Blackwood's Edinburgh Magazine, Volume 68, No. 421, November 1850

Blackwood's Edinburgh Magazine, Volume 68, No. 421, November 1850
Various

Various

Blackwood's Edinburgh Magazine, Volume 68, No. 421, November 1850

MY NOVEL; OR, VARIETIES IN ENGLISH LIFE

BY PISISTRATUS CAXTON

BOOK II – INITIAL CHAPTER: – INFORMING THE READER HOW THIS WORK CAME TO HAVE INITIAL CHAPTERS

"There can't be a doubt," said my father, "that to each of the main divisions of your work – whether you call them Books or Parts – you should prefix an Initial or Introductory Chapter."

Pisistratus. – "Can't be a doubt, sir! Why so?"

Mr Caxton. – "Fielding lays it down as an indispensable rule, which he supports by his example; and Fielding was an artistical writer, and knew what he was about."

Pisistratus. – "Do you remember any of his reasons, sir?"

Mr Caxton. – "Why, indeed, Fielding says very justly that he is not bound to assign any reason; but he does assign a good many, here and there – to find which, I refer you to Tom Jones. I will only observe, that one of his reasons, which is unanswerable, runs to the effect that thus, in every Part or Book, the reader has the advantage of beginning at the fourth or fifth page instead of the first – 'a matter by no means of trivial consequence,' saith Fielding, 'to persons who read books with no other view than to say they have read them – a more general motive to reading than is commonly imagined; and from which not only law books and good books, but the pages of Homer and Virgil, of Swift and Cervantes have been often turned over.' There," cried my father triumphantly, "I will lay a shilling to twopence that I have quoted the very words."

Mrs Caxton. – "Dear me, that only means skipping: I don't see any great advantage in writing a chapter, merely for people to skip it."

Pisistratus. – "Neither do I!"

Mr Caxton, dogmatically. – "It is the repose in the picture – Fielding calls it 'contrast ' – (still more dogmatically) I say there can't be a doubt about it. Besides, (added my father after a pause,) besides, this usage gives you opportunities to explain what has gone before, or to prepare for what's coming; or, since Fielding contends with great truth, that some learning is necessary for this kind of historical composition, it allows you, naturally and easily, the introduction of light and pleasant ornaments of that nature. At each flight in the terrace, you may give the eye the relief of an urn or a statue. Moreover, when so inclined, you create proper pausing places for reflection; and complete, by a separate yet harmonious ethical department, the design of a work, which is but a mere Mother Goose's tale if it does not embrace a general view of the thoughts and actions of mankind."

Pisistratus. – "But then, in these initial chapters, the author thrusts himself forward; and just when you want to get on with the dramatis personæ, you find yourself face to face with the poet himself."

Mr Caxton. – "Pooh! you can contrive to prevent that! Imitate the chorus of the Greek stage, who fill up the intervals between the action by saying what the author would otherwise say in his own person."

Pisistratus, slily. – "That's a good idea, sir – and I have a chorus, and a chorægus too, already in my eye."

Mr Caxton, unsuspectingly. – "Aha! you are not so dull a fellow as you would make yourself out to be; and, even if an author did thrust himself forward, what objection is there to that? It is a mere affectation to suppose that a book can come into the world without an author. Every child has a father, one father at least, as the great Condé says very well in his poem."

Pisistratus. – "The great Condé a poet! – I never heard that before."

Mr Caxton. – "I don't say he was a poet, but he sent a poem to Madame de Montansier. Envious critics think that he must have paid somebody else to write it; but there is no reason why a great Captain should not write a poem – I don't say a good poem, but a poem. I wonder, Roland, if the Duke ever tried his hand at 'Stanzas to Mary,' or 'Lines to a sleeping babe.'"

Captain Roland. – "Austin, I'm ashamed of you. Of course the Duke could write poetry if he pleased – something, I dare say, in the way of the great Condé – that is something warlike and heroic, I'll be bound. Let's hear!"

Mr Caxton, reciting —

"Telle est du Ciel la loi sévère
Qu'il faut qu'un enfant ait un père;
On dit même quelque fois
Tel enfant en a jusqu'à trois."

Captain Roland, greatly disgusted. – "Condé write such stuff! – I don't believe it."

Pisistratus. – "I do, and accept the quotation – you and Roland shall be joint fathers to my child as well as myself."

"Tel enfant en a jusqu'à trois."

Mr Caxton, solemnly. – "I refuse the proffered paternity; but so far as administering a little wholesome castigation, now and then, I have no objection to join in the discharge of a father's duty."

Pisistratus. – "Agreed; have you anything to say against the infant hitherto?"

Mr Caxton. – "He is in long clothes at present; let us wait till he can walk."

Blanche. – "But pray whom do you mean for a hero? – and is Miss Jemima your heroine?"

Captain Roland. – "There is some mystery about the – "

Pisistratus, hastily. – "Hush, Uncle; no letting the cat out of the bag yet. Listen, all of you! I left Frank Hazeldean on his way to the Casino."

CHAPTER II

"It is a sweet pretty place," thought Frank, as he opened the gate which led across the fields to the Casino, that smiled down upon him with its plaster pilasters. "I wonder, though, that my father, who is so particular in general, suffers the carriage road to be so full of holes and weeds. Mounseer does not receive many visits, I take it."

