第4章

Tomakeamentalimageofallthingsthatarenamedtotheear，orconceivedinthemind，beinganindustriouscustomofchildrenandchildishpeoplewhichlapsesintheageofmuchidlereading，themakingofamaterialimageisthestillmorediligentandmoresedulousact，wherebytheprimitivemancontrolsandcaresseshisownfancy。Hemaytakearmsanon，disappointed，againsthisownwork；butdidheeverdothatworkinmalicefromtheoutset？

Fromthestatuetothedoll，imagesarealloutragedinthepersonoftheguy。Ifitwerebutanantithesistothecitizen’sideaofsomethingadmirablewhichhemightcarryinprocessiononsomeotherday，thecarryingoftheguywouldbelessgloomy；buthewouldhootatasuspicionthathemightadmireanythingsomuchastomakeagood-lookingdollinitspraise。Thereisabsolutelynoimage-

makingartinthepracticeofourpeople，exceptonlythisartofragsandcontumely。Or，again，iftherevengetakenuponaguywerethatofangerforacertaincause，thedestructionwouldnotbetheworkofsothinanannualmaliceandofsoheartlessarancour。

Butthesinglemotiveisthatpopularironywhichbecomesdaily——orsoitseems——moreandmoretheholidaytemperofthemajority。

Mockeryistheonlyanimatingimpulse，andaloudincredulityistheonlyintelligence。Theymakeanimageofsomeoneinwhomtheydonotbelieve，toderideit。Saythattheguyistheeffigyofanagitatorinthecauseofsomethingtobedesired；thestreetmanandboyhavethentwomotivesofmocking：theythinkthereformtobenotworthdoing，andtheyarewillingtosuspectthereformerofsomekindofhypocrisy。PerhapstheguyofthisoccasionismostcharacteristicofallguysinLondon。Thepeople，havinghimorhertoderide，donotevenwaitfortheopportunityoftheirannualprocession。Theyanticipatetime，andmakeanimagewhenitisnotNovember，andsellitatthemarketofthekerb。

Hear，moreover，thesongswhichsomenamelessonemakesforthecitizens，perhapsinthoughtfulrenunciationofthemakingoftheirlaws。These，too，seemtohavefortheirinspirationtheuniversaltaunt。Theyare，indeed，mostinvoguewhentheyhavenomeaningatall——thisitisthatmakesthesuccesfou（andhereParisisofonemindwithLondon）ofthestreet；butshortofsuchatriumph，andwhenameaningisdiscernible，itisanirony。

BankHolidaycourtship（iftheinappropriatewordcanbepardoned）

seemstobedone，inreallife，entirelybybanter。Anditisthestrangestthingtofindthatthebanterofwomenbymenisthemostmockingintheexchange。Iftheburlesqueofthemaid’stongueisprovocative，thatoftheman’sisderisive。Somewhatoftheorderofthingsastheystoodbeforetheywereinvertedseemstoremain，nevertheless，asamemory；nay，togivetheinversionakindoflagginginterest。Ironyismademorecompletebytheremembrance，andbyanimplicitallusiontothestateofcourtshipinotherclasses，countries，ortimes。Suchanallusionnodoubtgivesallitspeculiartwangtotheburlesqueoflove。

WiththemoststrangesubmissiontheseEnglishwomenintheirmillionsundergoalldegreesofderisionfromthetonguesofmenwhoaretheirmates，equals，contemporaries，perhapsinsomeobscuresensetheirsuitors，andinastrollingmanner，withoneknowsnotwhatungainlymotiveofreserve，eventheiradmirers。Norfromtheirtonguesonly；for，topassthetime，theholidayswainannoysthegirl；andifhewearsherhat，itistentoonethathehaspluckeditoffwithahumorousdisregardofherdreadfulpins。

Wehavetobelievethatunmockedlovehasexistenceinthestreets，becauseoftheproofthatispublishedwhenamanshootsawomanwhohasrejectedhim；andfromthisalsodowelearntobelievethatawomanoftheburlesqueclassesisabletoreject。Butforthatsignweshouldfindlittleornothingintelligibleinwhatweseeoroverhearofthedramaofloveinpopularlife。

Initseasymoments，initsleisure，atholidaytime，itbafflesalltradition，andshowsusthespiritofcomedyclowningafterafashionthatisinsularandnotmerelycivic。Youhearthesametwangincountryplaces；andwhethertheEnglishmaid，having，liketheantique，thrownherappleathershepherd，runintothethicketsofHampsteadHeathoramongsylvantrees，itseemsthatthemosthumorousthingtobedonebytheswainwouldbe，intheopinioninvogue，tostrollanotherway。InsularIhavesaid，becauseIhavenotseenthelikeofthisfashionwhetherinAmericaorelsewhereinEurope。

Butthechiefinversionofall，provedsummarilybytheannualinversionoftheworshipofimagesonthefifthofNovember，isthatofasentenceofWordsworth’s——"Welivebyadmiration。"

HAVEPATIENCE，LITTLESAINT

Someconsiderabletimemusthavegonebysinceanykindofcourtesyceased，inEngland，tobeheldnecessaryinthecourseofcommunicationwithabeggar。Feelingmaybehumane，andtheinterioractmostgentle；theremaybeatacitapology，andaprofoundmisgivingunexpressed；areluctancenotonlytorefusebuttobearbiter；adislikeoftheoffice；aregret，whetherfortheunequaldistributionofsocialluckorforapurseleftathome，equallysincere；howbeitcustomexactsnowordorsign，nothingwhateverofintercourse。Ifadogoracataccostsyou，oracalfinafieldcomesclosetoyouwithacandidinfantfaceandbreathingnostrilsofinvestigation，orifanykindofanimalcomestoyouonsomeobscureimpulseoffriendlyapproach，youacknowledgeit。Butthebeggartowhomyougivenothingexpectsnoanswertoaquestion，norecognitionofhispresence，notsomuchastheturnofyoureyelidinhisdirection，andneverawordtoexcuseyou。

