Various
Blackwood's Edinburgh Magazine, No. CCCXXXVI. October, 1843. Vol. LIV.
Having settled the matter of the sky, our author takes the earth in hand, and tosses it about like a Titan. "The spirit of the hills is action, that of the lowlands, repose; and between these there is to be found every variety of motion and of rest, from the inactive plain, sleeping like the firmament, with cities for stars, to the fiery peaks which, with heaving bosoms and exulting limbs, with clouds drifting like hair from their bright foreheads, lift up their Titan hands to heaven saying, 'I live for ever.'" We learn, too, a wonderful power in the excited earth, far beyond that which other "naturalists" describe of the lobster, who only, ad libitum, casts off a claw or so. "But there is this difference between the action of the earth and that of a living creature, that while the exerted limb marks its bones and tendons through the flesh, the excited earth casts off the flesh altogether, and its bones come out from beneath. Mountains are the bones of the earth, their highest peaks are invariably those parts of its anatomy, which in the plains lie buried under five-and-twenty thousand feet of solid thickness of superincumbent soil, and which spring up in the mountain ranges in vast pyramids or wedges, flinging their garment of earth away from them on each side." If the gentle sketcher should happily escape a cuff from these cast-off clothes flung by excited earth from her extremities, he may be satisfied with repose in the lap of mother earth, who must be considerably fat and cushioned, though some may entertain a fear of being overlaid. What is the artist to do with an earth like this, body and bones? When he sits down to sketch some placid landscape, is he to think of poor nature with her bones sticking out from twenty-five thousand feet of her solid flesh! Mother of Gargantia—thou wert but a dwarf! Salvator Rosa could not paint rock; Gaspar Poussin could not paint rock. A rock, in short, is such a thing as nobody ought to paint, or can paint but Turner; and all that, after his description of rock, we believe; but were not prepared to learn that "the foreground of the 'Napoleon' in last year's Academy," is "one of the most exquisite pieces of rock truth ever put on canvass." In fact, we really, in ignorance to be ashamed of, did not know there was any rock there at all. We only remember Napoleon and his cocked-hat—now, this is extraordinary; for as we only or chiefly remember the cocked-hat, so he sees the said cocked-hat in Salvator's rocks, where we never saw such a thing, though "he has succeeded in covering his foregrounds with forms which approximate to those of drapery, of ribands, of crushed cocked-hats, of locks of hair, of waves, of leaves, or any thing, in short, flexible or tough, but which, of course, are not only unlike, but directly contrary to the forms which nature has impressed on rocks." And the nature of rocks he must know, having the "Napoleon" before him. "In the 'Napoleon' I can illustrate by no better example, for I can reason as well from this as I could with my foot on the native rock." What rocks of Salvator's, besides the No. 220 of the Dulwich gallery, he has seen, we cannot pretend to say; we have, within these few days, seen one, and could not discover the "commas," the "Chinese for rocks," nor Sanscrit for rocks, but did read the language of nature, without the necessity of any writing under—"This is a rock." Poor Claude, he knew nothing of perspective, and his efforts "invariably ended in reducing his pond to the form of a round O, and making it look perpendicular;" but in one instance Claude luckily hits upon "a little bit of accidental truth;" he is circumstantial in its locality—"the little piece of ground above the cattle, between the head of the brown cow and the tail of the white one, is well articulated, just where it turns into shade."
