Essays on Life, Art and Science Part 1

Essays on Life, Art and Science.

by Samuel Butler.

Edited by R. A. Streatfeild.

INTRODUCTION

It is hardly necessary to apologise for the miscellaneous character of the following collection of essays. Samuel Butler was a man of such unusual versatility, and his interests were so many and so various that his literary remains were bound to cover a wide field. Nevertheless it will be found that several of the subjects to which he devoted much time and labour are not represented in these pages. I have not thought it necessary to reprint any of the numerous pamphlets and articles which he wrote upon the Iliad and Odyssey, since these were all merged in "The Auth.o.r.ess of the Odyssey," which gives his matured views upon everything relating to the Homeric poems. For a similar reason I have not included an essay on the evidence for the Resurrection of Jesus Christ, which he printed in 1865 for private circulation, since he subsequently made extensive use of it in "The Fair Haven."

Two of the essays in this collection were originally delivered as lectures; the remainder were published in _The Universal Review_ during 1888, 1889, and 1890.

I should perhaps explain why two other essays of his, which also appeared in _The Universal Review_, have been omitted.

The first of these, ent.i.tled "L'Affaire Holbein-Rippel," relates to a drawing of Holbein's "Danse des Paysans," in the Basle Museum, which is usually described as a copy, but which Butler believed to be the work of Holbein himself. This essay requires to be ill.u.s.trated in so elaborate a manner that it was impossible to include it in a book of this size.

The second essay, which is a sketch of the career of the sculptor Tabachetti, was published as the first section of an article ent.i.tled "A Sculptor and a Shrine," of which the second section is here given under the t.i.tle, "The Sanctuary of Montrigone." The section devoted to the sculptor represents all that Butler then knew about Tabachetti, but since it was written various doc.u.ments have come to light, princ.i.p.ally owing to the investigations of Cavaliere Francesco Negri, of Casale Monferrato, which negative some of Butler's most cherished conclusions. Had Butler lived he would either have rewritten his essay in accordance with Cavaliere Negri's discoveries, of which he fully recognised the value, or incorporated them into the revised edition of "Ex Voto," which he intended to publish. As it stands, the essay requires so much revision that I have decided to omit it altogether, and to postpone giving English readers a full account of Tabachetti's career until a second edition of "Ex Voto" is required. Meanwhile I have given a brief summary of the main facts of Tabachetti's life in a note (page 154) to the essay on "Art in the Valley of Saas." Any one who wishes for further details of the sculptor and his work will find them in Cavaliere Negri's pamphlet, "Il Santuario di Crea" (Alessandria, 1902).

The three essays grouped together under the t.i.tle of "The Deadlock in Darwinism" may be regarded as a postscript to Butler's four books on evolution, viz., "Life and Habit," "Evolution, Old and New," "Unconscious Memory" and "Luck or Cunning." An occasion for the publication of these essays seemed to be afforded by the appearance in 1889 of Mr. Alfred Russel Wallace's "Darwinism"; and although nearly fourteen years have elapsed since they were published in the _Universal Review_, I have no fear that they will be found to be out of date. How far, indeed, the problem embodied in the deadlock of which Butler speaks is from solution was conclusively shown by the correspondence which appeared in the _Times_ in May 1903, occasioned by some remarks made at University College by Lord Kelvin in moving a vote of thanks to Professor Henslow after his lecture on "Present Day Rationalism." Lord Kelvin's claim for a recognition of the fact that in organic nature scientific thought is compelled to accept the idea of some kind of directive power, and his statement that biologists are coming once more to a firm acceptance of a vital principle, drew from several distinguished men of science retorts heated enough to prove beyond a doubt that the gulf between the two main divisions of evolutionists is as wide to-day as it was when Butler wrote.

It will be well, perhaps, for the benefit of readers who have not followed the history of the theory of evolution during its later developments, to state in a few words what these two main divisions are.

All evolutionists agree that the differences between species are caused by the acc.u.mulation and transmission of variations, but they do not agree as to the causes to which the variations are due. The view held by the older evolutionists, Buffon, Erasmus Darwin and Lamarck, who have been followed by many modern thinkers, including Herbert Spencer and Butler, is that the variations occur mainly as the result of effort and design; the opposite view, which is that advocated by Mr. Wallace in "Darwinism,"

is that the variations occur merely as the result of chance. The former is sometimes called the theological view, because it recognises the presence in organic nature of design, whether it be called creative power, directive force, directivity, or vital principle; the latter view, in which the existence of design is absolutely negatived, is now usually described as Weismannism, from the name of the writer who has been its princ.i.p.al advocate in recent years.

