The Atlantic Monthly, Volume 14, No. 82, August, 1864. Various
collocation of characters,—the hero being wrongfully imprisoned as insane, the heroine's father really made so by medical malpractice, the hero's sister dying of injuries received from another maniac, his uncle being imbecile, and his father and one of his physicians becoming monomaniac. Nicer shades than these allow could not be drawn, and the subject stands in bold relief as a monument of dauntless courage and enthusiasm.
No one can hesitate to declare this novel, as it is the latest, to be also the finest of all that Charles Reade has given us. In saying this we do not forget the "Cloister and Hearth," which, however tender and touching and true to its century, is rather a rambling narrative than an elucidated plot. "Very Hard Cash" is wrought out with the finest finish, yet nowhere overdone; it so abounds in scenes of dramatic climax that we fancy the stage has lost immensely by the romance-reader's gain; yet there is never a single situation thrown away, every word tends in the main direction, and after that the prolific mind of the writer overflows in marginalia. There are one or two striking improbabilities, which Mr. Reade himself excuses by asserting that the commonplace is neither dramatic nor evangelical,—and therefore we confess, that, so long as Reginald Bazalgette had a ship, Captain Dodd was as likely to turn up on that as on any other, the purser as likely to make his communication at that moment as later, and the fly as likely to resuscitate the patient as the surgeon. But the characterization in this book is wonderful; every name becomes an acquaintance, from Mrs. Beresford, dividing Ajax's emotion and declining to be drowned in the dark, with her servant Ramgolam and his matchless Orientalisms, up to the loftier models, one of whom he endows with this exquisite bit of description:—
"A head overflowed by ripples of dark-brown hair sat with heroic grace upon his solid white throat, like some glossy falcon new-lighted on a Parian column."
We must, however, object to Fullalove, who is quite unworthy of the author, though perhaps complacently regarded by him as a success, being merely the traditional Yankee compound of patents and conjectures, a little smarter than usual, as of course a passage through Mr. Reade's pen must make him;—he never touched his brain. Vespasian, also, is not so good as he might be, although one enjoys his contempt for the pirate's crew of Papuans, Sooloos, and Portuguese, as a "mixellaneous bilin' of darkies," and finds something inimitable in his injured dignity over the anomalous sobriquet afforded him, whose changes he rings through analogy and anatomy till he declares himself to be only a "darned anemone." The real charm of the book, however, lies in the beautiful relation which it pictures between mother and children, and in the nature of the daughter herself, so exuberant, so dancing, yet the foam subsiding into such a luminous body of clearness, which so lights up the page with its loveliness, that, seeing how an artless woman is foreign to Mr. Reade's ideas, we are forced to believe that Nature was too strong for him and he wrote against the grain. Nevertheless, there is enough of his own prejudice retained for piquancy,—and since the poor things must be insignificantly wicked, see how charming they can be! There are many scenes between these covers that would well bear repetition, were they not too fresh in the reader's mind to require it; we will content ourselves with a single one, which contains the only pretentious writing of the whole novel, done at a touch, with a light, loose pen, but showing beyond compare the soul of the poet through the flesh of the novelist.
"At six twenty-five, the grand orb set calm and red, and the sea was gorgeous with miles and miles of great ruby dimples: it was the first glowing smile of southern latitude. The night stole on so soft, so clear, so balmy, all were loath to close their eyes on it; the passengers lingered long on deck, watching the Great Bear dip, and the Southern Cross rise, and overhead a whole heaven of glorious stars most of us have never seen and never shall see in this world. No belching smoke obscured, no plunging paddles deepened; all was musical; the soft air sighing among the sails; the phosphorescent water bubbling from the ship's bows; the murmurs from little knots of men on deck subdued by the great calm: home seemed near, all danger far; Peace ruled the sea, the sky, the heart: the ship, making a track of white fire on the deep, glided gently, yet swiftly, homeward, urged by snowy sails piled up like alabaster towers against a violet sky, out of which looked a thousand eyes of holy, tranquil fire. So melted the sweet night away.
"Now carmine streaks tinged the eastern sky at the water's edge, and that water blushed; now the streaks turned orange, and the waves below them sparkled. Thence splashes of living gold flew and settled on the ship's white sails, the deck, and the faces; and, with no more prologue, being so near the line, up came majestically a huge, fiery, golden sun, and set the sea flaming liquid topaz.
"Instant the lookout at the foretop-gallant-mast-head hailed the deck below.
"'Strange sail! Right ahead!'
"Ah! the stranger's deck swarms black with men!
"His sham ports fell as if by magic, his guns grinned through the gaps like black teeth; his huge foresail rose and filled, and out he came in chase.
"The breeze was a kiss from Heaven, the sky a vaulted sapphire, the sea a million dimples of liquid, lucid gold."
In conclusion, we must pronounce Mr. Reade's merit, in our judgment, to belong not so much to what he has already done as to what, if life be allowed him, he is yet to do. All his previous works read like 'studies,' in the light of his last. For "Very Hard Cash" is the beginning of a new era; it shows the careful hand of the artist doing justice to the conceptions of genius, in the prime of his vigor, with all his powers well in hand. The forms of literature change with the necessities of the age,—to some future generation what illustration the dramatists were to the Elizabethan day the knot of superior novelists will be to this, and among them all Charles Reade is destined to no subordinate rank.
HOW ROME IS GOVERNED
There are a thousand descriptions of Rome, its antiquities, galleries, ceremonies, and manners, but hardly any, that I remember, of the organization of the Papal Government,—that wonderful power which long played the chief part in the social and political revolutions of Europe, which, even in its decay, preserves so much of its original grandeur, and still clings to its traditions with a tenacity of conviction that commands our respect, although the remembrance of the evil that it has done compels us, as men and as Christians, to rejoice at the prospect of its fall.
This omission on the part of so many thoughtful travellers is by no means an unnatural one. We go to Rome in order to see and to feel, rather than to study and to think. The past crowds upon us overladen with history and poetry; and the present is so full of new forms of life that it is only when we come to sit down at a distance and gather up our recollections that we ask ourselves how all the instruments of that gorgeous pageantry are put together and moved. The Pope has palaces and villas. The cardinals live in splendid apartments, and ride in massive coaches of purple and gilt, drawn by horses richly caparisoned, and attended by servants in livery. Bishops and prelates and monks and priests and friars fill long processions on public occasions, and move about in their daily life with the air and bearing of men who belong to a sphere that common men have no concern in.
There is a church or a chapel for every day in the year, and some emblem of external recognition for every saint in the calendar. There are lenten days, when the rich eat fresh tunny from the Adriatic or eels from Comacchio, and the poor whatever they can get; and holidays, when the shops are shut and the churches and theatres open, and everybody amuses himself as well as his tastes and his means allow. Nowhere are processions so splendid, festivals so magnificent, the whole body of the population accustomed, either as actors or as spectators, to such daily displays of opulence and grandeur.
How is all this done? How do all these men live? What do they do for themselves and for one another? What is the object of this multiplication of insignia and titles? What is the meaning of the red stockings and the purple stockings, and the red and the purple hat-band, and the various decorations of the horses, and the infinite varieties of cut and color and device in dress and equipage, which you begin to distinguish only when you become accustomed to objects so unlike anything you have ever seen before? For every one of them has a meaning, and tells the instructed eye the hopes and aspirations and half the history of the bearer as plainly as a tablet or an inscription.
Without attempting, on the present occasion, to answer all of these questions in detail, I shall endeavor to give such an outline of the organization of the Roman Government