primary webs or tissues, out of which the various organs—brain, heart, lungs, and so on—are compacted, as the various accommodations of a house are built up in various proportions of wood, iron, stone, brick, zinc, and the rest, each material having its peculiar composition and proportions. No man, one sees, can understand and estimate the entire structure or its parts—what are its frailties and what its repairs, without knowing the nature of the materials. And the conception wrought out by Bichat, with his detailed study of the different tissues, acted necessarily on medical questions as the turning of gas-light would act on a dim, oil-lit street, showing new connections and hitherto hidden facts of structure which must be taken into account in considering the symptoms of maladies and the action of medicaments. But results which depend on human conscience and intelligence work slowly, and now at the end of 1829, most medical practice was still strutting or shambling along the old paths, and there was still scientific work to be done which might have seemed to be a direct sequence of Bichat’s. This great seer did not go beyond the consideration of the tissues as ultimate facts in the living organism, marking the limit of anatomical analysis; but it was open to another mind to say, have not these structures some common basis from which they have all started, as your sarsnet, gauze, net, satin, and velvet from the raw cocoon? Here would be another light, as of oxy-hydrogen, showing the very grain of things, and revising all former explanations. Of this sequence to Bichat’s work, already vibrating along many currents of the European mind, Lydgate was enamoured; he longed to demonstrate the more intimate relations of living structure, and help to define men’s thought more accurately after the true order. The work had not yet been done, but only prepared for those who knew how to use the preparation. What was the primitive tissue? In that way Lydgate put the question—not quite in the way required by the awaiting answer; but such missing of the right word befalls many seekers. And he counted on quiet intervals to be watchfully seized, for taking up the threads of investigation—on many hints to be won from diligent application, not only of the scalpel, but of the microscope, which research had begun to use again with new enthusiasm of reliance. Such was Lydgate’s plan of his future: to do good small work for Middlemarch, and great work for the world.
He was certainly a happy fellow at this time: to be seven-and-twenty, without any fixed vices, with a generous resolution that his action should be beneficent, and with ideas in his brain that made life interesting quite apart from the cultus of horseflesh and other mystic rites of costly observance, which the eight hundred pounds left him after buying his practice would certainly not have gone far in paying for. He was at a starting-point which makes many a man’s career a fine subject for betting, if there were any gentlemen given to that amusement who could appreciate the complicated probabilities of an arduous purpose, with all the possible thwartings and furtherings of circumstance, all the niceties of inward balance, by which a man swims and makes his point or else is carried headlong. The risk would remain even with close knowledge of Lydgate’s character; for character too is a process and an unfolding. The man was still in the making, as much as the Middlemarch doctor and immortal discoverer, and there were both virtues and faults capable of shrinking or expanding. The faults will not, I hope, be a reason for the withdrawal of your interest in him. Among our valued friends is there not some one or other who is a little too self-confident and disdainful; whose distinguished mind is a little spotted with commonness; who is a little pinched here and protuberant there with native prejudices; or whose better energies are liable to lapse down the wrong channel under the influence of transient solicitations? All these things might be alleged against Lydgate, but then, they are the periphrases of a polite preacher, who talks of Adam, and would not like to mention anything painful to the pew-renters. The particular faults from which these delicate generalities are distilled have distinguishable physiognomies, diction, accent, and grimaces; filling up parts in very various dramas. Our vanities differ as our noses do: all conceit is not the same conceit, but varies in correspondence with the minutiae of mental make in which one of us differs from another. Lydgate’s conceit was of the arrogant sort, never simpering, never impertinent, but massive in its claims and benevolently contemptuous. He would do a great deal for noodles, being sorry for them, and feeling quite sure that they could have no power over him: he had thought of joining the Saint Simonians when he was in Paris, in order to turn them against some of their own doctrines. All his faults were marked by kindred traits, and were those of a man who had a fine baritone, whose clothes hung well upon him, and who even in his ordinary gestures had an air of inbred distinction. Where then lay the spots of commonness? says a young lady enamoured of that careless grace. How could there be any commonness in a man so well-bred, so ambitious of social distinction, so generous and unusual in his views of social duty? As easily as there may be stupidity in a man of genius if you take him unawares on the wrong subject, or as many a man who has the best will to advance the social millennium might be ill-inspired in imagining its lighter pleasures; unable to go beyond Offenbach’s music, or the brilliant punning in the last burlesque. Lydgate’s spots of commonness lay in the complexion of his prejudices, which, in spite of noble intention and sympathy, were half of them such as are found in ordinary men of the world: that distinction of mind which belonged to his intellectual ardor, did not penetrate his feeling and judgment about furniture, or women, or the desirability of its being known (without his telling) that he was better born than other country surgeons. He did not mean to think of furniture at present; but whenever he did so it was to be feared that neither biology nor schemes of reform would lift him above the vulgarity of feeling that there would be an incompatibility in his furniture not being of the best.
As to women, he had once already been drawn headlong by impetuous folly, which he meant to be final, since marriage at some distant period would of course not be impetuous. For those who want to be acquainted with Lydgate it will be good to know what was that case of impetuous folly, for it may stand as an example of the fitful swerving of passion to which he was prone, together with the chivalrous kindness which helped to make him morally lovable. The story can be told without many words. It happened when he was studying in Paris, and just at the time when, over and above his other work, he was occupied with some galvanic experiments. One evening, tired with his experimenting, and not being able to elicit the facts he needed, he left his frogs and rabbits to some repose under their trying and mysterious dispensation of unexplained shocks, and went to finish his evening at the theatre of the Porte Saint Martin, where there was a melodrama which he had already seen several times; attracted, not by the ingenious work of the collaborating authors, but by an actress whose part it was to stab her lover, mistaking him for the evil-designing duke of the piece. Lydgate was in love with this actress, as a man is in love with a woman whom he never expects to speak to. She was a Provençale, with dark eyes, a Greek profile, and rounded majestic form, having that sort of beauty which carries a sweet matronliness even in youth, and her voice was a soft cooing. She had but lately come to Paris, and bore a virtuous reputation, her husband acting with her as the unfortunate lover. It was her acting which was “no better than it should be,” but the public was satisfied. Lydgate’s only relaxation now was to go and look at this woman, just as he might have thrown himself under the breath of the sweet south on a bank of violets for a while, without prejudice to his galvanism, to which he would presently return. But this evening the old drama had a new catastrophe. At the moment when the heroine was to act the stabbing of her lover, and he was to fall gracefully, the wife veritably stabbed her husband, who fell as death willed. A wild shriek pierced the house, and the Provençale fell swooning: a shriek and a swoon were demanded by the play, but the swooning too was real this time. Lydgate leaped and climbed, he hardly knew how, on to the stage, and was active in help, making the acquaintance of his heroine by finding a contusion on her head and lifting her gently in his arms. Paris rang with the story of this death:—was it a murder? Some of the actress’s warmest admirers were inclined to believe in her guilt, and liked her the better for it (such was the taste of those times); but Lydgate was not one of these. He vehemently contended for her innocence, and the remote impersonal passion for her beauty which he had felt before, had passed now into personal devotion, and tender thought of her lot. The notion of murder was absurd: no motive was discoverable, the young couple being understood to dote on each other; and it was not unprecedented that an accidental slip of the foot should have brought these grave consequences. The legal investigation ended in Madame Laure’s release. Lydgate by this time had had many interviews with her, and found her more and more adorable. She talked little; but that was an additional