After the entire failure of all artists that ever lived before Turner in land and skies, we are prepared to find that they had not the least idea of water. When they thought they painted water, in fact, they were like "those happier children, sliding on dry ground," and had not the chance of wetting a foot. Water, too, is a thing to be anatomized, a sort of rib-fluidity. The moving, transparent water, in shallow and in depth, of Vandervelde and Backhuysen, is not the least like water; they are men who "libelled the sea." Many of our moderns—Stanfield in particular—seem naturally web-footed; but the real Triton of the sea, as he was Titan of the earth, is Turner. To our own eyes, in this respect, he stands indebted to the engraver; for we do not remember a single sea-piece by Turner, in water-colour or oil, in which the water is liquid. What it is like, in the picture of the Slave-ship, which is considered one of his very finest productions, we defy any one to tell. We are led to guess it is meant for water, by the strange fish that take their pastime. A year or two ago were exhibited two sea-pieces, of nearly equal size, at the British Institution, by Vandervelde and Turner. It was certainly one of Turner's best; but how inferior was the water and the sky to the water and sky in Vandervelde! In Turner they were both rocky. We say not this to the disparagement of Turner's genius. He had not studied these elements as did Vandervelde. The two painters ought not to be compared together; and we humbly think that any man who should pronounce of Vandervelde and Backhuysen, that they "libelled the sea," convicts himself of a wondrous lack of taste and feeling. Of their works he thus speaks—"As it is, I believe there is scarcely such another instance to be found in the history of man, of the epidemic aberration of mind into which multitudes fall by infection, as is furnished by the value set upon the works of these men." Of water, he says—"Nothing can hinder water from being a reflecting medium but dry dust or filth of some kind on its surface. Dirty water, if the foul matter be dissolved or suspended in the liquid, reflects just as clearly and sharply as pure water, only the image is coloured by the hue of the mixed matter, and becomes comparatively brown or dark." We entirely deny this, from constant observation. Within this week we have been studying a stream, which has alternated in its clearness and muddiness. We found the reflection not only less clear in the latter case, but instead of brown and dark, to have lost its brownness, and to have become lighter. To understand the "curves" of water being beyond the reach of most who are not graduates of Oxford; and painters and admirers of old masters being people without sense, at least in comparison with the graduate, he thus disposes of his learned difficulty:—"This is a point, however, on which it is impossible to argue without going into high mathematics, and even then the nature of particular curves, as given by the brush, would be scarcely demonstrable; and I am the less disposed to take much trouble about it, because I think that the persons who are really fond of these works are almost beyond the reach of argument." The celebrated Mrs Partington once endeavoured, at Sidmouth, to dispose of these "curves," and failed; and we suspect a stronger reason than the incapacity of his readers for our author's thus disposing of the subject. We believe the world would not give a pin's head for all the seas that ever might be painted upon these mathematical curves; and that, in painting, even a graduate's "high mathematics" are but a very low affair. But let us enliven the reader with something really high—and here is, in very high-flown prose, part of a description of a waterfall; and it will tell him a secret, that in the midst of these fine falls, nature keeps a furnace and steam-engine continually at work, and having the fire at hand, sends up rockets—if you doubt—read:—"And how all the hollows of that foam burn with green fire, like so much shattering chrysoprase; and how, ever and anon, startling you with its white flash, a jet of spray leaps hissing out of the fall, like a rocket, bursting in the wind, and driven away in dust, filling the air with light; and how, through the curdling wreaths of the restless, crashing abyss below, the blue of the water, paled by the foam in its body, shows purer than the sky through white rain-cloud, while the shuddering iris stoops in tremulous stillness over all, fading and flashing alternately through the choking spray and shattered sunshine, hiding itself at last among the thick golden leaves, which toss to and fro in sympathy with the wild water, their dripping masses lifted at intervals, like sheaves of loaded corn, by some stronger gush from the cataract, and bowed again upon the mossy rocks as its roar dies away." "Satque superque satis"—we cannot go on. There is nothing like calling things by their contraries—it is truly startling. Whenever you speak of water, treat it as fire—of fire, vice versa, as water; and be sure to send them all shattering out of reach and discrimination of all sense; and look into a dictionary for some such word as "chrysoprase," which we find to come from χρυσος gold, and πρασον a leek, and means a precious stone; it is capable of being shattered, together with "sunshine"—the reader will think the whole passage a "flash" of moonshine. But there is a discovery—"I believe, when you have stood by this for half an hour, you will have discovered that there is something more in nature than has been given by Ruysdaël." You will indeed—if this be nature! But, alas, what have we not to undergo—to discover what water is, and to become capable of judging of Turner! It is a comfort, however, that he is likely to have but few judges. Graduate has courage to undergo any thing. Ariel was nothing in his ubiquity to him, though he put a span about the world in forty minutes; "but there was some apology for the public's not understanding this, for few people have had the opportunity of seeing the sea at such a time, and when they have, cannot face it. To hold by a mast or rock, and watch it, is a prolonged endurance of drowning, which few people have courage to go through. To those who have, it is one of the noblest lessons in nature." Very few people, indeed, and those few "involuntary experimentalists."
