Three Men in a Boat - Jerome K. Jerome (best classic novels TXT) 📗

neuralgia and earache. He was never without a cold, except once for nine weeks while he had scarlet fever; and he always had chilblains. During the great cholera scare of 1871, our neighbourhood was singularly free from it. There was only one reputed case in the whole parish: that case was young Stivvings.

He had to stop in bed when he was ill, and eat chicken and custards and hothouse grapes; and he would lie there and sob, because they wouldn’t let him do Latin exercises, and took his German grammar away from him.

And we other boys, who would have sacrificed ten terms of our school-life for the sake of being ill for a day, and had no desire whatever to give our parents any excuse for being stuck-up about us, couldn’t catch so much as a stiff neck. We fooled about in draughts, and it did us good, and freshened us up; and we took things to make us sick, and they made us fat, and gave us an appetite. Nothing we could think of seemed to make us ill until the holidays began. Then, on the breaking-up day, we caught colds, and whooping cough, and all kinds of disorders, which lasted till the term recommenced; when, in spite of everything we could manoeuvre to the contrary, we would get suddenly well again, and be better than ever.

Such is life; and we are but as grass that is cut down, and put into the oven and baked.

To go back to the carved-oak question, they must have had very fair notions of the artistic and the beautiful, our great-great-grandfathers. Why, all our art treasures of today are only the dug-up commonplaces of three or four hundred years ago. I wonder if there is real intrinsic beauty in the old soup-plates, beer-mugs, and candle-snuffers that we prize so now, or if it is only the halo of age glowing around them that gives them their charms in our eyes. The “old blue” that we hang about our walls as ornaments were the common everyday household utensils of a few centuries ago; and the pink shepherds and the yellow shepherdesses that we hand round now for all our friends to gush over, and pretend they understand, were the unvalued mantel-ornaments that the mother of the eighteenth century would have given the baby to suck when he cried.

Will it be the same in the future? Will the prized treasures of today always be the cheap trifles of the day before? Will rows of our willow-pattern dinner-plates be ranged above the chimneypieces of the great in the years 2000 and odd? Will the white cups with the gold rim and the beautiful gold flower inside (species unknown), that our Sarah Janes now break in sheer lightheartedness of spirit, be carefully mended, and stood upon a bracket, and dusted only by the lady of the house?

That china dog that ornaments the bedroom of my furnished lodgings. It is a white dog. Its eyes blue. Its nose is a delicate red, with spots. Its head is painfully erect, its expression is amiability carried to verge of imbecility. I do not admire it myself. Considered as a work of art, I may say it irritates me. Thoughtless friends jeer at it, and even my landlady herself has no admiration for it, and excuses its presence by the circumstance that her aunt gave it to her.

But in 200 years’ time it is more than probable that that dog will be dug up from somewhere or other, minus its legs, and with its tail broken, and will be sold for old china, and put in a glass cabinet. And people will pass it round, and admire it. They will be struck by the wonderful depth of the colour on the nose, and speculate as to how beautiful the bit of the tail that is lost no doubt was.

We, in this age, do not see the beauty of that dog. We are too familiar with it. It is like the sunset and the stars: we are not awed by their loveliness because they are common to our eyes. So it is with that china dog. In 2288 people will gush over it. The making of such dogs will have become a lost art. Our descendants will wonder how we did it, and say how clever we were. We shall be referred to lovingly as “those grand old artists that flourished in the nineteenth century, and produced those china dogs.”

The “sampler” that the eldest daughter did at school will be spoken of as “tapestry of the Victorian era,” and be almost priceless. The blue-and-white mugs of the present-day roadside inn will be hunted up, all cracked and chipped, and sold for their weight in gold, and rich people will use them for claret cups; and travellers from Japan will buy up all the “Presents from Ramsgate,” and “Souvenirs of Margate,” that may have escaped destruction, and take them back to Jedo as ancient English curios.

At this point Harris threw away the sculls, got up and left his seat, and sat on his back, and stuck his legs in the air. Montmorency howled, and turned a somersault, and the top hamper jumped up, and all the things came out.

I was somewhat surprised, but I did not lose my temper. I said, pleasantly enough:

“Hulloa! what’s that for?”

“What’s that for? Why⁠—”

No, on second thoughts, I will not repeat what Harris said. I may have been to blame, I admit it; but nothing excuses violence of language and coarseness of expression, especially in a man who has been carefully brought up, as I know Harris has been. I was thinking of other things, and forgot, as anyone might easily understand, that I was steering, and the consequence was that we had got mixed up a good deal with the towpath. It was difficult to say, for the moment, which was us and which was the Middlesex bank of the river; but we found out after a