The Crown of Wild Olive - John Ruskin (ereader with android .TXT) 📗

polluted imagination which culminate in Castle Dangerous, cast a Stygian hue over St. Ronan's Well, The Fair Maid of Perth, and Anne of Geierstein, which lowers them, the first altogether, the other two at frequent intervals, into fellowship with the normal disease which festers throughout the whole body of our lower fictitious literature.

Fictitious! I use the ambiguous word deliberately; for it is impossible to distinguish in these tales of the prison-house how far their vice and gloom are thrown into their manufacture only to meet a vile demand, and how far they are an integral condition of thought in the minds of men trained from their youth up in the knowledge of Londinian and Parisian misery. The speciality of the plague is a delight in the exposition of the relations between guilt and decrepitude; and I call the results of it literature 'of the prison-house,' because the thwarted habits of body and mind, which are the punishment of reckless crowding in cities, become, in the issue of that punishment, frightful subjects of exclusive interest to themselves; and the art of fiction in which they finally delight is only the more studied arrangement and illustration, by coloured firelights, of the daily bulletins of their own wretchedness, in the prison calendar, the police news, and the hospital report.

The reader will perhaps be surprised at my separating the greatest work of Dickens, Oliver Twist, with honour, from the loathsome mass to which it typically belongs. That book is an earnest and uncaricatured record of states of criminal life, written with didactic purpose, full of the gravest instruction, nor destitute of pathetic studies of noble passion. Even the Mysteries of Paris and Gaboriau's Crime d'Augival are raised, by their definiteness of historical intention and forewarning anxiety, far above the level of their order, and may be accepted as photographic evidence of an otherwise incredible civilisation, corrupted in the infernal fact of it, down to the genesis of such figures as the Vicomte d'Augival, the Stabber,[155] the Skeleton, and the She-wolf. But the effectual head of the whole cretinous school is the renowned novel in which the hunchbacked lover watches the execution of his mistress from the tower of Notre-Dame; and its strength passes gradually away into the anatomical preparations, for the general market, of novels like Poor Miss Finch, in which the heroine is blind, the hero epileptic, and the obnoxious brother is found dead with his hands dropped off, in the Arctic regions.[156]

This literature of the Prison-house, understanding by the word not only the cell of Newgate, but also and even more definitely the cell of the Hôtel-Dieu, the Hôpital des Fous, and the grated corridor with the dripping slabs of the Morgue, having its central root thus in the Ile de Paris—or historically and pre-eminently the 'Cité de Paris'—is, when understood deeply, the precise counter-corruption of the religion of the Sainte Chapelle, just as the worst forms of bodily and mental ruin are the corruption of love. I have therefore called it 'Fiction mécroyante,' with literal accuracy and precision; according to the explanation of the word which the reader may find in any good French dictionary,[157] and round its Arctic pole in the Morgue, he may gather into one Caina of gelid putrescence the entire product of modern infidel imagination, amusing itself with destruction of the body, and busying itself with aberration of the mind.

Aberration, palsy, or plague, observe, as distinguished from normal evil, just as the venom of rabies or cholera differs from that of a wasp or a viper. The life of the insect and serpent deserves, or at least permits, our thoughts; not so, the stages of agony in the fury-driven hound. There is some excuse, indeed, for the pathologic labour of the modern novelist in the fact that he cannot easily, in a city population, find a healthy mind to vivisect: but the greater part of such amateur surgery is the struggle, in an epoch of wild literary competition, to obtain novelty of material. The varieties of aspect and colour in healthy fruit, be it sweet or sour, may be within certain limits described exhaustively. Not so the blotches of its conceivable blight: and while the symmetries of integral human character can only be traced by harmonious and tender skill, like the branches of a living tree, the faults and gaps of one gnawed away by corroding accident can be shuffled into senseless change like the wards of a Chubb lock.

V. It is needless to insist on the vast field for this dice-cast or card-dealt calamity which opens itself in the ignorance, money-interest, and mean passion, of city marriage. Peasants know each other as children—meet, as they grow up in testing labour; and if a stout farmer's son marries a handless girl, it is his own fault. Also in the patrician families of the field, the young people know what they are doing, and marry a neighbouring estate, or a covetable title, with some conception of the responsibilities they undertake. But even among these, their season in the confused metropolis creates licentious and fortuitous temptation before unknown; and in the lower middle orders, an entirely new kingdom of discomfort and disgrace has been preached to them in the doctrines of unbridled pleasure which are merely an apology for their peculiar forms of illbreeding. It is quite curious how often the catastrophe, or the leading interest, of a modern novel, turns upon the want, both in maid and bachelor, of the common self-command which was taught to their grandmothers and grandfathers as the first element of ordinarily decent behaviour. Rashly inquiring the other day the plot of a modern story from a female friend, I elicited, after some hesitation, that it hinged mainly on the young people's 'forgetting themselves in a boat;' and I perceive it to be accepted as nearly an axiom in the code of modern civic chivalry that the strength of amiable sentiment is proved by our incapacity on proper occasions to express, and on improper ones to control it. The pride of a gentleman of the old school used to be in his power of saying what he meant, and being silent when he ought, (not to speak of the higher nobleness which bestowed love where it was honourable, and reverence where it was due); but the automatic amours and involuntary proposals of recent romance acknowledge little further law of morality than the instinct of an insect, or the effervescence of a chemical mixture.