We are glad to get on dry land again, "brown furze or any thing"—and here we must question one of his truths of vegetation: he asserts, that the stems of all trees, the "ordinary trees of Europe, do not taper, but grow up or out, in undiminished thickness, till they throw out branch and bud, and then go off again to the next of equal thickness." We have carefully examined many trees this last week, and find it is not the case; in almost all, the bulging at the bottom, nearest the root, is manifest. There is an early association in our minds, that the birch for instance is remarkably tapering in its twigs. We would rather refer our "sworn measurer" to the factor than the painter, and we very much question whether his "top and top" will meet the market. We are satisfied the fact is not as he states it, and surely nature works not by such measure rule. We suspect, for nature we should here read Turner, for his trees, certainly, are strange things; it is true, he generally shirks them. We do not remember one picture that has a good, true, bona fide, conspicuous tree in it. The reader will not be surprised to learn that the worst painter of trees was Gaspar Poussin! and that the perfection of trees is to be found in Turner's "Marley," where most people will think the trees look more like brooms than trees. The chapter on "the Truth of Turner" concludes with a quotation—we presume the extract from a letter from Mr Turner to the author. If so, Mr Turner has somewhat caught the author's style, and tells very simple truths in a very fine manner, thus:—"I cannot gather the sunbeams out of the east, or I would make them tell you what I have seen; but read this, and interpret this, and let us remember together. I cannot gather the gloom out of the night-sky, or I would make that teach you what I have seen; but read this, and interpret this, and let us feel together." We must pause. Really we do not see the slightest necessity of an interpretation here. It is a simple fact. He cannot extract "sunbeams" from cucumbers—from the east, we should say. The only riddle seems to be, that they should, in one instance, remember together, and in the other, feel together; only we guess that, being night-gloom, people naturally feel about them in the dark. But he proceeds—"And if you have not that within you which I can summon to my aid, if you have not the sun in your spirit, and the passion in your heart, which my words may awaken, though they be indistinct and swift, leave me." We must pause again; here is a riddle: what can be the meaning of having the sun in one's spirit?—is it any thing like having the moon in one's head? We give it up. The passion in the heart we suppose to be dead asleep, and the words and voice harsh and grating, and so it is awakened. But what that if, or if not, has to do with "leave me," we cannot conjecture; but this we do venture to conjecture, that to expect our graduate ever to leave Mr Turner is one of the most hopeless of all Mr Turner's "Fallacies of Hope." But the writer proceeds with a for—that appears, nevertheless, a pretty considerable non-sequitur. "For I will give you no patient mockery, no laborious insult of that glorious nature, whose I am and whom I serve." Here the graduate is treated as a servant, and the writer of the letter assumes the Pythian, the truly oracular vein. "Let other servants imitate the voice and the gesture of their master while they forget his message. Hear that message from me, but remember that the teaching of Divine Truth must still be a mystery." "Like master like man." Both are in the "Cambyses' vein."
We do not think that landscape painters will either gain or lose much by the publication of this volume, unless it be some mortification to be so sillily lauded as some of our very respectable painters are. We do not think that the pictorial world, either in taste or practice, will be Turnerized by this palpably fulsome, nonsensical praise. In this our graduate is semper idem, and to keep up his idolatry to the sticking-point, terminates the volume with a prayer, and begs all the people of England to join in it—a prayer to Mr Turner!
A ROYAL SALUTE
"Should you like to be a queen, Christina?"
This question was addressed by an old man, whose head was bent carefully over a chess-board, to a young lady who was apparently rather tired of the lesson she had taken in that interesting game.
"Queen of hearts, do you mean?" answered the girl, patting with the greatest appearance of fondness a dreadfully ugly little dog that lay in her lap.
"Queen of hearts," replied the minister, with a smile; "you are that already, my dear. But have you no other ambition?" he added, tapping sagaciously the lid of a magnificently ornamented snuff-box, on which was depicted one of the ugliest monarchs that ever puzzled a court-painter to make him human.