But when Frank got into the ground immediately before the house, he saw no cause of complaint as to want of order and repair. Nothing could be kept more neatly. Frank was ashamed of the dint made by the pony's hoofs in the smooth gravel; he dismounted, tied the animal to the wicket, and went on foot towards the glass door in front.

He rang the bell once, twice, but nobody came, for the old woman-servant, who was hard of hearing, was far away in the yard, searching for any eggs which the hen might have scandalously hidden from culinary purposes; and Jackeymo was fishing for the sticklebacks and minnows, which were, when caught, to assist the eggs, when found, in keeping together the bodies and souls of himself and his master. The old woman was on board wages, – lucky old woman! Frank rang a third time, and with the impetuosity of his age. A face peeped from the Belvidere on the terrace. "Diavolo!" said Dr Riccabocca to himself. "Young cocks crow hard on their own dunghill; it must be a cock of a high race to crow so loud at another's."

Therewith he shambled out of the summer-house, and appeared suddenly before Frank, in a very wizard-like dressing robe of black serge, a red cap on his head, and a cloud of smoke coming rapidly from his lips, as a final consolatory whiff, before he removed the pipe from them. Frank had indeed seen the Doctor before, but never in so scholastic a costume, and he was a little startled by the apparition at his elbow, as he turned round.

"Signorino – young gentleman," said the Italian, taking off his cap with his usual urbanity, "pardon the negligence of my people – I am too happy to receive your commands in person."

"Dr Rickeybockey?" stammered Frank, much confused by this polite address, and the low yet stately bow with which it was accompanied, "I – I have a note from the Hall. Mama – that is, my mother, – and aunt Jemima beg their best compliments, and hope you will come, sir."

The Doctor took the note with another bow, and, opening the glass door, invited Frank to enter.

The young gentleman, with a schoolboy's usual bluntness, was about to say that he was in a hurry, and had rather not; but Dr Riccabocca's grand manner awed him, while a glimpse of the hall excited his curiosity – so he silently obeyed the invitation.

The hall, which was of an octagon shape, had been originally panelled off into compartments, and in these the Italian had painted landscapes, rich with the warm sunny light of his native climate. Frank was no judge of the art displayed; but he was greatly struck with the scenes depicted: they were all views of some lake, real or imaginary – in all, dark-blue shining waters reflected dark-blue placid skies. In one, a flight of steps descended to the lake, and a gay group was seen feasting on the margin: in another, sunset threw its rose-hues over a vast villa or palace, backed by Alpine hills, and flanked by long arcades of vines, while pleasure-boats skimmed over the waves below. In short, throughout all the eight compartments, the scene, though it differed in details, preserved the same general character, as if illustrating some favourite locality. The Italian did not, however, evince any desire to do the honours to his own art, but, preceding Frank across the hall, opened the door of his usual sitting-room, and requested him to enter. Frank did so, rather reluctantly, and seated himself with unwonted bashfulness on the edge of a chair. But here new specimens of the Doctor's handicraft soon riveted attention. The room had been originally papered; but Riccabocca had stretched canvass over the walls, and painted thereon sundry satirical devices, each separated from the other by scroll-works of fantastic arabesques. Here a Cupid was trundling a wheelbarrow full of hearts, which he appeared to be selling to an ugly old fellow, with a money-bag in his hand – probably Plutus. There Diogenes might be seen walking through a market-place, with his lantern in his hand, in search of an honest man, whilst the children jeered at him, and the curs snapped at his heels. In another place, a lion was seen half dressed in a fox's hide, while a wolf in a sheep's mask was conversing very amicably with a young lamb. Here again might be seen the geese stretching out their necks from the Roman Capitol in full cackle, while the stout invaders were beheld in the distance, running off as hard as they could. In short, in all these quaint entablatures some pithy sarcasm was symbolically conveyed; only over the mantelpiece was the design graver and more touching. It was the figure of a man in a pilgrim's garb, chained to the earth by small but innumerable ligaments, while a phantom likeness of himself, his shadow, was seen hastening down what seemed an interminable vista; and underneath were written the pathetic words of Horace —

"Patriæ quis exul
Se quoque fugit?."

– "What exile from his country can fly himself as well?" The furniture of the room was extremely simple, and somewhat scanty; yet it was arranged so as to impart an air of taste and elegance to the room. Even a few plaster busts and statues, though bought but of some humble itinerant, had their classical effect, glistening from out stands of flowers that were grouped around them, or backed by graceful screen-works formed from twisted osiers, which, by the simple contrivance of trays at the bottom, filled with earth, served for living parasitical plants, with gay flowers contrasting thick ivy leaves, and gave to the whole room the aspect of a bower.

"May I ask your permission?" said the Italian, with his finger on the seal of the letter.

"Oh yes," said Frank with naiveté.

Riccabocca broke the seal, and a slight smile stole over his countenance. Then he turned a little aside from Frank, shaded his face with his hand, and seemed to muse. "Mrs Hazeldean," said he at last, "does me very great honour. I hardly recognise her handwriting, or I should have been more impatient to open the letter." The dark eyes were lifted over the spectacles, and went right into Frank's unprotected and undiplomatic heart. The Doctor raised the note, and pointed to the characters with his forefinger.

"Cousin Jemima's hand," said Frank, as directly as if the question had been put to him.