Nordoesthisblankbehaviourseemsavagetothosewhoareusedtonothingelse。Yetitissomewhatmoreinhumantorefuseananswertothebeggar’sremarkthantoleaveashopwithout"Goodmorning。"

Whencomplaintismadeofthemodernsocialmanner——thatithasnomeritbutwhatisnegative，andthatitisapteventoabstainfromcourtesywithmorelackofgracethantheabstinenceabsolutelyrequires——thehabitofmannertowardsbeggarsisprobablynotsomuchasthoughtof。Tothesimplyhumaneye，however，theprevalentmannertowardsbeggarsisastrikingthing；itissignificantofsomuch。

Obviouslyitisnoteasytoreplytobeggingexceptbytheintelligibleactofgiving。WehavenottheingenuoussimplicitythatmarksthecasteansweringmoreorlesstothatofVeredeVere，inItaly，forexample。AnelderlyItalianladyonherslowwayfromherownancientancestralpalazzotothevillage，andaccustomedtomeet，empty-handed，acertainnumberofbeggars，answersthembyaretortwhichwouldbe，literallytranslated，"Excuseme，dear；I，too，amapoordevil，"andthelastwordshenaturallyputsintothefeminine。

Moreover，thesentenceisspokeninallthefamiliarityofthelocaldialect——adialectthatputsanytwopeopleatonceuponequaltermsasnothingelsecandoit。WoulditwerepossibletopresentthephrasetoEnglishreadersinallitsownhelplessgood-humour。Theexcellentwomanwhousesitispractisingnoeccentricitythereby，andraisesnosmile。Itisonlyinanotherclimate，andamidothermanners，thatonecannotrecallitwithoutasmile。ToamindhavingalivelysenseofcontrastitisnotalittlepleasanttoimagineanelderlyladyofcorrespondingstationinEnglandreplyingsotoimportunitiesforalms；albeitwehavenothingansweringtothegoodfellowshipofabroadpatoisusedcurrentlybyrichandpoor，andyetslightlygrotesqueinthecaseofallspeakers——adialectinwhich，forexample，nosermoniseverpreached，andinwhichnobookiseverprinted，exceptforfun；adialect"familiar，butbynomeansvulgar。"Besides，evenifourEnglishwomancouldbyanypossibilitybringherselftosaytoamendicant，"Excuseme，dear；I，too，amapoordevil，"shewouldstillnothavetheopportunityofputtingthelastwordpunctuallyintothefeminine，whichdoessocompletethecharacterofthesentence。

ThephraseattheheadofthispaperisthefarmoregracefulphraseofexcusecustomaryinthecourteousmannersofPortugal。AndeverywhereintheSouth，whereanalmostwell-dressedoldwoman，whosuddenlybeginstobegfromyouwhenyouleastexpectedit，callsyou"mydaughter，"youcanhardlyreplywithoutkindness。Wherethetourististhoroughlywellknown，doubtlessthecompanyofbeggarsareusedtosavagemannersintherich；butaboutthebywaysandremoterplacestheremuststillbesomedismayattheanger，thesilence，theindignation，andtheinexpensivehaughtinesswherewiththeopportunityofalms-givingisreceivedbytravellers。

InnothingdoweshowhowfartheWestisfromtheEastsoemphaticallyasweshowitbyourloftywaystowardsthosewhosomanifestlyputthemselvesatourfeet。Itiscertainlynotpleasanttoseethemthere；butsilenceorastormofimpersonalprotest——aprotestthatappealsvaguelylesstothebeggarsthantosomenotimpossiblepolice——doesnotseemthemostappropriatemannerofrebukingthem。Wehave，itmaybe，ascrupleonthepointofhumandignity，compromisedbytheentreatyandthethanksofthemendicant；butwehaveastrangewayofvindicatingthatdignitywhenwerefusetoman，woman，orchildtherecognitionofasimplyhumanword。Nay，ouroffenceismuchthegreaterofthetwo。Itisnotmerelyaroughandcontemptuousintercourse，itistherefusalofintercourse——thelastoutrage。Howdoweproposetoredressthoseconditionsoflifethatannoyuswhenabrotherwhines，ifwedenythepresence，thevoice，andthebeingofthisbrother，andif，becausefortunehasrefusedhimmoney，werefusehimexistence？

Wetakethemattertooseriously，ornotseriouslyenough，toholditintheindifferenceofthewise。"Havepatience，littlesaint，"

isaphrasethatmightteachusthecheerfulwaytoendureourownunintelligiblefortunesinthemidst，say，ofthepopulationofahill-villageamongthemostbarrenoftheMaritimeAlps，wherehutsofstonestandamongthestonesofanunclothedearth，andthereisnosignofdailybread。Thepeople，albeitunusedtotravellers，yetknowbyinstinctwhattodo，andbegwithoutthedelayofamomentassoonastheyseeyourunwontedfigure。Letitbetakenforgrantedthatyougiveallyoucan；someformofrefusalbecomesnecessaryatlast，andthegentlest——itisworthwhiletoremember——

isthemosteffectual。Anindignanttourist，onewhototheportentofapuggareewhich，perhaps，hewearsonagreyday，addsthatofungovernablerage，issowildavisitorthatnoattemptatallismadetounderstandhim；andthebeggarsbegdismayedbutunalarmed，uninterruptedly，withoutapauseoraconjecture。Theybegbyrote，thinkingofsomethingelse，asoccasionarises，andallindifferenttotheviolenceoftherich。

Itisthemerrybeggarwhohassolamentablydisappeared。Ifabeggarisstillmerryanywhere，hehidesawaywhatitwouldsocheerandcomfortustosee；hepractisesnotmerelytheconventionalseeming，whichishardlyintendedtoconvince，butamoresubtleanddramatickindofsemblance，ofnogoodinfluenceuponthemoralsoftheroad。Henolongertruststheworldwithasightofhisgaiety。

Heisnotawholeheartedmendicant，andnolongerkeepsthatlibertyofunstablebalancewherebyanunattachedcreaturecangoinanewdirectionwithanewwind。Themerrybeggarwastheonlyadventurerfreetoyieldtothelightertouchesofchance，thetouchesthatahabitofresistancehasmadeimperceptibletotheseatedandstablesocialworld。

