"My Novel" — Complete

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, 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. CANTON.—“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. CANTON (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 personae, you find yourself face to face with the poet himself.”

MR. CANTON.—“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 (slyly).—“That’s a good idea, sir,—and I have a chorus, and a choregus too, already in my eye.”

MR. CANTON (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 Conde says very well in his poem.”

PISISTRATUS.—“The great Conde a poet! I never heard that before.”

MR. CANTON.—“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 Conde; that is, something warlike and heroic, I’ll be bound. Let’s hear!”

MR. CAXTON (reciting).—

CAPTAIN ROLAND (greatly disgusted).—“Conde write such stuff!—I don’t believe it.”

PISISTRATUS.—“I do, and accept the quotations; you and Roland shall be joint fathers to my child as well as myself.

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 on 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 for 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 had been lately put upon 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,” 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. Mamma—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 ascended 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 of 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 canvas 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 mantel piece 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—

[“What exile from his country can also fly from himself?”]

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 naivete.

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 recognize 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.

The Italian smiled. “Mr. Hazeldean has company staying with him?”

“No; that is, only Barney,—the captain. There’s seldom much company before the shooting season,” added Frank, with a slight sigh; “and then, you know, the holidays are over. For my part, I think we ought to break up a month later.”

The doctor seemed reassured by the first sentence in Frank’s reply, and, seating himself at the table, wrote his answer,—not hastily, as we English write, but with care and precision, like one accustomed to weigh the nature of words,—in that stiff Italian hand, which allows the writer so much time to think while he forms his letters. He did not, therefore, reply at once to Frank’s remark about the holidays, but was silent till he had concluded his note, read it three times over, sealed it by the taper he slowly lighted, and then, giving it to Frank, he said,

“For your sake, young gentleman, I regret that your holidays are so early; for mine, I must rejoice, since I accept the kind invitation you have rendered doubly gratifying by bringing it yourself.”

“Deuce take the fellow and his fine speeches! One don’t know which way to look,” thought English Frank.

The Italian smiled again, as if this time he had read the boy’s heart, without need of those piercing black eyes, and said, less ceremoniously than before, “You don’t care much for compliments, young gentleman?”

“No, I don’t indeed,” said Frank, heartily.

“So much the better for you, since your way in the world is made: it would be so much the worse if you had to make it!”

Frank looked puzzled: the thought was too deep for him, so he turned to the pictures.

“Those are very funny,” said he; “they seem capitally done. Who did ‘em?”

“Signoriuo Hazeldean, you are giving me what you refused yourself.”

“Eh?” said Frank, inquiringly.

“Compliments!”

“Oh—I—no; but they are well done: are n’t they, sir?”—

“Not particularly: you speak to the artist.”

“What! you painted them?”

“Yes.”

“And the pictures in the hall?”

“Those too.”

“Taken from nature, eh?”

“Nature,” said the Italian, sententiously, perhaps evasively, “lets nothing be taken from her.”

“Oh!” said Frank, puzzled again. “Well, I must wish you good morning, sir; I am very glad you are coming.”

“Without compliment?”

“Without compliment.”

“A rivedersi—good-by for the present, my young signorino. This way,” observing Frank make a bolt towards the wrong door. “Can I offer you a glass of wine?—it is pure, of our own making.”

“No, thank you, indeed, sir,” cried Frank, suddenly recollecting his father’s admonition. “Good-by, don’t trouble yourself, sir; I know any way now.”

But the bland Italian followed his guest to the wicket, where Frank had left the pony. The young gentleman, afraid lest so courteous a host should hold the stirrup for him, twitched off the bridle, and mounted in haste, not even staying to ask if the Italian could put him in the way to Rood Hall, of which way he was profoundly ignorant. The Italian’s eye followed the boy as he rode up the ascent in the lane, and the doctor sighed heavily. “The wiser we grow,” said he to himself, “the more we regret the age of our follies: it is better to gallop with a light heart up the stony hill than sit in the summer-house and cry ‘How true!’ to the stony truths of Machiavelli!”

With that he turned back into the belvidere; but he could not resume his studies. He remained some minutes gazing on the prospect, till the prospect reminded him of the fields which Jackeymo was bent on his hiring, and the fields reminded him of Lenny Fairfield. He returned to the house, and in a few moments re-emerged in his out-of-door trim, with cloak and umbrella, re-lighted his pipe, and strolled towards Hazeldean village.

Meanwhile Frank, after cantering on for some distance, stopped at a cottage, and there learned that there was a short cut across the fields to Rood Hall, by which he could save nearly three miles. Frank, however, missed the short cut, and came out into the high road; a turnpike-keeper, after first taking his toll, put him back again into the short cut; and finally, he got into some green lanes, where a dilapidated finger-post directed him to Rood. Late at noon, having ridden fifteen miles in the desire to reduce ten to seven, he came suddenly upon a wild and primitive piece of ground, that seemed half chase, half common, with crazy tumbledown cottages of villanous aspect scattered about in odd nooks and corners. Idle, dirty children were making mud-pies on the road; slovenly-looking women were plaiting straw at the threshold; a large but forlorn and decayed church, that seemed to say that the generation which saw it built was more pious than the generation which now resorted to it, stood boldly and nakedly out by the roadside.