Kenelm Chillingly — Complete

CHAPTER V

KENELM slept in London that night, and, the next day, being singularly fine for an English summer, he resolved to go to Moleswich on foot. He had no need this time to encumber himself with a knapsack; he had left sufficient change of dress in his lodgings at Cromwell Lodge.

It was towards the evening when he found himself in one of the prettiest rural villages by which

It was not in the direct road from London to Moleswich, but it was a pleasanter way for a pedestrian. And when, quitting the long street of the sultry village, he came to the shelving margin of the river, he was glad to rest a while, enjoy the cool of the rippling waters, and listen to their placid murmurs amid the rushes in the bordering shallows. He had ample time before him. His rambles while at Cromwell Lodge had made him familiar with the district for miles round Moleswich, and he knew that a footpath through the fields at the right would lead him, in less than an hour, to the side of the tributary brook on which Cromwell Lodge was placed, opposite the wooden bridge which conducted to Grasmere and Moleswich.

To one who loves the romance of history, English history, the whole course of the Thames is full of charm. Ah! could I go back to the days in which younger generations than that of Kenelm Chillingly were unborn, when every wave of the Rhine spoke of history and romance to me, what fairies should meet on thy banks, O thou our own Father Thames! Perhaps some day a German pilgrim may repay tenfold to thee the tribute rendered by the English kinsman to the Father Rhine.

Listening to the whispers of the reeds, Kenelm Chillingly felt the haunting influence of the legendary stream. Many a poetic incident or tradition in antique chronicle, many a votive rhyme in song, dear to forefathers whose very names have become a poetry to us, thronged dimly and confusedly back to his memory, which had little cared to retain such graceful trinkets in the treasure-house of love. But everything that, from childhood upward, connects itself with romance, revives with yet fresher bloom in the memories of him who loves.

And to this man, through the first perilous season of youth, so abnormally safe from youth’s most wonted peril,—to this would-be pupil of realism, this learned adept in the schools of a Welby or a Mivers,—to this man, love came at last as with the fatal powers of the fabled Cytherea; and with that love all the realisms of life became ideals, all the stern lines of our commonplace destinies undulated into curves of beauty, all the trite sounds of our every-day life attuned into delicacies of song. How full of sanguine yet dreamy bliss was his heart—and seemed his future—in the gentle breeze and the softened glow of that summer eve! He should see Lily the next morn, and his lips were now free to say all that they had as yet suppressed.

Suddenly he was roused from the half-awake, half-asleep happiness that belongs to the moments in which we transport ourselves into Elysium, by the carol of a voice more loudly joyous than that of his own heart—

Kenelm turned his head so quickly that he frightened Max, who had for the last minute been standing behind him inquisitively with one paw raised, and sniffing, in some doubt whether he recognized an old acquaintance; but at Kenelm’s quick movement the animal broke into a nervous bark, and ran back to his master.

The minstrel, little heeding the figure reclined on the bank, would have passed on with his light tread and his cheery carol, but Kenelm rose to his feet, and holding out his hand, said, “I hope you don’t share Max’s alarm at meeting me again?”

“Ah, my young philosopher, is it indeed you?”

“If I am to be designated a philosopher it is certainly not I. And, honestly speaking, I am not the same. I, who spent that pleasant day with you among the fields round Luscombe two years ago—”

“Or who advised me at Tor Hadham to string my lyre to the praise of a beefsteak. I, too, am not quite the same,—I, whose dog presented you with the begging-tray.”

“Yet you still go through the world singing.”

“Even that vagrant singing time is pretty well over. But I disturbed you from your repose; I would rather share it. You are probably not going my way, and as I am in no hurry, I should not like to lose the opportunity chance has so happily given me of renewing acquaintance with one who has often been present to my thoughts since we last met.” Thus saying, the minstrel stretched himself at ease on the bank, and Kenelm followed his example.

There certainly was a change in the owner of the dog with the begging-tray, a change in costume, in countenance, in that indescribable self-evidence which we call “manner.” The costume was not that Bohemian attire in which Kenelm had first encountered the wandering minstrel, nor the studied, more graceful garb, which so well became his shapely form during his visit to Luscombe. It was now neatly simple, the cool and quiet summer dress any English gentleman might adopt in a long rural walk. And as he uncovered his head to court the cooling breeze, there was a graver dignity in the man’s handsome Rubens-like face, a line of more concentrated thought in the spacious forehead, a thread or two of gray shimmering here and there through the thick auburn curls of hair and beard. And in his manner, though still very frank, there was just perceptible a sort of self-assertion, not offensive, but manly; such as does not misbecome one of maturer years, and of some established position, addressing another man much younger than himself, who in all probability has achieved no position at all beyond that which the accident of birth might assign to him.

“Yes,” said the minstrel, with a half-suppressed sigh, “the last year of my vagrant holidays has come to its close. I recollect that the first day we met by the road-side fountain, I advised you to do like me, seek amusement and adventure as a foot-traveller. Now, seeing you, evidently a gentleman by education and birth, still a foot-traveller, I feel as if I ought to say, ‘You have had enough of such experience: vagabond life has its perils as well as charms; cease it, and settle down.’”

