Middlemarch - George Eliot

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down “Tyke.”

      So the Rev. Walter Tyke became chaplain to the Infirmary, and Lydgate continued to work with Mr. Bulstrode. He was really uncertain whether Tyke were not the more suitable candidate, and yet his consciousness told him that if he had been quite free from indirect bias he should have voted for Mr. Farebrother. The affair of the chaplaincy remained a sore point in his memory as a case in which this petty medium of Middlemarch had been too strong for him. How could a man be satisfied with a decision between such alternatives and under such circumstances? No more than he can be satisfied with his hat, which he has chosen from among such shapes as the resources of the age offer him, wearing it at best with a resignation which is chiefly supported by comparison.

      But Mr. Farebrother met him with the same friendliness as before. The character of the publican and sinner is not always practically incompatible with that of the modern Pharisee, for the majority of us scarcely see more distinctly the faultiness of our own conduct than the faultiness of our own arguments, or the dulness of our own jokes. But the Vicar of St. Botolph’s had certainly escaped the slightest tincture of the Pharisee, and by dint of admitting to himself that he was too much as other men were, he had become remarkably unlike them in this—that he could excuse others for thinking slightly of him, and could judge impartially of their conduct even when it told against him.

      “The world has been to strong for me, I know,” he said one day to Lydgate. “But then I am not a mighty man—I shall never be a man of renown. The choice of Hercules is a pretty fable; but Prodicus makes it easy work for the hero, as if the first resolves were enough. Another story says that he came to hold the distaff, and at last wore the Nessus shirt. I suppose one good resolve might keep a man right if everybody else’s resolve helped him.”

      The Vicar’s talk was not always inspiriting: he had escaped being a Pharisee, but he had not escaped that low estimate of possibilities which we rather hastily arrive at as an inference from our own failure. Lydgate thought that there was a pitiable infirmity of will in Mr. Farebrother.

      Chapter XIX.

      “L’ altra vedete ch’ha fatto alla guancia

      Della sua palma, sospirando, letto.”

      —Purgatorio, vii.

      When George the Fourth was still reigning over the privacies of Windsor, when the Duke of Wellington was Prime Minister, and Mr. Vincy was mayor of the old corporation in Middlemarch, Mrs. Casaubon, born Dorothea Brooke, had taken her wedding journey to Rome. In those days the world in general was more ignorant of good and evil by forty years than it is at present. Travellers did not often carry full information on Christian art either in their heads or their pockets; and even the most brilliant English critic of the day mistook the flower-flushed tomb of the ascended Virgin for an ornamental vase due to the painter’s fancy. Romanticism, which has helped to fill some dull blanks with love and knowledge, had not yet penetrated the times with its leaven and entered into everybody’s food; it was fermenting still as a distinguishable vigorous enthusiasm in certain long-haired German artists at Rome, and the youth of other nations who worked or idled near them were sometimes caught in the spreading movement.

      One fine morning a young man whose hair was not immoderately long, but abundant and curly, and who was otherwise English in his equipment, had just turned his back on the Belvedere Torso in the Vatican and was looking out on the magnificent view of the mountains from the adjoining round vestibule. He was sufficiently absorbed not to notice the approach of a dark-eyed, animated German who came up to him and placing a hand on his shoulder, said with a strong accent, “Come here, quick! else she will have changed her pose.”

      Quickness was ready at the call, and the two figures passed lightly along by the Meleager, towards the hall where the reclining Ariadne, then called the Cleopatra, lies in the marble voluptuousness of her beauty, the drapery folding around her with a petal-like ease and tenderness. They were just in time to see another figure standing against a pedestal near the reclining marble: a breathing blooming girl, whose form, not shamed by the Ariadne, was clad in Quakerish gray drapery; her long cloak, fastened at the neck, was thrown backward from her arms, and one beautiful ungloved hand pillowed her cheek, pushing somewhat backward the white beaver bonnet which made a sort of halo to her face around the simply braided dark-brown hair. She was not looking at the sculpture, probably not thinking of it: her large eyes were fixed dreamily on a streak of sunlight which fell across the floor. But she became conscious of the two strangers who suddenly paused as if to contemplate the Cleopatra, and, without looking at them, immediately turned away to join a maid-servant and courier who were loitering along the hall at a little distance off.

      “What do you think of that for a fine bit of antithesis?” said the German, searching in his friend’s face for responding admiration, but going on volubly without waiting for any other answer. “There lies antique beauty, not corpse-like even in death, but arrested in the complete contentment of its sensuous perfection: and here stands beauty in its breathing life, with the consciousness of Christian centuries in its bosom. But she should be dressed as a nun; I think she looks almost what you call a Quaker; I would dress her as a nun in my picture. However, she is married; I saw her wedding-ring on that wonderful left hand, otherwise I should have thought the sallow Geistlicher was her father. I saw him parting from her a good while ago, and just now I found her in that magnificent pose. Only think! he is perhaps rich, and would like to have her portrait taken. Ah! it is no use looking after her—there she goes! Let us follow her home!”

      “No, no,” said his companion, with a little frown.

      “You are singular, Ladislaw. You look struck together. Do you know her?”

      “I know that she is married to my cousin,” said Will Ladislaw, sauntering down the hall with a preoccupied air, while his German friend kept at his side and watched him eagerly.

      “What! the Geistlicher? He looks more like an uncle—a more useful sort of relation.”

      “He is not my uncle. I tell you he is my second cousin,” said Ladislaw, with some irritation.

      “Schön, schön. Don’t be snappish. You are not angry with me for thinking Mrs. Second-Cousin the most perfect young Madonna I ever saw?”

      “Angry? nonsense. I have only seen her once before, for a couple of minutes, when my cousin introduced her to me, just before I left England. They were not married then. I didn’t know they were coming to Rome.”

      “But you will go to see them now—you will find out what they have for an address—since you know the name. Shall we go to the post? And you could speak about the portrait.”

      “Confound you, Naumann! I don’t know what I shall do. I am not so brazen as you.”

      “Bah! that is because you are dilettantish and amateurish. If you were an artist, you would think of Mistress Second-Cousin as antique form animated by Christian sentiment—a sort of Christian Antigone—sensuous force controlled by spiritual passion.”

      “Yes, and that your painting her was the chief outcome of her existence—the divinity passing into higher completeness and all but exhausted in the act of covering your bit of canvas. I am amateurish if you like: I do not think that all the universe is straining towards the obscure significance of your pictures.”

      “But it is, my dear!—so far as it is straining through me, Adolf Naumann: that stands firm,” said the good-natured painter, putting a hand on Ladislaw’s shoulder, and not in the least disturbed by the unaccountable touch of ill-humor in his tone. “See now! My existence presupposes the existence of the whole universe—does it not? and my function is to paint—and as a painter I have a conception which is altogether genialisch, of your great-aunt or second grandmother as a subject for a picture; therefore, the universe is straining towards that picture through that particular hook or claw which it puts forth in the shape of me—not true?”

      “But how if another claw in the shape of me is straining to thwart it?—the case is a little less simple then.”

      “Not at all: the result of

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