Thevisibleflittingfigureoftheunfetteredmadmansprinkledourliteraturewithmadsongs，andevenoneortwopoetsofto-dayhave，bytradition，writtenthem；butthatwildsourceofinspirationhasbeenstopped；ithasbeenbuiltover，lappedandlocked，imprisoned，ledunderground。Thelightmelancholyandthewind-blownjoysofthesongofthedistraught，whichthepoetswereonceingenioustocapture，haveceasedtosoundonenoteoflibertyintheworld’sears。ButitseemsthatthegrosserandsanerfreedomofthehappybeggarisstillthesubjectofaSpanishsong。

Thatsongisgay，notdefiantitisnotanoutlaw’sorarobber’s，itisnotasongofviolenceorfear。Itistherandomtrollingnoteofamanwhooweshislibertytonodisorder，failure，orill-

fortune，buttakesitbychoicefromthevoluntaryworld，enjoysitatthehandofunreluctantcharity；whotwitstheworldwithitsownchoiceofbonds，buthasnotbrokenhisownbyforce。Itseems，therefore，thesongofanindomitablelibertyofmovement，lightenoughforthepuffsofazephyrchance。

ATMONASTERYGATES

Nowomanhasevercrossedtheinnerthreshold，orshallevercrossit，unlessaqueen，Englishorforeign，shouldclaimherprivilege。

Therefore，ifawomanrecordsheretheslighterthingsvisibleofthemonasticlife，itisonlybecauseshewasnotadmittedtoseemorethanbeautifulcourtesyandfriendlinesswereabletoshowheringuest-houseandgarden。

TheMonasteryisoffresh-lookingGothic，byPugin——thefirstofthedynasty：itisreachedbythewhiteroadsofalimestonecountry，andbackedbyayoungplantation，anditgathersitsgroupofbuildingsinaclefthighupamongthehillsofWales。Thebrownhabitisthis，andthesearethesandals，thatcomeandgobyhillsoffiner，sharper，andloftierline，edgingtheduskanddawnofanUmbriansky。JustsuchaViaCrucisclimbstheheightaboveOrta，andfromthefootofitsfinalcrucifixyoucanseethesunrisetouchthetopofMonteRosa，whiletheencircledlakebelowiscoolwiththelastofthenight。Thesameorderoffriarskeepthatsub-

AlpineMonteSacro，andthesamehavesettheKreuzbergbeyondBonnwiththesamesteeppathbythesamefourteenchapels，facingtheSevenMountainsandtheRhine。

Here，inNorthWales，remoteasthecountryis，withthewheatgreenovertheblunthill-tops，andtheskyvibratingwithlarks，alongwingofsmokeliesroundthehorizon。Thecountry，ratherthinlyandlanguidlycultivatedabove，hasavaluablesub-soil，andisburrowedwithmines；thebreathofpitandfactory，outofsight，thickensthelowersky，andliesheavilyoverthesandsofDee。ItleavestheupperblueclearandtheheadofOrion，butdimstheflickerofSiriusandshortensthesteadyrayoftheeveningstar。

Thepeoplescatteredaboutarenotminingpeople，buthalf-heartedagriculturists，andverypoor。Theircottagesarerathercabins；

notatiledroofisinthecountry，buttheslateshavetakensomebeautywithtime，havingdipsanddimples，andgrassupontheiredges。Thewallsareallthicklywhitewashed，whichisapleasuretosee。Howwillinglywouldoneswishtheharmlesswhitewashovermorethanhalfthecolour——overallthechocolateandalltheblue——

withwhichthebuildingsoftheworldarestained！Youcouldnotwishforabetter，simpler，orfresherharmonythanwhitewashmakeswiththeslightsunshineandthebrightgreyofanEnglishsky。

Thegrey-stone，grey-roofedmonasterylooksyounginonesense——itismodern；andthefriarslookyounginanother——theyareliketheirbrothersofanearliertime。Noone，exceptthejournalistsofyesterday，wouldspenduponthemthosetediouswords，"quaint，"or"oldworld。"Nosuchwearyadjectivesarespokenhere，unlessitbebytheexcursionists。

Withlargeapronstiedovertheirbrownhabits，theLayBrothersworkupontheirland，plantingparsnipsinrows，ortendingaprosperousbee-farm。Ayoungfriar，whosangtheHighMassyesterday，isgailyhangingthewashedlineninthesun。Aprintingpress，andamachinewhichslicesturnips，areatworkinanouthouse，andtheyardtherebyisguardedbyaStBernard，whosesingleevildeedwasthatunderoneoftheobscureimpulsesofadog’sheart-atonedforbylongandself-consciousremorse——hebitthepoet；andtried，saysoneofthefriars，tomakedoggerelofhim。Thepoet，too，livesatthemonasterygates，andonmonasteryground，inaseclusionwhichthetidingsofthesequenceofhiseditionshardlyreaches。ThereisnodisturbingrenowntobegotamongthecabinsoftheFlintshirehills。Homeward，overtheverge，fromothervalleys，hislightfigureflitsatnightfall，likeamoth。

Tothecomingandgoingofthefriars，too，thevillagepeoplehavebecomewellused，andtheinfrequentexcursionists，forlackofintelligenceandofanyknowledgethatwouldrefertohistory，lookatthemwithoutobtrusivecuriosity。ItwasonlyfromaSalvationArmygirlthatyouheardthebrutalwordofcontempt。Shehadcometotheplacewithsomecompanions，andwiththemwastrespassing，asshewaswelcometodo，withinthemonasterygrounds。Shestood，afigureforBournemouthpier，inhergrotesquebonnet，andwatchedthesonoftheUmbriansaint——thefriarwhowalksamongtheGiottofrescoesatAssisiandbetweenthecypressesofBelloSguardo，andhaspacedthecenturiescontinuallysincethecomingofthefriars。