"Why should my ambition go further?" said Christina. "I have more subjects already than I know how to govern."
"No doubt—no doubt—I knew very well that you could not avoid having subjects; but I hope and trust you have had too much sense to receive their allegiance."
The old man was proud of carrying on the metaphor so well, and of asking the question so delicately. It was quite evident he had been in the diplomatic line.
"How can I help it?" enquired the young beauty, passing her hand over the back of the disgusting little pet, which showed its teeth in a very uncouth fashion whenever the paternal voice was raised a little too high. "But, I assure you, I pay no attention to allegiance, which I consider my right. There is but one person's homage I care for"–
The brow of the Prime Minister of Sweden grew very black, and his face had something of the benign expression of the growling pug on his daughter's knee.
"Who is that person, Christina?"
But Christina looked at her father with an alarmed glance, which she shortly after converted into a smile, and went on in her pleasing occupation of smoothing the raven down of her favourite, but did not say a word.
The father, who seemed to be no great judge of pantomime, repeated his question.
"Who is that person, Christina?"
Christina disdained hypocrisy, and, moreover, was immensely spoiled.
"Who should it be, but your gallant nephew, Adolphus Hesse, dear father?"
"You haven't had the impudence, I hope, to engage yourself to that boy?"
"Boy—why he is twenty-one! He is my oldest friend—we learned all our lessons together. I can't recollect the time we were not engaged, it is so long since we loved each other!"
"Nonsense! You were brought up together by his mother; it is nothing but sisterly affection."
"Not at all—not at all!" cried Christina; "it would make me quite miserable if Adolphus were my brother."
"It is all you must think him, nevertheless. He has no fortune; he has nothing but his commission; and my generosity is"–
"Immense, my dear father; inexhaustible! And then Adolphus is so brave—so magnanimous; and, upon my word, when I saw how much he liked me, and heard him speak so much more delightfully than any body else, I never thought of asking if he was rich; and you know you love him yourself, dear father."
Christina neglected the pug in her lap for a moment, and laid her hand coaxingly on the old man's shoulder.
"But not enough to make him my heir," said the Count, gruffly. Christina renewed her attentions to the dog.
"He would be your heir notwithstanding," she said, "if I were to die."
There was something in the tone of her voice, or the idea suggested of her death, that softened the old man. He looked for a long time at the young and beautiful face of his child; and the shade of uneasiness her words had raised, disappeared from his brow.
"There is nothing but life there," he said, gently tapping her on the forehead; "and therefore I must marry you, my girl!"
"And you will make us the happiest couple in the world. Adolphus will be so grateful," said Christina, her bright eyes sparkling through tears.
"Who the devil said a word about Adolphus?" said the father, looking angrily at Christina; but he added immediately in a softer tone, when he saw the real emotion of his daughter—"Poor girl, you have been sadly spoiled! You have had too much of your own way, and now you ask me to do what is impossible. Be a reasonable girl, there's a darling! and your aunt will present you at court. You will see such grand things—you will know our gallant young King—only be reasonable!"
"The rude monster!" cried Christina, starting up as if tired of the conversation. "I have no wish to know him. They say he hates women."
"A calumny, my dear girl; he is very fond of one at all events."
"Is she pretty?"
"And mischievous as yourself."
"As I?" enquired Christina, and fell into a long reverie, while the Count smiled as if he had made an excellent hit.
"But I have never seen him, papa," she said, awakening all of a sudden.
"He may have seen you though; and he says"–
"Oh, what does he say? Do tell me what the King says?"
"Poh! What do you want to know about what a rude monster says—that hates women?" answered the father with another smile of satisfaction.
"But he is a king, papa! What does he say? I am quite anxious to know."
But the minister of state had gained his object; he had excited curiosity, and determined not to gratify it. At last he said, as he rose to quit the apartment—"Let us turn the conversation, Christina; we have nothing to do with kings, and must content ourselves with humbler subjects. An officer will sup with us to-night, whom I wish you very much to please. He has influence with the King; and if you have any regard for my interest you will receive him well. I intend him for your husband."
