for the United States; but that morrow never came—it has never come yet. Certainly now it never can come, for the country that Mr. Boughton left behind him in his youth is no longer there; the “old New York” is no longer a port to sail to, unless for phantom ships. In imagination, however, the author of “The Return of the Mayflower” has several times taken his way back; he has painted with conspicuous charm and success various episodes of the early Puritan story. He was able on occasion to remember vividly enough the low New England coast and the thin New England air. He has been perceptibly an inventor, calling into being certain types of face and dress, certain tones and associations of color (all in the line of what I should call subdued harmonies if I were not afraid of appearing to talk a jargon), which people are hungry for when they acquire “a Boughton,” and which they can obtain on no other terms. This pictorial element in which he moves is made up of divers delicate things, and there would be a roughness in attempting to unravel the tapestry. There is old English, and old American, and old Dutch in it, and a friendly, unexpected new Dutch too—an ingredient of New Amsterdam—a strain of Knickerbocker and of Washington Irving. There is an admirable infusion of landscape in it, from which some people regret that Mr. Boughton should ever have allowed himself to be distracted by his importunate love of sad-faced, pretty women in close-fitting coifs and old silver-clasped cloaks. And indeed, though his figures are very “tender,” his landscape is to my sense tenderer still. Moreover, Mr. Boughton bristles, not aggressively, but in the degree of a certain conciliatory pertinacity, with contradictious properties. He lives in one of the prettiest and most hospitable houses in London, but the note of his work is the melancholy of rural things, of lonely people and of quaint, far-off legend and refrain. There is a delightful ambiguity of period and even of clime in him, and he rejoices in that inability to depict the modern which is the most convincing sign of the contemporary. He has a genius for landscape, yet he abounds in knowledge of every sort of ancient fashion of garment; the buckles and button-holes, the very shoe-ties, of the past are dear to him. It is almost always autumn or winter in his pictures. His horizons are cold, his trees are bare (he does the bare tree beautifully), and his draperies lined with fur; but when he exhibits himself directly, as in the fantastic “Rambles” before mentioned, contagious high spirits are the clearest of his showing. Here he appears as an irrepressible felicitous sketcher, and I know no pleasanter record of the joys of sketching, or even of those of simply looking. Théophile Gautier himself was not more inveterately addicted to this latter wanton exercise. There ought to be a pocket edition of Mr. Boughton’s book, which would serve for travellers in other countries too, give them the point of view and put them in the mood. Such a blessing, and such a distinction too, is it to have an eye. Mr. Boughton’s, in his good-humored Dutch wanderings, holds from morning till night a sociable, graceful revel. From the moment it opens till the moment it closes, its day is a round of adventures. His jolly pictorial narrative, reflecting every glint of October sunshine and patch of russet shade, tends to confirm us afresh in the faith that the painter’s life is the best life, the life that misses fewest impressions.
VI
Mr. Du Maurier has a brilliant history, but it must be candidly recognized that it is written or drawn mainly in an English periodical. It is only during the last two or three years that the most ironical of the artists of Punch has exerted himself for the entertainment of the readers of Harper; but I seem to come too late with any commentary on the nature of his satire or the charm of his execution. When he began to appear in Harper he was already an old friend, and for myself I confess I have to go through rather a complicated mental operation to put into words what I think of him. What does a man think of the language he has learned to speak? He judges it only while he is learning. Mr. Du Maurier’s work, in regard to the life it embodies, is not so much a thing we see as one of the conditions of seeing. He has interpreted for us for so many years the social life of England that the interpretation has become the text itself. We have accepted his types, his categories, his conclusions, his sympathies and his ironies, It is not given to all the world to thread the mazes of London society, and for the great body of the disinherited, the vast majority of the Anglo-Saxon public. Mr. Du Maurier’s representation is the thing represented. Is the effect of it to nip in the bud any remote yearning for personal participation? I feel tempted to say yes, when I think of the follies, the flatnesses, the affectations and stupidities that his teeming pencil has made vivid. But that vision immediately merges itself in another—a panorama of tall, pleasant, beautiful people, placed in becoming attitudes, in charming gardens, in luxurious rooms, so that I can scarcely tell which is the more definite, the impression satiric or the impression plastic.
This I take to be a sign that Mr. Du Maurier knows how to be general and has a conception of completeness. The world amuses him, such queer things go on in it; but the part that amuses him most is certain lines of our personal structure. That amusement is the brightest; the other is often sad enough. A sharp critic might accuse Mr. Du Maurier of lingering too complacently on the lines in question; of having a certain ideal of “lissome” elongation to which the promiscuous truth is sometimes sacrificed. But in fact this artist’s P truth never pretends to be promiscuous; it is avowedly select and specific. What he depicts is so preponderantly the “tapering” people that the remainder of the picture, in a notice as brief as the present, may be neglected. If his dramatis personæ are not all the tenants of drawing-rooms, they are represented at least in some relation to these. ‘Arry and his friends at the fancy fair are in society for the time; the point of introducing them is to show how the contrast intensifies them. Of late years Mr. Du Maurier has perhaps been a little too docile to the muse of elegance; the idiosyncrasies of the “masher” and the high girl with elbows have beguiled him into occasional inattention to the doings of the short and shabby. But his career has been long and rich, and I allude, in such words, but to a moment of it.
The moral of it—I refer to the artistic one—seen altogether, is striking and edifying enough. What Mr. Du Maurier has attempted to do is to give, in a thousand interrelated drawings, a general satiric picture of the social life of his time and country. It is easy to see that through them “an increasing purpose runs;” they all hang together and refer to each other—complete, confirm, correct, illuminate each other. Sometimes they are not satiric: satire is not pure charm, and the artist has allowed himself to “go in” for pure charm. Sometimes he has allowed himself to go in for pure fantasy, so that satire (which should hold on to the mane of the real) slides off the other side of the runaway horse. But he remains, on the whole, pencil in hand, a wonderfully copious and veracious historian of his age and his civilization.
Конец ознакомительного фрагмента.
Текст предоставлен ООО «ЛитРес».
Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.
Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.