Onemighthaveaskedofherthekindnessofafellow-feeling。Sheandhealikeweresohabitedastoshowtheworldthattheirlifewasalooffromits"idlebusiness。"Bysomesuchphrase，atleast，thefriarwouldassuredlyhaveattemptedtoincludeherinanyspiritualhonoursascribedtohim。Oronemighthaveaskedofherthecondescensionofforbearance。"Onlyfancy，"saidtheSalvationArmygirl，watchingthefriaroutofsight，"onlyfancymakingsuchafoolofone’sself！"

Thegreathoodofthefriars，whichisdrawnovertheheadinZurbaran’secstaticpicture，isturnedtousewhenthefriarsarebusy。Asapocketitrelievestheover-burdenedhands。AbottleofthelocalwhitewinemadebythebrotherhoodatGenoa，andsenttothishousebytheWest，iscarriedinthecowlasapresenttothestrangeratthegates。Thefriarstellhowabrotherresolved，atShrovetide，tomakepancakes，andnotonlytomake，butalsototossthem。Thosewhochancedtobeintheroomstoodprudentlyaside，andthebrothertossedboldly。Butthatwasthelastthatwasseenofhishandiwork。VictorHugosingsinLaLegendedesSieclesofdisappearanceasthethingwhichnocreatureisabletoachieve：

heretheimpossibilityseemedtobeaccomplishedbyquiteanordinaryandasimplepancake。Itwascleangone，andtherewasanendofit。Norcouldanyexplanationofthisceasingofapancakefromthemidstofthevisibleworldbesomuchasdivinedbythespectators。Itwasonlywhenthebrother，inchurch，kneltdowntomeditateanddrewhiscowlabouthisheadthattheaccidentwasexplained。

Everymidnightthesweetcontraltobellscallthecommunity，whogetupgailytothisdifficultservice。Ofalldutiesthisonenevergrowseasyorfamiliar，andthereforeneverhabitual。Itissomethingtohavefoundbutoneactalooffromhabit。Itisnotmerelythatthefriarsovercomethehabitofsleep。Thesubtlerpointisthattheycanneveracquirethehabitofsacrificingsleep。

Whatart，whatliterature，orwhatlifebutwouldgainasecretsecuritybysuchapointofperpetualfreshnessandperpetualinitiative？Itisnotpossibletogetupatmidnightwithoutawillthatisnewnightbynight。Soshouldthewriter’sworkbedone，and，withanintentionperpetuallyunique，thepoet’s。

ThecontraltobellshavetaughttheseWesternhillsthe"Angelus"oftheFrenchfields，andthehourofnight——l’oradinotte——whichringswithsomelancholyanotefromthevillagebelfriesontheAdriaticlittoral，whenthelatestlightispassing。Itistheprayerforthedead："OutofthedepthshaveIcrieduntoThee，O

Lord。"

Thelittleflocksofnovices，onpaschalevenings，arefoldedtothesoundofthateveningprayer。Thecareofthemisthecentralworkofthemonastery，whichisplacedinsoremoteacountrybecauseitisprincipallyaplaceofstudies。Somuchelectintellectandstrengthofheartwithdrawnfromthetrafficoftheworld！True，thefriarsarenotdoingthetaskwhichCarlylesetmankindasarefugefromdespair。These"beardedcounsellorsofGod"keeptheircells，read，study，suffer，sing，holdsilence；whereastheymightbe"operating"——beautifulword！——upontheStockExchange，orpaintingAcademypictures，ormakingspeeches，orreluctantlyjostlingothermenforplaces。Theymightbeamongtheinvoluntarybusybodieswhoarelivingbyfutiletaskstheneedwhereofisadiscouragedfiction。Thereisabsolutelynolimittothesuperfluousactivities，totheart，totheliterature，implicitlyrenouncedbythedwellerswithinsuchwallsasthese。Theoutput——

againabeautifulword——oftheageislessenedbythisabstention。

Nonethelesshopesthestrangerandpilgrimtopauseandknockonceagainuponthosemonasterygates。

THESEAWALL

Asingularloveofwallsismine。Perhapsbecauseofchildishassociationwithmountain-climbingroadsnarrowinthebrightshadowsofgreystone，hidingolivetreeswhereofthetopmostleavesprickaboveintotheblue；orperhapsbecauseofsubsequentlivinginLondon，withitstoomanywindowsandtoofewwalls，thecitywhichofallcapitalstakesleastvisibleholdupontheground；orforthesakeofsomeotherattractionoraversion，walls，blankandstrong，reachingoutwardatthebase，areasatisfactiontotheeyesteasedbytheinexpressivepeeringofwindows，bythatweaklapseandshufflingwhichistheLondon"area，"andbythehelplesshollowsofshop-fronts。

Iwouldratherhaveawallthananyrailbutaverygoodoneofwrought-iron。Awallisthesafeguardofsimplicity。Itlaysalonglevellineamongtheindefinitechancesofthelandscape。Butnevermoremajesticthaninfaceofthewildsea，thewall，steadyingitsslantingfootupontherock，buildsintheserriedilex-woodandbuildsoutthewave。Thesea-wallisthewallatitsbest。Andfineasitisonthestrongcoast，itisbeautifulontheweaklittoralandtheimperilledlevelsofanorthernbeach。

Thatseawallislowandlong；sea-pinksgrowonthesaltgrassthatpassesawayintoshingleatitsfoot。Itisatclosequarterswiththewintersea，when，fromthelowcoastwithitslowhorizon，thesky-lineofseaisjagged。Neverfromanyheightdoestheocean-

horizonshowthusbrokenandbatteredatitsveryverge，butfromtheflatcoastandthenarrowworldyoucanseethewaveasfarasyoucanseethewater；andthestormylightofaclearhorizonisseentobemobileandshiftingwiththebuoyanthillocksandtheirrestlessline。

NowhereinHollanddoesthereseemtobesuchalowsea-wallassecuresmanyamileofgentleEnglishcoasttotheeast。TheDutchdykehasnotthataspectofalowlyparapetagainstatide；itspringswithalookofhasteandofheight；andwhenyoufirstrunupstairsfromtheencumberedDutchfieldstolookatthesea，thereisnothingintheleastlikeEngland；andeventheEnglishmanofto-

dayisapttosharesomethingoftheoldperversitythatwasmindedtocastderisionupontheDutchintheirencounterswiththetides。

