Sketches by Boz, illustrative of everyday life and every-day people by Charles Dickens (books to get back into reading txt) 📖

considerably on the increase.

We know a poetical young gentleman—a very poetical young gentleman. We do not mean to say that he is troubled with the gift of poesy in any remarkable degree, but his countenance is of a plaintive and melancholy cast, his manner is abstracted and bespeaks affliction of soul: he seldom has his hair cut, and often talks about being an outcast and wanting a kindred spirit; from which, as well as from many general observations in which he is wont to indulge, concerning mysterious impulses, and yearnings of the heart, and the supremacy of intellect gilding all earthly things with the glowing magic of immortal verse, it is clear to all his friends that he has been stricken poetical.

The favourite attitude of the poetical young gentleman is lounging on a sofa with his eyes fixed upon the ceiling, or sitting bolt upright in a high-backed chair, staring with very round eyes at the opposite wall. When he is in one of these positions, his mother, who is a worthy, affectionate old soul, will give you a nudge to bespeak your attention without disturbing the abstracted one, and whisper with a shake of the head, that John’s imagination is at some extraordinary work or other, you may take her word for it. Hereupon John looks more fiercely intent upon vacancy than before, and suddenly snatching a pencil from his pocket, puts down three words, and a cross on the back of a card, sighs deeply, paces once or twice across the room, inflicts a most unmerciful slap upon his head, and walks moodily up to his dormitory.

The poetical young gentleman is apt to acquire peculiar notions of things too, which plain ordinary people, unblessed with a poetical obliquity of vision, would suppose to be rather distorted. For instance, when the sickening murder and mangling of a wretched woman was affording delicious food wherewithal to gorge the insatiable curiosity of the public, our friend the poetical young gentleman was in ecstasies—not of disgust, but admiration. ‘Heavens!’ cried the poetical young gentleman, ‘how grand; how great!’ We ventured deferentially to inquire upon whom these epithets were bestowed: our humble thoughts oscillating between the police officer who found the criminal, and the lock-keeper who found the head. ‘Upon whom!’ exclaimed the poetical young gentleman in a frenzy of poetry, ‘Upon whom should they be bestowed but upon the murderer!’—and thereupon it came out, in a fine torrent of eloquence, that the murderer was a great spirit, a bold creature full of daring and nerve, a man of dauntless heart and determined courage, and withal a great casuist and able reasoner, as was fully demonstrated in his philosophical colloquies with the great and noble of the land. We held our peace, and meekly signified our indisposition to controvert these opinions—firstly, because we were no match at quotation for the poetical young gentleman; and secondly, because we felt it would be of little use our entering into any disputation, if we were: being perfectly convinced that the respectable and immoral hero in question is not the first and will not be the last hanged gentleman upon whom false sympathy or diseased curiosity will be plentifully expended.

This was a stern mystic flight of the poetical young gentleman. In his milder and softer moments he occasionally lays down his neckcloth, and pens stanzas, which sometimes find their way into a Lady’s Magazine, or the ‘Poets’ Corner’ of some country newspaper; or which, in default of either vent for his genius, adorn the rainbow leaves of a lady’s album. These are generally written upon some such occasions as contemplating the Bank of England by midnight, or beholding Saint Paul’s in a snow-storm; and when these gloomy objects fail to afford him inspiration, he pours forth his soul in a touching address to a violet, or a plaintive lament that he is no longer a child, but has gradually grown up.

The poetical young gentleman is fond of quoting passages from his favourite authors, who are all of the gloomy and desponding school. He has a great deal to say too about the world, and is much given to opining, especially if he has taken anything strong to drink, that there is nothing in it worth living for. He gives you to understand, however, that for the sake of society, he means to bear his part in the tiresome play, manfully resisting the gratification of his own strong desire to make a premature exit; and consoles himself with the reflection, that immortality has some chosen nook for himself and the other great spirits whom earth has chafed and wearied.

When the poetical young gentleman makes use of adjectives, they are all superlatives. Everything is of the grandest, greatest, noblest, mightiest, loftiest; or the lowest, meanest, obscurest, vilest, and most pitiful. He knows no medium: for enthusiasm is the soul of poetry; and who so enthusiastic as a poetical young gentleman? ‘Mr. Milkwash,’ says a young lady as she unlocks her album to receive the young gentleman’s original impromptu contribution, ‘how very silent you are! I think you must be in love.’ ‘Love!’ cries the poetical young gentleman, starting from his seat by the fire and terrifying the cat who scampers off at full speed, ‘Love! that burning, consuming passion; that ardour of the soul, that fierce glowing of the heart. Love! The withering, blighting influence of hope misplaced and affection slighted. Love did you say! Ha! ha! ha!’

With this, the poetical young gentleman laughs a laugh belonging only to poets and Mr. O. Smith of the Adelphi Theatre, and sits down, pen in hand, to throw off a page or two of verse in the biting, semi-atheistical demoniac style, which, like the poetical young gentleman himself, is full of sound and fury, signifying nothing.