There is a pretty little story of Alfred de Musset's,—La Mouche, which, if the reader cares to glance at it, will save me further trouble in explaining the disciplinarian authority of mere old-fashioned politeness, as in some sort protective of higher things. It describes, with much grace and precision, a state of society by no means pre-eminently virtuous, or enthusiastically heroic; in which many people do extremely wrong, and none sublimely right. But as there are heights of which the achievement is unattempted, there are abysses to which fall is barred; neither accident nor temptation will make any of the principal personages swerve from an adopted resolution, or violate an accepted principle of honour; people are expected as a matter of course to speak with propriety on occasion, and to wait with patience when they are bid: those who do wrong, admit it; those who do right don't boast of it; everybody knows his own mind, and everybody has good manners.

Nor must it be forgotten that in the worst days of the self-indulgence which destroyed the aristocracies of Europe, their vices, however licentious, were never, in the fatal modern sense, 'unprincipled.' The vainest believed in virtue; the vilest respected it. 'Chaque chose avait son nom,'[158] and the severest of English moralists recognises the accurate wit, the lofty intellect, and the unfretted benevolence, which redeemed from vitiated surroundings the circle of d'Alembert and Marmontel.[159]

I have said, with too slight praise, that the vainest, in those days, 'believed' in virtue. Beautiful and heroic examples of it were always before them; nor was it without the secret significance attaching to what may seem the least accidents in the work of a master, that Scott gave to both his heroines of the age of revolution in England the name of the queen of the highest order of English chivalry.[160]

It is to say little for the types of youth and maid which alone Scott felt it a joy to imagine, or thought it honourable to portray, that they act and feel in a sphere where they are never for an instant liable to any of the weaknesses which disturb the calm, or shake the resolution, of chastity and courage in a modern novel. Scott lived in a country and time, when, from highest to lowest, but chiefly in that dignified and nobly severe[161] middle class to which he himself belonged, a habit of serene and stainless thought was as natural to the people as their mountain air. Women like Rose Bradwardine and Ailie Dinmont were the grace and guard of almost every household (God be praised that the race of them is not yet extinct, for all that Mall or Boulevard can do), and it has perhaps escaped the notice of even attentive readers that the comparatively uninteresting character of Sir Walter's heroes had always been studied among a class of youths who were simply incapable of doing anything seriously wrong; and could only be embarrassed by the consequences of their levity or imprudence.

But there is another difference in the woof of a Waverley novel from the cobweb of a modern one, which depends on Scott's larger view of human life. Marriage is by no means, in his conception of man and woman, the most important business of their existence;[162] nor love the only reward to be proposed to their virtue or exertion. It is not in his reading of the laws of Providence a necessity that virtue should, either by love or any other external blessing, be rewarded at all;[163] and marriage is in all cases thought of as a constituent of the happiness of life, but not as its only interest, still less its only aim. And upon analysing with some care the motives of his principal stories, we shall often find that the love in them is merely a light by which the sterner features of character are to be irradiated, and that the marriage of the hero is as subordinate to the main bent of the story as Henry the Fifth's courtship of Katherine is to the battle of Agincourt. Nay, the fortunes of the person who is nominally the subject of the tale are often little more than a background on which grander figures are to be drawn, and deeper fates forth-shadowed. The judgments between the faith and chivalry of Scotland at Drumclog and Bothwell bridge owe little of their interest in the mind of a sensible reader to the fact that the captain of the Popinjay is carried a prisoner to one battle, and returns a prisoner from the other: and Scott himself, while he watches the white sail that bears Queen Mary for the last time from her native land, very nearly forgets to finish his novel, or to tell us—and with small sense of any consolation to be had out of that minor circumstance,—that 'Roland and Catherine were united, spite of their differing faiths.'

Neither let it be thought for an instant that the slight, and sometimes scornful, glance with which Scott passes over scenes which a novelist of our own day would have