TherehasbeensomefaultintheDutch，makingthemsubjecttotheslightderisionofthenationswhoholdthemselvestobemoreromantic，and，asitwere，moreslender。WeEnglish，onceuponatime，didespeciallyfloutthelittlenationthenactingahistorythatprovedworththewriting。ItmaybenomorethanabriefperversitythathassetanumberofourwriterstocheerthememoryofCharlesII。Perhaps，even，itisnomorethananotherrehearsalofthatuntiringsuccessattheexpenseofthebourgeois。Thebourgeoiswouldbemoresimplethan，infact，heiswerehetostandupeverytimetobeshocked；but，perhaps，theimageofhisdismayisenoughtorewardthefancyofthosewhopractisethewantonart。

And，whenallisdone，whoperformsforanybutanimaginaryaudience？Surelythosecompaniesofspectatorsandofauditorsarenottheleastofthemakingsofanauthor。Afewmenandwomenheachieveswithinhisbooks；butothersdoeshecreatewithout，andtothosefiguresofallillusionmakestheappealofhisart。Morecandidistheauthorwhohasnoworld，butturnsthatappealinwardstohisownheart。Hehasatleastalivinghearer。

Thisisbytheway。CharlesIIhasbeencheered；thefeatisdone，thedismayisimaginedwithjoy。AndyettheMerryMonarch’swasadismaltime。Plague，fire，thearrearsofpensionfromtheFrenchKingrememberedandclaimedbytherestoredthroneofEngland，andtheDutchintheMedway——allthiswasdisaster。Nonetheless，havingthevanityofnewclothesandaprettyfigure，didwe——

especiallybythemouthofAndrewMarvell——derideourvictors，makingsportofthePhilistineswithapropernationalsenseofenjoymentofsuchphysicaldisabilities，orsuchnaturaldifficulties，orsuchmisfavouroffortune，asmaybesetthealien。

Especiallywerethedenialsoffortunematterformerriment。Theyaresostill；ortheyweresocertainlyinthedaywhenagreatnovelistfoundthesmallnessofsomeSouthGermanStatestobethesubjectofunsatingbanter。TheGermanscenesattheendof"VanityFair，"forexample，mayprovehowmuchtheridiculeofmeresmallness，fewness，poverty（andnotevenrealpoverty，privation，butthepovertythatshowsincomparisonwiththegoldofgreatStates，andisproperlyinproportion）rejoicedthesenseofhumourinawriterandmoralistwhointendedtoteachmankindtobelessworldly。InAndrewMarvell’sdaytheywereevenmorecandid。Thepovertyofprivationitselfwasprovocativeofthesincerelaughteroftheinmostman，thetrue，infrequentlaughteroftheheart。

Marvell，thePuritan，laughedthatverylaughter——atleanness，athunger，cold，andsolitude——inthefaceoftheworld，andinthenameofliterature，inonememorablesatire。Ispeakof"Flecno，anEnglishPriestinRome，"whereinnothingisspared——notthesmallnessofthelodging，northelackofabed，northescantinessofclothing，northefast。

"Thisbasso-rilievoofaman——"

personalmeagrenessisthefirstjokeandthelast。

ItisnottobewonderedatthatheshouldfindinthesmallnessofthecountryofHollandmatterforacordialjest。But，besidesthesmallness，therewasthataccidentalandnaturaldisadvantageinregardtothesea。IntheVenetians，commercewiththesea，conflictwiththesea，avictoryoverthesea，andtheensuingpeace——albeitalessinstantbattleandamorelanguidvictory——wereconfessedtobenoble；intheDutchtheyweregrotesque。"Withmadlabour，"saysAndrewMarvell，withthespiritedconsciousnessofthecitizenofacountrywellabovegroundandfreetowatchthelabouratleisure，"withmadlabour"didtheDutch"fishthelandtoshore。"

Howdidtheyrivetwithgiganticpiles，Thoroughthecentre，theirnew-catchedmiles，Andtothestakeastrugglingcountrybound，Wherebarkingwavesstillbaittheforcedground；

BuildingtheirwateryBabelfarmorehighToreachtheseathanthosetoscalethesky！

Itisdonewithajollywit，andinwhatadmirablecouplets！

Thefishoft-timestheburgherdispossessed，Andsat，notasameat，butasaguest。

Anditisevenbettersportthattheastonishedtritonsandsea-

nymphsshouldfindthemselvesprovidedwithacapitalcabillauofshoalsofpickledDutchmen（heerenforherring，saysMarvell）；anditmustbeallowedthatherhymeswiththeenjoymentofirony。

Thereisnotasmileforusin"Flecno，"butitismorethanpossibletosmileoverthis"CharacterofHolland"；attheexcludedoceanreturningtoplayatleap-frogoverthesteeples；attheriseofgovernmentandauthorityinHolland，whichbelongedofrighttothemanwhocouldbestinventashovelorapump，thecountrybeingsoleaky：-

Notwhofirstseestherisingsuncommands，Butwhocouldfirstdiscerntherisinglands。

WehavelostsomethingmorethanthedelightedlaughterofMarvell，morethanhispracticaljoke，andmorethantheheartthatwaslightinsoburlyaframe——wehavelostwiththesethewildhumourthatworesowellthebondsoftwoequallines，andwaswildwithsomuchorder，invention，malice，gaiety，polish，equilibrium，andvitality——

inaword，theCouplet，thecoupletofthepast。Wewhocannotstandfirmwithintwolines，butmustslipbeyondandbetweentheboundaries，whotoleratethecoupletsofKeatsandimitatethem，shouldpraisethedayofCharlesIIbecauseofMarvell’sart，andnotforloveofthesorryreign。Wehadplague，fire，andtheDutchintheMedway，butwehadthecouplet；andtherewerealsothemeasuresofthosemorepoeticpoets，hithertocalledsomewhatslightinglytheCavalierpoets，whomatchedthewitofthePuritanwithaspiritsimplerandlessmocking。

