A Strange Manuscript Found in a Copper Cylinder - James De Mille (best english books to read TXT) 📗

They had to remain here for some time longer to rest their athalebs. At length we prepared to depart. Our wounded athaleb was left behind to take care of himself. I was taken with Almah, and Layelah went on the other. We were thus separated; and so we set forth upon our return, and at length arrived at the amir. XXVI Grimm’s Law Again

Dinner was now announced, and Oxenden laid the manuscript aside; whereupon they adjourned to the cabin, where they proceeded to discuss both the repast and the manuscript.

“Well,” said Featherstone, “More’s story seems to be approaching a crisis. What do you think of it now, Melick? Do you still think it a sensational novel?”

“Partly so,” said Melick; “but it would be nearer the mark to call it a satirical romance.”

“Why not a scientific romance?”

“Because there’s precious little science in it, but a good deal of quiet satire.”

“Satire on what?” asked Featherstone. “I’ll be hanged if I can see it.”

“Oh, well,” said Melick, “on things in general. The satire is directed against the restlessness of humanity; its impulses, feelings, hopes, and fears⁠—all that men do and feel and suffer. It mocks us by exhibiting a new race of men, animated by passions and impulses which are directly the opposite of ours, and yet no nearer happiness than we are. It shows us a world where our evil is made a good, and our good an evil; there all that we consider a blessing is had in abundance⁠—prolonged and perpetual sunlight, riches, power, fame⁠—and yet these things are despised, and the people, turning away from them, imagine that they can find happiness in poverty, darkness, death, and unrequited love. The writer thus mocks at all our dearest passions and strongest desires; and his general aim is to show that the mere search for happiness per se is a vulgar thing, and must always result in utter nothingness. The writer also teaches the great lesson that the happiness of man consists not in external surroundings, but in the internal feelings, and that heaven itself is not a place, but a state. It is the old lesson which Milton extorted from Satan:

“ ‘What matter where, if I be still the same⁠—’

“Or again:

“ ‘The mind is its own place, and of itself
Can make a heaven of hell, a hell of heaven⁠—’ ”

“That’s good too,” cried Oxenden. “That reminds me of the German commentators who find in the Agamemnon of Aeschylus or the Oedipus of Sophocles or the Hamlet of Shakespeare motives and purposes of which the authors could never have dreamed, and give us a metaphysical, beer-and-tobacco, High-Dutch Clytemnestra or Antigone or Lady Macbeth. No, my boy, More was a simple sailor, and had no idea of satirizing anything.”

“How, then, do you account for the perpetual undercurrent of meaning and innuendo that may be found in every line?”

“I deny that there is anything of the sort,” said Oxenden. “It is a plain narrative of facts; but the facts are themselves such that they give a new coloring to the facts of our own life. They are in such profound antithesis to European ways that we consider them as being written merely to indicate that difference. It is like the Germania of Tacitus, which many critics still hold to be a satire on Roman ways, while as a matter of fact it is simply a narrative of German manners and customs.”

“I hope,” cried Melick, “that you do not mean to compare this awful rot and rubbish to the Germania of Tacitus?”

“By no means,” said Oxenden; “I merely asserted that in one respect they were analogous. You forced on the allusion to the Germania by calling this ‘rot and rubbish’ a satirical romance.”

“Oh, well,” said Melick, “I only referred to the intention of the writer. His plan is one thing and his execution quite another. His plan is not bad, but he fails utterly in his execution. The style is detestable. If he had written in the style of a plain seaman, and told a simple unvarnished tale, it would have been all right. In order to carry out properly such a plan as this the writer should take Defoe as his model, or, still better, Dean Swift. Gulliver’s Travels and Robinson Crusoe show what can be done in this way, and form a standard by which all other attempts must be judged. But this writer is tawdry; he has the worst vices of the sensational school⁠—he shows everywhere marks of haste, gross carelessness, and universal feebleness. When he gets hold of a good fancy, he lacks the patience that is necessary in order to work it up in an effective way. He is a gross plagiarist, and over and over again violates in the most glaring manner all the ordinary proprieties of style. What can be more absurd, for instance, than the language which he puts into the mouth of Layelah? Not content with making her talk like a sentimental boarding-school, bread-and-butter English miss, he actually forgets himself so far as to put in her mouth a threadbare joke, which everyone has heard since childhood.”

“What is that?”

“Oh, that silly speech about the athaleb swallowing its victuals whole.”

“What’s the matter with that?” asked Oxenden. “It’s merely a chance resemblance. In translating her words into English they fell by accident into that shape. No one but you would find fault with them. Would it have been better if he had translated her words into the scientific phraseology which the doctor made use of with regard to the Ichthyosaurus? He might have made it this way: ‘Does it bite?’ ‘No; it swallows its food without mastication.’ Would that have been better? Besides, it’s all very well to talk of imitating Defoe and Swift; but suppose he couldn’t do it?”

“Then he shouldn’t have written the book.”

“In that case how could his father have heard about his adventures?”

“His father!”