THE ‘THROWING-OFF’ YOUNG GENTLEMAN

There is a certain kind of impostor—a bragging, vaunting, puffing young gentleman—against whom we are desirous to warn that fairer part of the creation, to whom we more peculiarly devote these our labours. And we are particularly induced to lay especial stress upon this division of our subject, by a little dialogue we held some short time ago, with an esteemed young lady of our acquaintance, touching a most gross specimen of this class of men. We had been urging all the absurdities of his conduct and conversation, and dwelling upon the impossibilities he constantly recounted—to which indeed we had not scrupled to prefix a certain hard little word of one syllable and three letters—when our fair friend, unable to maintain the contest any longer, reluctantly cried, ‘Well; he certainly has a habit of throwing-off, but then—’ What then? Throw him off yourself, said we. And so she did, but not at our instance, for other reasons appeared, and it might have been better if she had done so at first.

The throwing-off young gentleman has so often a father possessed of vast property in some remote district of Ireland, that we look with some suspicion upon all young gentlemen who volunteer this description of themselves. The deceased grandfather of the throwing-off young gentleman was a man of immense possessions, and untold wealth; the throwing-off young gentleman remembers, as well as if it were only yesterday, the deceased baronet’s library, with its long rows of scarce and valuable books in superbly embossed bindings, arranged in cases, reaching from the lofty ceiling to the oaken floor; and the fine antique chairs and tables, and the noble old castle of Ballykillbabaloo, with its splendid prospect of hill and dale, and wood, and rich wild scenery, and the fine hunting stables and the spacious court-yards, ‘and—and—everything upon the same magnificent scale,’ says the throwing-off young gentleman, ‘princely; quite princely. Ah!’ And he sighs as if mourning over the fallen fortunes of his noble house.

The throwing-off young gentleman is a universal genius; at walking, running, rowing, swimming, and skating, he is unrivalled; at all games of chance or skill, at hunting, shooting, fishing, riding, driving, or amateur theatricals, no one can touch him—that is _could_ not, because he gives you carefully to understand, lest there should be any opportunity of testing his skill, that he is quite out of practice just now, and has been for some years. If you mention any beautiful girl of your common acquaintance in his hearing, the throwing-off young gentleman starts, smiles, and begs you not to mind him, for it was quite involuntary: people do say indeed that they were once engaged, but no—although she is a very fine girl, he was so situated at that time that he couldn’t possibly encourage the—‘but it’s of no use talking about it!’ he adds, interrupting himself. ‘She has got over it now, and I firmly hope and trust is happy.’ With this benevolent aspiration he nods his head in a mysterious manner, and whistling the first part of some popular air, thinks perhaps it will be better to change the subject.

There is another great characteristic of the throwing-off young gentleman, which is, that he ‘happens to be acquainted’ with a most extraordinary variety of people in all parts of the world. Thus in all disputed questions, when the throwing-off young gentleman has no argument to bring forward, he invariably happens to be acquainted with some distant person, intimately connected with the subject, whose testimony decides the point against you, to the great—may we say it—to the great admiration of three young ladies out of every four, who consider the throwing-off young gentleman a very highly-connected young man, and a most charming person.

Sometimes the throwing-off young gentleman happens to look in upon a little family circle of young ladies who are quietly spending the evening together, and then indeed is he at the very height and summit of his glory; for it is to be observed that he by no means shines to equal advantage in the presence of men as in the society of over-credulous young ladies, which is his proper element. It is delightful to hear the number of pretty things the throwing-off young gentleman gives utterance to, during tea, and still more so to observe the ease with which, from long practice and study, he delicately blends one compliment to a lady with two for himself. ‘Did you ever see a more lovely blue than this flower, Mr. Caveton?’ asks a young lady who, truth to tell, is rather smitten with the throwing-off young gentleman. ‘Never,’ he replies, bending over the object of admiration, ‘never but in your eyes.’ ‘Oh, Mr. Caveton,’ cries the young lady, blushing of course. ‘Indeed I speak the truth,’ replies the throwing-off young gentleman, ‘I never saw any approach to them. I used to think my cousin’s blue eyes lovely, but they grow dim and colourless beside yours.’ ‘Oh! a beautiful cousin, Mr. Caveton!’ replies the young lady, with that perfect artlessness which is the distinguishing characteristic of all young ladies; ‘an affair, of course.’ ‘No; indeed, indeed you wrong me,’ rejoins the throwing-off young gentleman with great energy. ‘I fervently hope that her attachment towards me may be nothing but the natural result of our close intimacy in childhood, and that in change of scene and among new faces she may soon overcome it. _I_ love her! Think not so meanly of me, Miss Lowfield, I beseech, as to suppose that title, lands, riches, and beauty, can influence _my_ choice. The heart, the heart, Miss Lowfield.’ Here the throwing-off young gentleman sinks his voice to a still lower whisper; and the young lady duly proclaims to all the other young ladies when they go up-stairs, to put