In conclusion, I must thank my friend Mr. Henry Festing Jones most warmly for the invaluable a.s.sistance which he has given me in preparing these essays for publication, in correcting the proofs, and in compiling the introduction and notes.

R. A. STREATFEILD.

QUIS DESIDERIO . . . ? {1}

Like Mr. Wilkie Collins, I, too, have been asked to lay some of my literary experiences before the readers of the _Universal Review_. It occurred to me that the _Review_ must be indeed universal before it could open its pages to one so obscure as myself; but, nothing daunted by the distinguished company among which I was for the first time asked to move, I resolved to do as I was told, and went to the British Museum to see what books I had written. Having refreshed my memory by a glance at the catalogue, I was about to try and diminish the large and ever-increasing circle of my non-readers when I became aware of a calamity that brought me to a standstill, and indeed bids fair, so far as I can see at present, to put an end to my literary existence altogether.

I should explain that I cannot write unless I have a sloping desk, and the reading-room of the British Museum, where alone I can compose freely, is unprovided with sloping desks. Like every other organism, if I cannot get exactly what I want I make shift with the next thing to it; true, there are no desks in the reading-room, but, as I once heard a visitor from the country say, "it contains a large number of very interesting works." I know it was not right, and hope the Museum authorities will not be severe upon me if any of them reads this confession; but I wanted a desk, and set myself to consider which of the many very interesting works which a grateful nation places at the disposal of its would-be authors was best suited for my purpose.

For mere reading I suppose one book is pretty much as good as another; but the choice of a desk-book is a more serious matter. It must be neither too thick nor too thin; it must be large enough to make a substantial support; it must be strongly bound so as not to yield or give; it must not be too troublesome to carry backwards and forwards; and it must live on shelf C, D, or E, so that there need be no stooping or reaching too high. These are the conditions which a really good book must fulfil; simple, however, as they are, it is surprising how few volumes comply with them satisfactorily; moreover, being perhaps too sensitively conscientious, I allowed another consideration to influence me, and was sincerely anxious not to take a book which would be in constant use for reference by readers, more especially as, if I did this, I might find myself disturbed by the officials.

For weeks I made experiments upon sundry poetical and philosophical works, whose names I have forgotten, but could not succeed in finding my ideal desk, until at length, more by luck than cunning, I happened to light upon Frost's "Lives of Eminent Christians," which I had no sooner tried than I discovered it to be the very perfection and _ne plus ultra_ of everything that a book should be. It lived in Case No. 2008, and I accordingly took at once to sitting in Row B, where for the last dozen years or so I have sat ever since.

The first thing I have done whenever I went to the Museum has been to take down Frost's "Lives of Eminent Christians" and carry it to my seat.

It is not the custom of modern writers to refer to the works to which they are most deeply indebted, and I have never, that I remember, mentioned it by name before; but it is to this book alone that I have looked for support during many years of literary labour, and it is round this to me invaluable volume that all my own have page by page grown up.

There is none in the Museum to which I have been under anything like such constant obligation, none which I can so ill spare, and none which I would choose so readily if I were allowed to select one single volume and keep it for my own.

On finding myself asked for a contribution to the _Universal Review_, I went, as I have explained, to the Museum, and presently repaired to bookcase No. 2008 to get my favourite volume. Alas! it was in the room no longer. It was not in use, for its place was filled up already; besides, no one ever used it but myself. Whether the ghost of the late Mr. Frost has been so eminently unchristian as to interfere, or whether the authorities have removed the book in ignorance of the steady demand which there has been for it on the part of at least one reader, are points I cannot determine. All I know is that the book is gone, and I feel as Wordsworth is generally supposed to have felt when he became aware that Lucy was in her grave, and exclaimed so emphatically that this would make a considerable difference to him, or words to that effect.

Now I think of it, Frost's "Lives of Eminent Christians" was very like Lucy. The one resided at Dovedale in Derbyshire, the other in Great Russell Street, Bloomsbury. I admit that I do not see the resemblance here at this moment, but if I try to develop my perception I shall doubtless ere long find a marvellously striking one. In other respects, however, than mere local habitat the likeness is obvious. Lucy was not particularly attractive either inside or out--no more was Frost's "Lives of Eminent Christians"; there were few to praise her, and of those few still fewer could bring themselves to like her; indeed, Wordsworth himself seems to have been the only person who thought much about her one way or the other. In like manner, I believe I was the only reader who thought much one way or the other about Frost's "Lives of Eminent Christians," but this in itself was one of the attractions of the book; and as for the grief we respectively felt and feel, I believe my own to be as deep as Wordsworth's, if not more so.

