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The Monastery. Вальтер Скотт
Читать онлайн.Название The Monastery
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Автор произведения Вальтер Скотт
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It is with reference to this idea of the supposed spirits of the elements, that the White Lady of Avenel is represented as acting a varying, capricious, and inconsistent part in the pages assigned to her in the narrative; manifesting interest and attachment to the family with whom her destinies are associated, but evincing whim, and even a species of malevolence, towards other mortals, as the Sacristan, and the Border robber, whose incorrect life subjected them to receive petty mortifications at her hand. The White Lady is scarcely supposed, however, to have possessed either the power or the inclination to do more than inflict terror or create embarrassment, and is also subjected by those mortals, who, by virtuous resolution, and mental energy, could assert superiority over her. In these particulars she seems to constitute a being of a middle class, between the esprit follet who places its pleasure in misleading and tormenting mortals, and the benevolent Fairy of the East, who uniformly guides, aids, and supports them.
Either, however, the author executed his purpose indifferently, or the public did not approve of it; for the White Lady of Avenel was far from being popular. He does not now make the present statement, in the view of arguing readers into a more favourable opinion on the subject, but merely with the purpose of exculpating himself from the charge of having wantonly intruded into the narrative a being of inconsistent powers and propensities.
In the delineation of another character, the author of the Monastery failed, where he hoped for some success. As nothing is so successful a subject for ridicule as the fashionable follies of the time, it occurred to him that the more serious scenes of his narrative might be relieved by the humour of a cavaliero of the age of Queen Elizabeth. In every period, the attempt to gain and maintain the highest rank of society, has depended on the power of assuming and supporting a certain fashionable kind of affectation, usually connected with some vivacity of talent and energy of character, but distinguished at the same time by a transcendent flight, beyond sound reason and common sense; both faculties too vulgar to be admitted into the estimate of one who claims to be esteemed “a choice spirit of the age.” These, in their different phases, constitute the gallants of the day, whose boast it is to drive the whims of fashion to extremity.
On all occasions, the manners of the sovereign, the court, and the time, must give the tone to the peculiar description of qualities by which those who would attain the height of fashion must seek to distinguish themselves. The reign of Elizabeth, being that of a maiden queen, was distinguished by the decorum of the courtiers, and especially the affectation of the deepest deference to the sovereign. After the acknowledgment of the Queen’s matchless perfections, the same devotion was extended to beauty as it existed among the lesser stars in her court, who sparkled, as it was the mode to say, by her reflected lustre. It is true, that gallant knights no longer vowed to Heaven, the peacock, and the ladies, to perform some feat of extravagant chivalry, in which they endangered the lives of others as well as their own; but although their chivalrous displays of personal gallantry seldom went farther in Elizabeth’s days than the tilt-yard, where barricades, called barriers, prevented the shock of the horses, and limited the display of the cavalier’s skill to the comparatively safe encounter of their lances, the language of the lovers to their ladies was still in the exalted terms which Amadis would have addressed to Oriana, before encountering a dragon for her sake. This tone of romantic gallantry found a clever but conceited author, to reduce it to a species of constitution and form, and lay down the courtly manner of conversation, in a pedantic book, called Euphues and his England. Of this, a brief account is given in the text, to which it may now be proper to make some additions.
The extravagance of Euphuism, or a symbolical jargon of the same class, predominates in the romances of Calprenade and Scuderi, which were read for the amusement of the fair sex of France during the long reign of Louis XIV., and were supposed to contain the only legitimate language of love and gallantry. In this reign they encountered the satire of Moliere and Boileau. A similar disorder, spreading into private society, formed the ground of the affected dialogue of the Praecieuses, as they were styled, who formed the coterie of the Hotel de Rambouillet, and afforded Moliere matter for his admirable comedy, Les Praecieuses Ridicules. In England, the humour does not seem to have long survived the accession of James I.
The author had the vanity to think that a character, whose peculiarities should turn on extravagances which were once universally fashionable, might be read in a fictitious story with a good chance of affording amusement to the existing generation, who, fond as they are of looking back on the actions and manners of their ancestors, might be also supposed to be sensible of their absurdities. He must fairly acknowledge that he was disappointed, and that the Euphuist, far from being accounted a well drawn and humorous character of the period, was condemned as unnatural and absurd. It would be easy to account for this failure, by supposing the defect to arise from the author’s want of skill, and, probably, many readers may not be inclined to look farther. But as the author himself can scarcely be supposed willing to acquiesce in this final cause, if any other can be alleged, he has been led to suspect, that, contrary to what he originally supposed, his subject was injudiciously chosen, in which, and not in his mode of treating it, lay the source of the want of success.
The manners of a rude people are always founded on nature, and therefore the feelings of a more polished generation immediately sympathize with them. We need no numerous notes, no antiquarian dissertations, to enable the most ignorant to recognize the sentiments and diction of the characters of Homer; we have but, as Lear says, to strip off our lendings – to set aside the factitious principles and adornments which we have received from our comparatively artificial system of society, and our natural feelings are in unison with those of the bard of Chios and the heroes who live in his verses. It is the same with a great part of the narratives of my friend Mr. Cooper. We sympathize with his Indian chiefs and back-woodsmen, and acknowledge, in the characters which he presents to us, the same truth of human nature by which we should feel ourselves influenced if placed in the same condition. So much is this the case, that, though it is difficult, or almost impossible, to reclaim a savage, bred from his youth to war and the chase, to the restraints and the duties of civilized life, nothing is more easy or common than to find men who have been educated in all the habits and comforts of improved society, willing to exchange them for the wild labours of the hunter and the fisher. The very amusements most pursued and relished by men of all ranks, whose constitutions permit active exercise, are hunting, fishing, and, in some instances, war, the natural and necessary business of the savage of Dryden, where his hero talks of being
– “As free as nature first made man,
When wild in woods the noble savage ran.”
But although the occupations, and even the sentiments, of human beings in a primitive state, find access and interest in the minds of the more civilized part of the species, it does not therefore follow, that the national tastes, opinions, and follies of one civilized period, should afford either the same interest or the same amusement to those of another. These generally, when driven to extravagance, are founded, not upon any natural taste proper to the species, but upon the growth of some peculiar cast of affectation, with which mankind in general, and succeeding generations in particular, feel no common interest or sympathy. The extravagances of coxcombry in manners and apparel are indeed the legitimate and often the successful objects of satire, during the time when they exist. In evidence of this, theatrical critics may observe how many dramatic jeux d’esprit are well received every season, because the satirist levels at some well-known or fashionable absurdity; or, in the dramatic phrase, “shoots folly as it flies.” But when the peculiar kind of folly keeps the wing no longer, it is reckoned but waste of powder to pour a discharge of ridicule on what has ceased to exist; and the pieces in which such forgotten absurdities are made the subject of ridicule, fall quietly into oblivion with the follies which gave them fashion, or only continue to exist on the scene, because they contain some other more permanent interest than that which connects them with manners and follies of a temporary character.
This, perhaps, affords a reason why the comedies of Ben Jonson, founded upon system, or what the age termed