ItwasagainstanEnglishfortress，profoundlywalled，thatsomerememberedwinterstormslatelyturnedtheirgreatartillery。Itwasatimeofresoundingnights；theskywassoclamorousandsoclose，upinthetowersoftheseasidestronghold，thatoneseemedtobeindeedadmittedtotheperturbedcounselsofthewinds。Thegalecamewithanindescribablehaste，hootingasitflew；itseemedtobreakitselfupontheheights，yetpassedunbrokenouttosea；inthevoiceoftheseatherewerepauses，butnoneinthatoftheurgentgalewithitshoo-hoo-hooallnight，thatclamoureddownthecallingofthewaves。Thatlackofpauseswasthestrangestthinginthetempest，becausetheincreaseofsoundseemedtoimplyalullbefore。Thelullwasneverperceptible，buttheliftwasalwaysanalarm。Theonslaughtwasinstant，wherewoulditstop？Whatwasthesecretextremetowhichthishurryandforceweretending？Youaskedlesswhatthingwasdrivingtheflocksofthestormthanwhatwasdrawingthem。Theattractionseemedthegreaterviolence，themoreirresistible，andthemoreunknown。Andthereweremomentswhentheendseemedabouttobeattained。

Thewindstruckushastyblows，andunawaresweborrowed，todescribeit，wordsfitforthesharpstrokesofmaterialthings；butthefiercegaleissoft。Alongtheshortgrass，tremblingandcoweringflatonthescarpedhill-side，againstthestaggeringhorse，againsttheflintwalls，onewiththerocktheygrasp，thebatteryofthetempestisaquickandenormoussoftness。Whatdown，whatsand，whatdeepmoss，whatelasticwavecouldmatchthebedandcushionofthegale？

Thisstormtossedthewaveandthestonesofthesea-walluptogether。Thenextdayitleftthewaterswhitewiththethrillingwhitenessoffoaminsunshine。ItwasonlytheChannel；andinsuchnarrowwatersyoudonotseethedistances，thewidelevelsoffleetingandfloatingfoam，thatlielightbetweenlongwaveandlongwaveonaMediterraneancoast，regionsofdelicateandtransitorybrightnesssofaroutthatallthewaves，nearandfar，seemtobebreakingatthesamemoment，onebeyondtheother，andleaguebeyondleague，intofoam。ButtheChannelhasitsownstrong，shortcurlthatcatchestherushingshingleupwiththefreshestofallnoisesandrunsupwithsuddencurves，whiteuponthewhitesea-wall，undertherandomshadowofsea-gullsandthelightofashiningcloud。

TITHONUS

"Itwasresolved，"saidthemorningpaper，"tocolourthebordersofthepanelsandotherspacesofPortlandstonewitharabesquesandotherpatterns，butthatnopaintshouldbeused，aspaintwouldneedrenewingfromtimetotime。Thecolours，therefore，"——andhereisthepassagetobenoted——"areallmixedwithwaxliquefiedwithpetroleum；andthewaxsurfacesetsashardasmarble……Thewaxislefttimetoformanimperishablesurfaceofornament，whichwouldhavetobecutoutofthestonewithachiselifitwasdesiredtoremoveit。"Not，apparently，thatanewsurfaceisformedwhich，bymuchviolenceandperseverance，could，yearshence，bechippedoffagain；butthatthe"ornament"isdriveninandincorporate，burntinandabsorbed，sothatthereisnothingpossibletocutawaybyanyindustry。InthishumorousformofornamentwearebeforehandwithPosterity。Posterityisbaffled。

Willthisvictoryoveroursons’sonsbethelastresolutetyrannypreparedbyoneageforthecoercion，constraint，anddefeatofthefuture？Toimposethatcompulsionhasbeenhithertooneofthestrongestofhumandesires。Itisone，doubtless，tobeoutgrownbythehumanrace；buthowslowlythatgrowthcreepsonwards，letthissuccessinthestencillingofStPaul’steachus，toourconfusion。

Thereisevidentlyaman——agroupofmen——happyatthismomentbecauseithasbeenpossible，bygreatingenuity，toforceourposteritytohavetheircupolaofStPaul’swiththestonemouldingsstencilledand"pickedout"withnigglingcolours，whetherthatundefendedposteritylikeitornot。Andthisisasurvivalofoneoftheobscurepleasuresofman，attestedbyhistory。

ItisimpossibletoreadtheThirty-nineArticles，forexample，andnottorecognizeinthoseactsoffinal，all-resolute，eager，eternallegislationoneofthestrongestofallrecordedproofsofthisformerhumanwish。IfGalileo’sInquisitorsputacheckupontheearth，whichyetmoved，afarbolderenterprisewastheReformers’whoarrestedthemovingman，andinhibitedthemovingGod。Thesixteenthcenturyandacertainpartoftheageimmediatelyfollowingseemtobetimeswhenthedesirehadconspicuouslybecomeapassion。SaythemiddleofthesixteenthcenturyinItalyandthebeginningoftheseventeenthinEngland——

forinthosedaysweweresomewhatintherear。THEREistheobstinate，confident，unreluctant，undoubting，andresolvedseizureuponpower。THENwasRomerebuilt，re-faced，markedwithasinglesignandstyle。Thenwasmanyahumanhandstretchedforthtograspthefateoftheunborn。Thefortunesandthethoughtsofthedaytocomeweretobeasthedaythenpresentwouldhavethem，ifthedeadhand——thelivinghandthatwasthentodie，andwastokeepitsholdindeath——couldbyanymeansmakethemfast。

Obviously，tobuildatallistoimposesomethinguponanagethatmaybemorethanwillingtobuildforitself。Thedaymaysooncomewhennomanwilldoevensomuchwithoutsomeimpulseofapology。

Posterityisnotcompelledtokeepourpicturesorourbooksinexistence，nortoreadnortolookatthem；butitismoreorlessobligedtohaveastonebuildinginviewforanageortwo。Wecanhardlyavoidsomeoftheformsoftyrannyoverthefuture，butfew，fewarethelivingmenwhowouldconsenttoshareinthishorribleingenuityatStPaul’s——thispetroleumandthiswax。