I said above, "as Wordsworth is generally supposed to have felt"; for any one imbued with the spirit of modern science will read Wordsworth's poem with different eyes from those of a mere literary critic. He will note that Wordsworth is most careful not to explain the nature of the difference which the death of Lucy will occasion to him. He tells us that there will be a difference; but there the matter ends. The superficial reader takes it that he was very sorry she was dead; it is, of course, possible that he may have actually been so, but he has not said this. On the contrary, he has hinted plainly that she was ugly, and generally disliked; she was only like a violet when she was half-hidden from the view, and only fair as a star when there were so few stars out that it was practically impossible to make an invidious comparison. If there were as many as even two stars the likeness was felt to be at an end. If Wordsworth had imprudently promised to marry this young person during a time when he had been unusually long in keeping to good resolutions, and had afterwards seen some one whom he liked better, then Lucy's death would undoubtedly have made a considerable difference to him, and this is all that he has ever said that it would do. What right have we to put glosses upon the masterly reticence of a poet, and credit him with feelings possibly the very reverse of those he actually entertained?

Sometimes, indeed, I have been inclined to think that a mystery is being hinted at more dark than any critic has suspected. I do not happen to possess a copy of the poem, but the writer, if I am not mistaken, says that "few could know when Lucy ceased to be." "Ceased to be" is a suspiciously euphemistic expression, and the words "few could know" are not applicable to the ordinary peaceful death of a domestic servant such as Lucy appears to have been. No matter how obscure the deceased, any number of people commonly can know the day and hour of his or her demise, whereas in this case we are expressly told it would be impossible for them to do so. Wordsworth was nothing if not accurate, and would not have said that few could know, but that few actually did know, unless he was aware of circ.u.mstances that precluded all but those implicated in the crime of her death from knowing the precise moment of its occurrence. If Lucy was the kind of person not obscurely pourtrayed in the poem; if Wordsworth had murdered her, either by cutting her throat or smothering her, in concert, perhaps, with his friends Southey and Coleridge; and if he had thus found himself released from an engagement which had become irksome to him, or possibly from the threat of an action for breach of promise, then there is not a syllable in the poem with which he crowns his crime that is not alive with meaning. On any other supposition to the general reader it is unintelligible.

We cannot be too guarded in the interpretations we put upon the words of great poets. Take the young lady who never loved the dear gazelle--and I don't believe she did; we are apt to think that Moore intended us to see in this creation of his fancy a sweet, amiable, but most unfortunate young woman, whereas all he has told us about her points to an exactly opposite conclusion. In reality, he wished us to see a young lady who had been an habitual complainer from her earliest childhood; whose plants had always died as soon as she bought them, while those belonging to her neighbours had flourished. The inference is obvious, nor can we reasonably doubt that Moore intended us to draw it; if her plants were the very first to fade away, she was evidently the very first to neglect or otherwise maltreat them. She did not give them enough water, or left the door of her fern-ease open when she was cooking her dinner at the gas stove, or kept them too near the paraffin oil, or other like folly; and as for her temper, see what the gazelles did; as long as they did not know her "well," they could just manage to exist, but when they got to understand her real character, one after another felt that death was the only course open to it, and accordingly died rather than live with such a mistress. True, the young lady herself said the gazelles loved her; but disagreeable people are apt to think themselves amiable, and in view of the course invariably taken by the gazelles themselves any one accustomed to weigh evidence will hold that she was probably mistaken.

I must, however, return to Frost's "Lives of Eminent Christians." I will leave none of the ambiguity about my words in which Moore and Wordsworth seem to have delighted. I am very sorry the book is gone, and know not where to turn for its successor. Till I have found a subst.i.tute I can write no more, and I do not know how to find even a tolerable one. I should try a volume of Migne's "Complete Course of Patrology," but I do not like books in more than one volume, for the volumes vary in thickness, and one never can remember which one took; the four volumes, however, of Bede in Giles's "Anglican Fathers" are not open to this objection, and I have reserved them for favourable consideration.

