers, of this order of subject is especially great, because the study of it from the living—or dying—model is so easy, and to many has been the most impressive part of their own personal experience; while, if the description be given even with mediocre accuracy, a very large section of readers will admire its truth, and cherish its melancholy: Few authors of second or third rate genius can either record or invent a probable conversation in ordinary life; but few, on the other hand, are so destitute of observant faculty as to be unable to chronicle the broken syllables and languid movements of an invalid. The easily rendered, and too surely recognised, image of familiar suffering is felt at once to be real where all else had been false; and the historian of the gestures of fever and words of delirium can count on the applause of a gratified audience as surely as the dramatist who introduces on the stage of his flagging action a carriage that can be driven or a fountain that will flow. But the masters of strong imagination disdain such work, and those of deep sensibility shrink from it.[154] Only under conditions of personal weakness, presently to be noted, would Scott comply with the cravings of his lower audience in scenes of terror like the death of Front-de-Bœuf. But he never once withdrew the sacred curtain of the sick-chamber, nor permitted the disgrace of wanton tears round the humiliation of strength, or the wreck of beauty.
IV. No exception to this law of reverence will be found in the scenes in Cœur de Lion's illness introductory to the principal incident in the Talisman. An inferior writer would have made the king charge in imagination at the head of his chivalry, or wander in dreams by the brooks of Aquitaine; but Scott allows us to learn no more startling symptoms of the king's malady than that he was restless and impatient, and could not wear his armour. Nor is any bodily weakness, or crisis of danger, permitted to disturb for an instant the royalty of intelligence and heart in which he examines, trusts and obeys the physician whom his attendants fear.
Yet the choice of the main subject in this story and its companion—the trial, to a point of utter torture, of knightly faith, and several passages in the conduct of both, more especially the exaggerated scenes in the House of Baldringham, and hermitage of Engedi, are signs of the gradual decline in force of intellect and soul which those who love Scott best have done him the worst injustice in their endeavours to disguise or deny. The mean anxieties, moral humiliations, and mercilessly demanded brain-toil, which killed him, show their sepulchral grasp for many and many a year before their final victory; and the states of more or less dulled, distorted, and
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