Chronicles of Barsetshire: Book 1-6. Anthony Trollope
was bound to make his best exertion; "I have no doubt in my own mind but that you wrote the articles yourself, and very well written they were: it will be a great favour if you will in future abstain from any personal allusion to poor Harding."
"My dear Bold," said Tom Towers, "I have a sincere regard for you. I have known you for many years, and value your friendship; I hope you will let me explain to you, without offence, that none who are connected with the public press can with propriety listen to interference."
"Interference!" said Bold, "I don't want to interfere."
"Ah, but, my dear fellow, you do; what else is it? You think that I am able to keep certain remarks out of a newspaper. Your information is probably incorrect, as most public gossip on such subjects is; but, at any rate, you think I have such power, and you ask me to use it: now that is interference."
"Well, if you choose to call it so."
"And now suppose for a moment that I had this power, and used it as you wish: isn't it clear that it would be a great abuse? Certain men are employed in writing for the public press; and if they are induced either to write or to abstain from writing by private motives, surely the public press would soon be of little value. Look at the recognised worth of different newspapers, and see if it does not mainly depend on the assurance which the public feel that such a paper is, or is not, independent. You alluded to The Jupiter: surely you cannot but see that the weight of The Jupiter is too great to be moved by any private request, even though it should be made to a much more influential person than myself: you've only to think of this, and you'll see that I am right."
The discretion of Tom Towers was boundless: there was no contradicting what he said, no arguing against such propositions. He took such high ground that there was no getting on to it. "The public is defrauded," said he, "whenever private considerations are allowed to have weight." Quite true, thou greatest oracle of the middle of the nineteenth century, thou sententious proclaimer of the purity of the press;—the public is defrauded when it is purposely misled. Poor public! how often is it misled! against what a world of fraud has it to contend!
Bold took his leave, and got out of the room as quickly as he could, inwardly denouncing his friend Tom Towers as a prig and a humbug. "I know he wrote those articles," said Bold to himself. "I know he got his information from me. He was ready enough to take my word for gospel when it suited his own views, and to set Mr Harding up before the public as an impostor on no other testimony than my chance conversation; but when I offer him real evidence opposed to his own views, he tells me that private motives are detrimental to public justice! Confound his arrogance! What is any public question but a conglomeration of private interests? What is any newspaper article but an expression of the views taken by one side? Truth! it takes an age to ascertain the truth of any question! The idea of Tom Towers talking of public motives and purity of purpose! Why, it wouldn't give him a moment's uneasiness to change his politics to-morrow, if the paper required it."
Such were John Bold's inward exclamations as he made his way out of the quiet labyrinth of the Temple; and yet there was no position of worldly power so coveted in Bold's ambition as that held by the man of whom he was thinking. It was the impregnability of the place which made Bold so angry with the possessor of it, and it was the same quality which made it appear so desirable.
Passing into the Strand, he saw in a bookseller's window an announcement of the first number of "The Almshouse;" so he purchased a copy, and hurrying back to his lodgings, proceeded to ascertain what Mr Popular Sentiment had to say to the public on the subject which had lately occupied so much of his own attention.
In former times great objects were attained by great work. When evils were to be reformed, reformers set about their heavy task with grave decorum and laborious argument. An age was occupied in proving a grievance, and philosophical researches were printed in folio pages, which it took a life to write, and an eternity to read. We get on now with a lighter step, and quicker: ridicule is found to be more convincing than argument, imaginary agonies touch more than true sorrows, and monthly novels convince, when learned quartos fail to do so. If the world is to be set right, the work will be done by shilling numbers.
Of all such reformers Mr Sentiment is the most powerful. It is incredible the number of evil practices he has put down: it is to be feared he will soon lack subjects, and that when he has made the working classes comfortable, and got bitter beer put into proper-sized pint bottles, there will be nothing further for him left to do. Mr Sentiment is certainly a very powerful man, and perhaps not the less so that his good poor people are so very good; his hard rich people so very hard; and the genuinely honest so very honest. Namby-pamby in these days is not thrown away if it be introduced in the proper quarters. Divine peeresses are no longer interesting, though possessed of every virtue; but a pattern peasant or an immaculate manufacturing hero may talk as much twaddle as one of Mrs Ratcliffe's heroines, and still be listened to. Perhaps, however, Mr Sentiment's great attraction is in his second-rate characters. If his heroes and heroines walk upon stilts, as heroes and heroines, I fear, ever must, their attendant satellites are as natural as though one met them in the street: they walk and talk like men and women, and live among our friends a rattling, lively life; yes, live, and will live till the names of their calling shall be forgotten in their own, and Buckett and Mrs Gamp will be the only words left to us to signify a detective police officer or a monthly nurse.
"The Almshouse" opened with a scene in a clergyman's house. Every luxury to be purchased by wealth was described as being there: all the appearances of household indulgence generally found amongst the most self-indulgent of the rich were crowded into this abode. Here the reader was introduced to the demon of the book, the Mephistopheles of the drama. What story was ever written without a demon? What novel, what history, what work of any sort, what world, would be perfect without existing principles both of good and evil? The demon of "The Almshouse" was the clerical owner of this comfortable abode. He was a man well stricken in years, but still strong to do evil: he was one who looked cruelly out of a hot, passionate, bloodshot eye; who had a huge red nose with a carbuncle, thick lips, and a great double, flabby chin, which swelled out into solid substance, like a turkey-cock's comb, when sudden anger inspired him: he had a hot, furrowed, low brow, from which a few grizzled hairs were not yet rubbed off by the friction of his handkerchief: he wore a loose unstarched white handkerchief, black loose ill-made clothes, and huge loose shoes, adapted to many corns and various bunions: his husky voice told tales of much daily port wine, and his language was not so decorous as became a clergyman. Such was the master of Mr Sentiment's "Almshouse." He was a widower, but at present accompanied by two daughters, and a thin and somewhat insipid curate. One of the young ladies was devoted to her father and the fashionable world, and she of course was the favourite; the other was equally addicted to Puseyism and the curate.
The second chapter of course introduced the reader to the more especial inmates of the hospital. Here were discovered eight old men; and it was given to be understood that four vacancies remained unfilled, through the perverse ill-nature of the clerical gentleman with the double chin. The state of these eight paupers was touchingly dreadful: sixpence-farthing a day had been sufficient for their diet when the almshouse was founded; and on sixpence-farthing a day were they still doomed to starve, though food was four times as dear, and money four times as plentiful. It was shocking to find how the conversation of these eight starved old men in their dormitory shamed that of the clergyman's family in his rich drawing-room. The absolute words they uttered were not perhaps spoken in the purest English, and it might be difficult to distinguish from their dialect to what part of the country they belonged; the beauty of the sentiment, however, amply atoned for the imperfection of the language; and it was really a pity that these eight old men could not be sent through the country as moral missionaries, instead of being immured and starved in that wretched almshouse.
Bold finished the number; and as he threw it aside, he thought that that at least had no direct appliance to Mr Harding, and that the absurdly strong colouring of the picture would disenable the work from doing either good or harm. He was wrong. The artist who paints for the million must use glaring colours, as no one knew better than Mr Sentiment when he described the inhabitants of his almshouse; and the radical reform which has now swept over such establishments has owed more to the twenty numbers of Mr Sentiment's novel, than to all the true complaints which have escaped from the