Mather's "Magnalia" might do, but the binding does not please me; Cureton's "Corpus Ignatianum" might also do if it were not too thin. I do not like taking Norton's "Genuineness of the Gospels," as it is just possible some one may be wanting to know whether the Gospels are genuine or not, and be unable to find out because I have got Mr. Norton's book.

Baxter's "Church History of England," Lingard's "Anglo-Saxon Church," and Cardwell's "Doc.u.mentary Annals," though none of them as good as Frost, are works of considerable merit; but on the whole I think Arvine's "Cyclopedia of Moral and Religious Anecdote" is perhaps the one book in the room which comes within measurable distance of Frost. I should probably try this book first, but it has a fatal objection in its too seductive t.i.tle. "I am not curious," as Miss Lottie Venne says in one of her parts, "but I like to know," and I might be tempted to pervert the book from its natural uses and open it, so as to find out what kind of a thing a moral and religious anecdote is. I know, of course, that there are a great many anecdotes in the Bible, but no one thinks of calling them either moral or religious, though some of them certainly seem as if they might fairly find a place in Mr. Arvine's work. There are some things, however, which it is better not to know, and take it all round I do not think I should be wise in putting myself in the way of temptation, and adopting Arvine as the successor to my beloved and lamented Frost.

Some successor I must find, or I must give up writing altogether, and this I should be sorry to do. I have only as yet written about a third, or from that--counting works written but not published--to a half, of the books which I have set myself to write. It would not so much matter if old age was not staring me in the face. Dr. Parr said it was "a beastly shame for an old man not to have laid down a good cellar of port in his youth"; I, like the greater number, I suppose, of those who write books at all, write in order that I may have something to read in my old age when I can write no longer. I know what I shall like better than any one can tell me, and write accordingly; if my career is nipped in the bud, as seems only too likely, I really do not know where else I can turn for present agreeable occupation, nor yet how to make suitable provision for my later years. Other writers can, of course, make excellent provision for their own old ages, but they cannot do so for mine, any more than I should succeed if I were to try to cater for theirs. It is one of those cases in which no man can make agreement for his brother.

I have no heart for continuing this article, and if I had, I have nothing of interest to say. No one's literary career can have been smoother or more unchequered than mine. I have published all my books at my own expense, and paid for them in due course. What can be conceivably more unromantic? For some years I had a little literary grievance against the authorities of the British Museum because they would insist on saying in their catalogue that I had published three sermons on Infidelity in the year 1820. I thought I had not, and got them out to see. They were rather funny, but they were not mine. Now, however, this grievance has been removed. I had another little quarrel with them because they would describe me as "of St. John's College, Cambridge," an establishment for which I have the most profound veneration, but with which I have not had the honour to be connected for some quarter of a century. At last they said they would change this description if I would only tell them what I was, for, though they had done their best to find out, they had themselves failed. I replied with modest pride that I was a Bachelor of Arts. I keep all my other letters inside my name, not outside. They mused and said it was unfortunate that I was not a Master of Arts. Could I not get myself made a Master? I said I understood that a Mastership was an article the University could not do under about five pounds, and that I was not disposed to go sixpence higher than three ten. They again said it was a pity, for it would be very inconvenient to them if I did not keep to something between a bishop and a poet. I might be anything I liked in reason, provided I showed proper respect for the alphabet; but they had got me between "Samuel Butler, bishop," and "Samuel Butler, poet." It would be very troublesome to shift me, and bachelor came before bishop. This was reasonable, so I replied that, under those circ.u.mstances, if they pleased, I thought I would like to be a philosophical writer. They embraced the solution, and, no matter what I write now, I must remain a philosophical writer as long as I live, for the alphabet will hardly be altered in my time, and I must be something between "Bis" and "Poe." If I could get a volume of my excellent namesake's "Hudibras" out of the list of my works, I should be robbed of my last shred of literary grievance, so I say nothing about this, but keep it secret, lest some worse thing should happen to me. Besides, I have a great respect for my namesake, and always say that if "Erewhon"

had been a racehorse it would have been got by "Hudibras" out of "a.n.a.logy." Some one said this to me many years ago, and I felt so much flattered that I have been repeating the remark as my own ever since.