In1842theywerediscussingthedecorationoftheHousesofParliament，andtheeffortsofallincouncilweredirecteduponthefuture。Howthefrescoesthentobeachievedbytheartistsofthedayshouldbemadesecureagainstallmischances——smoke，damp，"theriskofbulging，"evenaccidentsattendingthewashingofupperfloors——allwasdiscussedinconfidencewiththepublic。Itwasimpossibleforanyonewhoreadthepapersthentoescapefromsomeatleastoftheresponsibilitiesoftechnicalknowledge。FromGenoa，fromRome，fromMunichespecially，allkindsofexpertandmostdeliberateschemesweregatheredinordertodefeatthenaturalandnotsuperfluousoperationofefficientandeffacingtime。

TheacademiclittlecapitalofBavariahad，ataboutthesamedate，decoratedavastquantityofwallspaceofmorethanoneorderofarchitecture。Artrevivedandwasencouragedatthattimeandplacewithunparalleledobstinacy。TheyhadnotthemaliceofthepetroleumthatdoesviolencetoStPaul’s；buttheyhadinsteadanindomitablepatience。UnderthecommandsofthemasterCornelius，theybaffledtimeandallhiswork——refusedhispardons，hisabsolutions，hiscancellingindulgences——byaperseverancethatnothingcoulddiscourage。Whohasnotknownsomewhatindifferentpaintersmightybusyabouttheircoloursandvarnishes？Corneliuscausedapittobedugforthepreparationofthelime，andinthecaseoftheLudwigKirchethislimeremainedthereforeightyears，withfrequentstirrings。Thiswasinorderthatthewholefresco，whenatlastitwasentrustedtoitsbed，shouldbesetthereforimmortality。Nordidthemasterfailtothwarttimebythosemechanicalmeansthatshouldaverttheriskofbulgingalreadymentioned。Heneglectednodetail。Hewasprovident，andhelayinwaitformorethanoneofthelawsofnature，tofrustratethem。

Gravitationfoundhimprepared，andsodidthelessmajesticbutnotvaindispensationofaccidents。Againstbulginghehadanunderplotoftilessetonend；againstpossibletricklingfromanupperfloorhehadasphalt；itwasallpartofthehumanconspiracy。Ineffect，thedullpicturesatMunichseemtostandwell。Itwouldhavebeenmorejust——sothepresentagethinksofthesepreservedwalls——ifthedaythatadmiredthemhadhadthemexclusively，andourdayhadbeenexempt。ThepaintedcathedralsoftheMiddleAgeshaveundergonethenaturalcorrection；whynottheLudwigKirche？

In1842，then，thenationswerestanding，asitwere，shouldertoshoulderagainstthewalkoftimeandagainsthisgentleactandart。Theyhadjustcalledironintotheircabal。CorneliuscamefromMunichtoLondon，lookedatthewallsatWestminster，andputaheartofconfidenceintothebreastoftheCommission。Thesituation，heaverred，neednotbetoodampforimmortality，withduecare。WhathehaddoneintheGlyptothekandinthePinacothekmightbedonewiththebestresultsinEngland，indefianceoftheweather，oftheriver，ofthemeredays，ofthedivineorderofalteration，and，inaword，ofheavenandearth。

Meanwhile，therewasthatgoodservantofthelawofchange，limethathadnotbeenkeptquitelongenough，readytofulfilitsmission；theywouldhavenoneofit。Theyevadedit，studieditsways，andputittotherout。"Manyfailuresthatmighthavebeenhastilyattributedtodampwerereallyowingtotheuseoflimeintoofreshastate。OftheexperimentalworkspaintedatMunich，thoseonlyhavefadedwhichareknowntohavebeendonewithoutdueattentiontothematerials。THUS，AFIGUREOFBAVARIA，PAINTEDBY

KAULBACH，WHICHHASFADEDCONSIDERABLY，ISKNOWNTOHAVEBEEN

EXECUTEDWITHLIMETHATWASTOOFRESH。"Onecannotrefrainfromitalics：thewaywassoeasy；itwasonlytotakealittlelessofthisimportantcareaboutthelime，tohaveabetterconfidence，tobemoreimpatientandeager，andallhadbeenwell：NOTtodo——avirtueofomission。

Thisisnotamatterofart-criticism。Itisanethicalquestionhithertounstudied。Themakersoflawshavenotalwaysbeenobligedtofaceit，inasmuchastheirlawsaremadeinpartforthepresent，andinpartforthatfuturewhereofthepresentneedstobeassured——

thatis，thefutureisboundasaguarantyforpresentsecurityofpersonorproperty。Somesuchholduponthetimetocomeweareobligedtoclaim，andtoclaimitforourownsakes——becauseofthereflexeffectuponourownaffairs，andnotforthepleasureoffetteringthetimetocome。Everymakerofawilldoesatleastthis。

Werethemenofthesixteenthcenturysomoderate？Notthey。Theyfoundthepresentalltoonarrowfortheimpositionoftheirwill。

Itdidnotsatisfythemtodisinterandscatterthebonesofthedead，nortoeffacetherecordsofapastthatoffendedthem。Itdidnotsatisfythemtobindthepresenttoobediencebyimperativemenaceandinstantcompulsion。Whentheyhadburntlibrariesandthrowndownmonumentsandpursuedtherebelsofthepastintotheotherworld，andhadseentoitthatnonelivingshouldevadethem，thentheyoutragedthefuture。

Whatevermisgivingsmayhavevisitedthosedominantmindsastotheeffectualandfinalsuccessoftheirmeasures——wouldtheirwritrunintimeaswellasplace，andwerethenamelesspopulationsindeedtheirsubjects？——whateverquestionsmayhavepeeredinuponthoserigidcounselsanduponthosebusyvigilsofthekeepersoftheworld，theysilencedbylegislationandyetmorelegislation。Theywroteinstatutebooks；theywouldhavewrittentheirwillacrosstheskies。Theirheartswouldhaveburntforlackofrecordsmoreinveterate，andoftestimonialsthatmankindshouldlackcouragetoquestion，ifintruththeydideverdoubtlestposteritymighttrytheirlock。Perhapstheydidneversomuchasforeseetheraceoftheunnumberedandemancipatedforwhomtheirprohibitionsandpenaltiesarenomorethandocumentsofhistory。