"I won't have him!" cried Christina, running after her father as he left the room. "I won't have him! If I don't marry Adolphus, I won't marry at all!"
"Heaven grant it, sweet cousin!" said Adolphus Hesse in propria persona, emerging from behind the window-curtains, where, by some miraculous concatenation of events, he had found himself ensconced for the last hour. "'Tis delightful to act the spy, and hear an advocate so persuasive as you have been, Christina—but the cause is desperate."
"Who told you, sir, the cause was desperate?" said Christina, pretending to look offended. "The battle is half gained—my father's anger disappears in a moment. Now, dear Adolphus, don't sigh—don't cross your arms—don't look up to the sky with that heroic frown—I can't bear to groan and be dismal—I want to be gay—to have a ball—to–We shall have such a ball the day of our wedding, Adolphus!"
"Your hopes deceive you, dearest Christina. I know your father better than you do. Ah!" he added, gazing sadly on the beautiful features of the young girl who looked on him so brightly, "you will never be able to resist the brilliant offer that will be made you in exchange for one faithful, loving heart."
"Indeed!" replied Christina, feeling her eyes filling with tears, but endeavouring at the same time to conceal her emotion under an affectation of anger, "your opinion of me is not very flattering; and it is not in very good taste, methinks, to play the despairing lover, especially after the conversation you so honourably overheard."
"Dry that tear, dear girl!" said Adolphus, "I will believe any thing you like."
"Why do you make me cry then? Is it only to have the pleasure of telling me to dry my tears? Or did you think you had some rival; some splendid cavalier that it was impossible to resist—Count Ericson, for instance?"
"Oh! as to Ericson I am not at all uneasy. I know you hate him; and besides he is not much richer than myself; but, dear Christina"–
"Well—go on," said the girl, mocking the lugubrious tone of her cousin—"what are you sighing again for?"
"Your father is going to bring you a new lover this evening, and poor Adolphus will be forgotten."
"You deserve it for all your ridiculous suspicions: but you are my cousin, and I forgive you this once." She looked at him with so sunny a smile, and so clear and open-hearted a countenance, that it was impossible to entertain a doubt.
"You love me really, then?" he said—"truly—faithfully?"
"I have told you so a hundred times," replied his cousin. "I am astonished you are not tired of hearing the same thing over and over again."
"'Tis so sweet, so new a thing for me," said Adolphus, "and I could listen to it for ever."
"Well, then, we love each other—that's very clear," said Christina, with the solemnity of the foreman of a jury delivering a verdict on the clearest evidence; "but since my father won't let us marry, we must wait—that is almost as clear as the other."
"And if he never consents?" enquired Adolphus.
"Never!" exclaimed Christina, to whom such an idea seemed never to have occurred, "can it be possible he will never consent?"
"I fear it is too possible," replied Adolphus, and the shadow fell on his face again.
"Well," said Christina, after a minute's pause, as if she had come to a resolution, "we must always stay as we are. Happiness is never increased by an act of disobedience."
"I think as you do," said the young soldier, admiring her all the more for the death-blow to his hopes; "and are you happy, quite happy, Christina?"
"What a question! Don't I see you every day? Isn't every body kind to me? Is there any thing I want?"
A different answer would have pleased the lover more. He looked at her for some time in silence—at last, in an altered tone, he said—
"I congratulate you on your prudence, Christina."
"I cannot break my father's heart."
"No, but mine, Christina!"
"Adolphus," said the young beauty solemnly, "if I cannot be your wife with the consent of my father, I never will marry another. This is all you can ask; all I can promise."