“I think of doing so,” replied Kenelm, laconically.

“In a profession?—army, law, medicine?”

“No.”

“Ah, in marriage then. Right; give me your hand on that. So a petticoat indeed has at last found its charm for you in the actual world as well as on the canvas of a picture?”

“I conclude,” said Kenelm, evading any direct notice of that playful taunt, “I conclude from your remark that it is in marriage you are about to settle down.”

“Ay, could I have done so before I should have been saved from many errors, and been many years nearer to the goal which dazzled my sight through the haze of my boyish dreams.”

“What is that goal,—the grave?”

“The grave! That which allows of no grave,—fame.”

“I see—despite of what you just now said—you still mean to go through the world seeking a poet’s fame.”

“Alas! I resign that fancy,” said the minstrel, with another half-sigh. “It was not indeed wholly, but in great part the hope of the poet’s fame that made me a truant in the way to that which destiny, and such few gifts as Nature conceded to me, marked out for my proper and only goal. But what a strange, delusive Will-o’-the-Wisp the love of verse-making is! How rarely a man of good sense deceives himself as to other things for which he is fitted, in which he can succeed; but let him once drink into his being the charm of verse-making, how the glamour of the charm bewitches his understanding! how long it is before he can believe that the world will not take his word for it, when he cries out to sun, moon, and stars, ‘I, too, am a poet.’ And with what agonies, as if at the wrench of soul from life, he resigns himself at last to the conviction that whether he or the world be right, it comes to the same thing. Who can plead his cause before a court that will not give him a hearing?”

It was with an emotion so passionately strong, and so intensely painful, that the owner of the dog with the begging-tray thus spoke, that Kenelm felt, through sympathy, as if he himself were torn asunder by the wrench of life from soul. But then Kenelm was a mortal so eccentric that, if a single acute suffering endured by a fellow mortal could be brought before the evidence of his senses, I doubt whether he would not have suffered as much as that fellow-mortal. So that, though if there were a thing in the world which Kenelm Chillingly would care not to do, it was verse-making, his mind involuntarily hastened to the arguments by which he could best mitigate the pang of the verse-maker.

Quoth he: “According to my very scanty reading, you share the love of verse-making with men the most illustrious in careers which have achieved the goal of fame. It must, then, be a very noble love: Augustus, Pollio, Varius, Maecenas,—the greatest statesmen of their day,—they were verse-makers. Cardinal Richelieu was a verse-maker; Walter Raleigh and Philip Sidney, Fox, Burke, Sheridan, Warren Hastings, Canning, even the grave William Pitt,—all were verse-makers. Verse-making did not retard—no doubt the qualities essential to verse-making accelerated—their race to the goal of fame. What great painters have been verse-makers! Michael Angelo, Leonardo da Vinci, Salvator Rosa”—and Heaven knows how may other great names Kenelm Chillingly might have proceeded to add to his list, if the minstrel had not here interposed.

“What! all those mighty painters were verse-makers?”

“Verse-makers so good, especially Michael Angelo,—the greatest painter of all,—that they would have had the fame of poets, if, unfortunately for that goal of fame, their glory in the sister art of painting did not outshine it. But when you give to your gift of song the modest title of verse-making, permit me to observe that your gift is perfectly distinct from that of the verse-maker. Your gift, whatever it may be, could not exist without some sympathy with the non verse-making human heart. No doubt in your foot travels, you have acquired not only observant intimacy with external Nature in the shifting hues at each hour of a distant mountain, in the lengthening shadows which yon sunset casts on the waters at our feet, in the habits of the thrush dropped fearlessly close beside me, in that turf moistened by its neighbourhood to those dripping rushes, all of which I could describe no less accurately than you,—as a Peter Bell might describe them no less accurately than a William Wordsworth. But in such songs of yours as you have permitted me to hear, you seem to have escaped out of that elementary accidence of the poet’s art, and to touch, no matter how slightly, on the only lasting interest which the universal heart of man can have in the song of the poet; namely, in the sound which the poet’s individual sympathy draws forth from the latent chords in that universal heart. As for what you call ‘the world,’ what is it more than the fashion of the present day? How far the judgment of that is worth a poet’s pain I can’t pretend to say. But of one thing I am sure, that while I could as easily square the circle as compose a simple couplet addressed to the heart of a simple audience with sufficient felicity to decoy their praises into Max’s begging-tray, I could spin out by the yard the sort of verse-making which characterizes the fashion of the present day.”

Much flattered, and not a little amused, the wandering minstrel turned his bright countenance, no longer dimmed by a cloud, towards that of his lazily reclined consoler, and answered gayly,—

“You say that you could spin out by the yard verses in the fashion of the present day. I wish you would give me a specimen of your skill in that handiwork.”

“Very well; on one condition, that you will repay my trouble by a specimen of your own verses, not in the fashion of the present day,—something which I can construe. I defy you to construe mine.”