Ifthetyrannousdayofourfathershadbutpossessedthemeansoftheseourmorediffidenttimes！They，whowouldhavewrittentheirpresentandactualwillupontheskies，mightcertainlyhavewrittenitinpetroleumandwaxuponthestone。Fatedidthemwronginwithholdingfromtheirhandsthismeansoffinalityandviolence。

Intoourhandsithasbeengivenatatimewhenthestudentoftheracethought，perhaps，thatwehadbeenprovedintheschoolofforbearance。Something，indeed，wemayhavelearnttherein，butnotenough，aswenowfind。

Wehavenotyetthenaturalrespectforthecertainknowledgeandtheprobablewisdomofoursuccessors。Acertainreverendofficialdocument，notguiltlessofsomeconfusionofthought，latelyrecommendedtothevenerationofthepresenttimes"thosepastageswiththeirstoreofexperience。"Doubtless，astheposterityoftheirpredecessorsourpredecessorshadexperience，but，asourancestors，none——none。Therefore，iftheywerealittlereverendourownposterityisrightreverend。Itisaflippantandnovelty-

lovinghumourthatsoflatterstheunprovedpastandrefusesthedeferenceduetotheburdenofyearswhichisours，which——grownstillgraver——willbeourchildren’s。

SYMMETRYANDINCIDENT

TheartofJapanhasnonebutanexteriorpartinthehistoryoftheartofnations。Beinginitsownmethodsandattitudetheartofaccident，ithas，appropriately，anaccidentalvalue。Itisofaccidentalvalue，andnotofintegralnecessity。ThevirtualdiscoveryofJapaneseart，duringthelateryearsofthesecondFrenchEmpire，causedEuropetorelearnhowexpedient，howdelicate，andhowlovelyIncidentmaylookwhenSymmetryhasgrownvulgar。

Thelessonwasmostwelcome。Japanhashadherfullinfluence。

Europeanarthaslearntthevalueofpositionandthetactoftheunique。ButJapanisunlessoned，and（inallhercharacteristicart）contentwithherownconventions；sheislocal，provincial，alien，remote，incapableofequalcompanionshipwithaworldthathasGreekartinitsownhistory——Pericles"toitsfather。"

Norisitpictorialart，ordecorativeartonly，thathasbeentouchedbyJapaneseexampleofIncidentandtheUnique。Musichadattainedthenoblestformofsymmetryintheeighteenthcentury，butinmusic，too，symmetryhadsincegrowndull；andmomentarymusic，themusicofphaseandoffragment，succeeded。Thesenseofsymmetryisstronginacompletemelody——ofsymmetryinitsmostdelicateandlivelyandleaststationaryform——balance；whereastheleit-motifisisolated。IndomesticarchitectureSymmetryandIncidentmakeafamiliarantithesis——theverycommonplaceofrivalmethodsofart。Butthesameantithesisexistsinlessobviousforms。Thepoetshavesought"irregular"metres。Incidenthovers，intheveryactofchoosingitsrightplace，inthemostmodernofmodernportraits。Inthesewehave，ifnottheJapanesesuppressionofminoremphasis，certainlytheJapaneseexaggerationofmajoremphasis；andwiththisaquicknessandbuoyancy。Thesmile，thefigure，thedrapery——notyetsettledfromthearrangingtouchofahand，andshowingitsmark——therestlessandunstationaryfoot，andtheunityofimpulsethathaspassedeverywherelikeasinglebreeze，allthesehavealifethatgreatlytranscendsthelifeofJapaneseart，yethasthenimbletouchofJapaneseincident。Inpassing，acharmingcomparisonmaybemadebetweensuchportraitureandtheaspectofanaspenorothertreeoflightandliberalleaf；

whetherstillorinmotiontheaspenandthefree-leafedpoplarhavethealertnessandexpectancyofflightinalltheirflocksofleaves，whiletheoaksandelmsaregatheredintheirstation。AllthisisnotJapanese，butfromsuchaccidentisJapaneseartinspired，withitsgoodluckofperceptiveness。

Whatsymmetryistoform，thatisrepetitionintheartofornament。

GreekartandGothicalikehaveseries，withrepetitionorcounter-

changefortheirrulingmotive。ItishardlynecessarytodrawthedistinctionbetweenthismotiveandthatoftheJapanese。TheJapanesemotivesmaybedefinedasuniquenessandposition。AndthesewerenotknownasmotivesofdecorationbeforethestudyofJapanesedecoration。Repetitionandcounter-change，ofcourse，havetheirplaceinJapaneseornament，asinthediaperpatternsforwhichthesepeoplehavesosingularaninvention，buthere，too，uniquenessandpositionaretheprincipalinspiration。Anditisquiteworthwhile，andmuchtothepresentpurpose，tocallattentiontothechiefpeculiarityoftheJapanesediaperpatterns，whichisINTERRUPTION。Repetitiontheremustnecessarilybeinthese，butsymmetryisavoidedbyaninterruptionwhichis，totheWesterneye，atleast，perpetuallyandfreshlyunexpected。Theplaceoftheinterruptionsoflines，thevariationoftheplace，andtheavoidanceofcorrespondence，arepreciselywhatmakesJapanesedesignofthisclassinimitable。Thus，eveninarepeatingpattern，youhaveacuriouslysuccessfuleffectofimpulse。Itisasthoughaseparateintentionhadbeenformedbythedesignerateveryangle。

Suchrenewedconsciousnessdoesnotmakeforgreatness。GreatnessindesignhasmorepeacethanisfoundinthegentleabruptnessofJapaneselines，intheircuriousbrevity。Itisscarcelynecessarytosaythataline，inallotherschoolsofart，islongorshortaccordingtoitsplaceandpurpose；butonlytheJapanesedesignersocontriveshispatternsthatthelineisalwaysshort；andmanyrepeatingdesignsareentirelycomposedofthisvariousandvariously-occurringbrevity，thisprankishavoidanceofthegoal。