Filial affection was not quite so strong in Adolphus as in his cousin, and his face was by no means brightened on hearing this declaration. It was so uncommonly proper that it seemed nearly bordering on the cold and heartless. He tried to hate her; he walked up and down the room at a tremendous pace, stopping every now and then to take another glance at the tyrant who had pronounced his doom, and looked as beautiful as ever. He found it impossible to hate her, though we shall not enquire what were his sentiments towards her worthy progenitor, Count Ericson, the unknown lover, and even the young heroic King; for the sagacious reader must now be informed that this wonderful lovers' quarrel took place in the reign of Charles XII. Our fear is that he disliked all four. Christina found it very difficult to preserve the gravity essential to a heroine's appearance when she saw the long strides and bent brows of her lover. A smile was ready, on the slightest provocation, to make a dimple in her beautiful cheek, and all the biting she bestowed on her lips only made them redder and rosier. Adolphus had no inclination to smile, and could not believe that any body could see the least temptation to indulge in such a ridiculous occupation on such a momentous occasion. He was a regular lover, as Mr Weller would say, and no mistake. He saw in his fair cousin only a treasure of inestimable price, guarded by two monsters that made his approaches hopeless—avarice and ambition. How differently those two young people viewed the same event! Christina, knowing her power over her father, and unluckily not knowing that fathers (even though they are prime ministers, and are as courtier-like as Polonius) have flinty hearts when their interests are concerned, saw nothing in the present state of affairs to despair about; and in fact, as we have said already, was nearly committing the unpardonable crime of laughing at the grimaces of her cousin. He, poor fellow, knew the world a little better, and perceived in a moment that the new lover whom the ambitious father was going to present to his daughter, was some favourite of the king; and he was well aware, that any one backed by that impetuous monarch, was in a fair way to success. The king had seen Christina too—and though despising love himself, was in the habit of rewarding his favourite officers with the hand of the beauties or heiresses of his court; and when, as in this instance, the lady chosen was both—how could he doubt that the king had already resolved that she should be the bride of some lucky rival, against whose claims it would be impossible to contend? And Christina standing all the while before him, scarcely able to restrain a laugh! He was only twenty-one—and not half so steady as his grandfather would probably have shown himself in the same circumstances, and being unable to vent his rage on any body else, he poured it all forth upon himself.
"What a fool I have been!—an ass—a dolt—to have been so blinded! But I see now—I deserve all I have got! To have been so deceived by an absurd fit of love—that has lasted all my life, too! But no!—I shall not repay my uncle's kindness to me by robbing him of his only child. I shall go at once to my regiment—I may be lucky enough to get into the way of a cannon—you will think kindly of me when I am gone, though you are so unk"–
The word died away upon his lips. Large tears filled Christina's eyes, and all her inclination to smile had disappeared. There was something either in his looks or the tone of his voice, or the thought of his being killed, that banished all her gaiety; and in a few minutes the quarrel was made up—the tears dried in the usual manner—vows made—hands joined—and resolutions passed and carried with the utmost unanimity, that no power on earth should keep them from being married. And a very good resolution it was. The only pity was, that it was not very likely to be carried into effect. A father, an unknown lover, and a king, all joined against a poor boy and girl. The odds are very much against Adolphus and Christina.
Now let us examine the real state of affairs as dispassionately as we can. The Count Gyllenborg was ambitious, as became a courtier with an only daughter who was acknowledged on all sides to be the most beautiful girl in Sweden; and as he was aware of the full value of red lips and sparkling eyes in the commerce of life, he was determined to make the most of these perishable commodities while they were at their best, and the particular make and colour of them were in fashion. The Count was rich—and with amply sufficient brains, according to the dictum of one of his predecessors, to govern a kingdom; but he was not warlike; and Charles, who had lately taken the power into his own hands, knew nothing of mankind further than that they were made to be drawn up in opposite lines, and make holes in each other as scientifically as they could. Count Gyllenborg had a decided objection to being made a receptacle for lead bullets or steel swords; and was by no means anxious to murder a single Russian or German, for the sake of the honour of the thing, or for the good of his country. His power resting only on his adroitness in civil affairs, was therefore not on the surest foundation; and a prop to it was accordingly wanted. Such a prop had never been seen before, with such sunny looks, and such a happy musical laugh. The looks and the laugh between them, converted the atmosphere of Stockholm into the climate of Italy; and the politician, almost without knowing it, began to be thawed into a father. But the fear of a rival in the King's favour—some gallant soldier—and dozens of them were reported every week—made him resolve once more to bring his daughter's beauties into play. The king had seen her, and, in his boorish way, had expressed his admiration; and Gyllenborg felt assured, that if he should marry his daughter according to the King's wishes, his influence would be greater than ever; and, in fact, that the premiership would be his for life.