“Agreed.”

“Well, then, let us take it for granted that this is the Augustan age of English poetry, and that the English language is dead, like the Latin. Suppose I am writing for a prize-medal in English, as I wrote at college for a prize-medal in Latin: of course, I shall be successful in proportion as I introduce the verbal elegances peculiar to our Augustan age, and also catch the prevailing poetic characteristic of that classical epoch.

“Now I think that every observant critic will admit that the striking distinctions of the poetry most in the fashion of the present day, namely, of the Augustan age, are,—first, a selection of such verbal elegances as would have been most repulsive to the barbaric taste of the preceding century; and, secondly, a very lofty disdain of all prosaic condescensions to common-sense, and an elaborate cultivation of that element of the sublime which Mr. Burke defines under the head of obscurity.

“These premises conceded, I will only ask you to choose the metre. Blank verse is very much in fashion just now.”

“Pooh! blank verse indeed! I am not going so to free your experiment from the difficulties of rhyme.”

“It is all one to me,” said Kenelm, yawning; “rhyme be it: heroic or lyrical?”

“Heroics are old-fashioned; but the Chaucer couplet, as brought to perfection by our modern poets, I think the best adapted to dainty leaves and uncrackable nuts. I accept the modern Chaucerian. The subject?”

“Oh, never trouble yourself about that. By whatever title your Augustan verse-maker labels his poem, his genius, like Pindar’s, disdains to be cramped by the subject. Listen, and don’t suffer Max to howl, if he can help it. Here goes.”

And in an affected but emphatic sing-song Kenelm began:—

“You have certainly kept your word,” said the minstrel, laughing; “and if this be the Augustan age, and the English were a dead language, you deserve to win the prize-medal.”

“You flatter me,” said Kenelm, modestly. “But if I, who never before strung two rhymes together, can improvise so readily in the style of the present day, why should not a practical rhymester like yourself dash off at a sitting a volume or so in the same style; disguising completely the verbal elegances borrowed, adding to the delicacies of the rhyme by the frequent introduction of a line that will not scan, and towering yet more into the sublime by becoming yet more unintelligible? Do that, and I promise you the most glowing panegyric in ‘The Londoner,’ for I will write it myself.”

“‘The Londoner’!” exclaimed the minstrel, with an angry flush on his cheek and brow, “my bitter, relentless enemy.”

“I fear, then, you have as little studied the critical press of the Augustan age as you have imbued your muse with the classical spirit of its verse. For the art of writing a man must cultivate himself. The art of being reviewed consists in cultivating the acquaintance of reviewers. In the Augustan age criticism is cliquism. Belong to a clique and you are Horace or Tibullus. Belong to no clique and, of course, you are Bavius or Maevius. ‘The Londoner’ is the enemy of no man: it holds all men in equal contempt. But as, in order to amuse, it must abuse, it compensates the praise it is compelled to bestow upon the members of its clique by heaping additional scorn upon all who are cliqueless. Hit him hard: he has no friends.”

“Ah,” said the minstrel, “I believe that there is much truth in what you say. I never had a friend among the cliques. And Heaven knows with what pertinacity those from whom I, in utter ignorance of the rules which govern so-called organs of opinion, had hoped, in my time of struggle, for a little sympathy, a kindly encouragement, have combined to crush me down. They succeeded long. But at last I venture to hope that I am beating them. Happily, Nature endowed me with a sanguine, joyous, elastic temperament. He who never despairs seldom completely fails.”

This speech rather perplexed Kenelm, for had not the minstrel declared that his singing days were over, that he had decided on the renunciation of verse-making? What other path to fame, from which the critics had not been able to exclude his steps, was he, then, now pursuing,—he whom Kenelm had assumed to belong to some commercial moneymaking firm? No doubt some less difficult prose-track, probably a novel. Everybody writes novels nowadays, and as the public will read novels without being told to do so, and will not read poetry unless they are told that they ought, possibly novels are not quite so much at the mercy of cliques as are the poems of our Augustan age.

However, Kenelm did not think of seeking for further confidence on that score. His mind at that moment, not unnaturally, wandered from books and critics to love and wedlock.

“Our talk,” said he, “has digressed into fretful courses; permit me to return to the starting-point. You are going to settle down into the peace of home. A peaceful home is like a good conscience. The rains without do not pierce its roof, the winds without do not shake its walls. If not an impertinent question, is it long since you have known your intended bride?”

“Yes, very long.”

“And always loved her?”

“Always, from her infancy. Out of all womankind, she was designed to be my life’s playmate and my soul’s purifier. I know not what might have become of me, if the thought of her had not walked beside me as my guardian angel. For, like many vagrants from the beaten high roads of the world, there is in my nature something of that lawlessness which belongs to high animal spirits, to the zest of adventure, and the warm blood that runs into song, chiefly because song is the voice of a joy. And no doubt, when I look back on the past years I must own that I have too often been led astray from the objects set before my reason, and cherished at my heart, by erring impulse or wanton fancy.”