But how small are these grievances as compared with those endured without a murmur by hundreds of writers far more deserving than myself. When I see the scores and hundreds of workers in the reading-room who have done so much more than I have, but whose work is absolutely fruitless to themselves, and when I think of the prompt recognition obtained by my own work, I ask myself what I have done to be thus rewarded. On the other hand, the feeling that I have succeeded far beyond my deserts. .h.i.therto, makes it all the harder for me to acquiesce without complaint in the extinction of a career which I honestly believe to be a promising one; and once more I repeat that, unless the Museum authorities give me back my Frost, or put a locked clasp on Arvine, my career must be extinguished. Give me back Frost, and, if life and health are spared, I will write another dozen of volumes yet before I hang up my fiddle--if so serious a confusion of metaphors may be pardoned. I know from long experience how kind and considerate both the late and present superintendents of the reading-room were and are, but I doubt how far either of them would be disposed to help me on this occasion; continue, however, to rob me of my Frost, and, whatever else I may do, I will write no more books.

_Note by Dr. Garnett_, _British Museum_.--The frost has broken up. Mr.

Butler is restored to literature. Mr. Mudie may make himself easy.

England will still boast a humourist; and the late Mr. Darwin (to whose posthumous machinations the removal of the book was owing) will continue to be confounded.--R. GANNETT.

RAMBLINGS IN CHEAPSIDE {2}

Walking the other day in Cheapside I saw some turtles in Mr. Sweeting's window, and was tempted to stay and look at them. As I did so I was struck not more by the defences with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defencefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself--"catching on" through them to things that are thus both turtle and not turtle at one and the same time--these holes stultify the armour, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importances and their changes, which is the main factor of good living.

The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.

Nevertheless I knew that I could get it to agree with me if I could so effectually b.u.t.ton-hole and fasten on to it as to eat it. Most men have an easy method with turtle soup, and I had no misgiving but that if I could bring my first premise to bear I should prove the better reasoner.

My difficulty lay in this initial process, for I had not with me the argument that would alone compel Mr. Sweeting think that I ought to be allowed to convert the turtles--I mean I had no money in my pocket. No missionary enterprise can be carried on without any money at all, but even so small a sum as half-a-crown would, I suppose, have enabled me to bring the turtle partly round, and with many half-crowns I could in time no doubt convert the lot, for the turtle needs must go where the money drives. If, as is alleged, the world stands on a turtle, the turtle stands on money. No money no turtle. As for money, that stands on opinion, credit, trust, faith--things that, though highly material in connection with money, are still of immaterial essence.

The steps are perfectly plain. The men who caught the turtles brought a fairly strong and definite opinion to bear upon them, that pa.s.sed into action, and later on into money. They thought the turtles would come that way, and verified their opinion; on this, will and action were generated, with the result that the men turned the turtles on their backs and carried them off. Mr. Sweeting touched these men with money, which is the outward and visible sign of verified opinion. The customer touches Mr. Sweeting with money, Mr. Sweeting touches the waiter and the cook with money. They touch the turtle with skill and verified opinion.

Finally, the customer applies the clinching argument that brushes all sophisms aside, and bids the turtle stand protoplasm to protoplasm with himself, to know even as it is known.

But it must be all touch, touch, touch; skill, opinion, power, and money, pa.s.sing in and out with one another in any order we like, but still link to link and touch to touch. If there is failure anywhere in respect of opinion, skill, power, or money, either as regards quant.i.ty or quality, the chain can be no stronger than its weakest link, and the turtle and the clinching argument will fly asunder. Of course, if there is an initial failure in connection, through defect in any member of the chain, or of connection between the links, it will no more be attempted to bring the turtle and the clinching argument together, than it will to chain up a dog with two pieces of broken chain that are disconnected. The contact throughout must be conceived as absolute; and yet perfect contact is inconceivable by us, for on becoming perfect it ceases to be contact, and becomes essential, once for all inseverable, ident.i.ty. The most absolute contact short of this is still contact by courtesy only. So here, as everywhere else, Eurydice glides off as we are about to grasp her. We can see nothing face to face; our utmost seeing is but a fumbling of blind finger-ends in an overcrowded pocket.

Presently my own blind finger-ends fished up the conclusion, that as I had neither time nor money to spend on perfecting the chain that would put me in full spiritual contact with Mr. Sweeting's turtles, I had better leave them to complete their education at some one else's expense rather than mine, so I walked on towards the Bank. As I did so it struck me how continually we are met by this melting of one existence into another. The limits of the body seem well defined enough as definitions go, but definitions seldom go far. What, for example, can seem more distinct from a man than his banker or his solicitor? Yet these are commonly so much parts of him that he can no more cut them off and grow new ones, than he can grow new legs or arms; neither must he wound his solicitor; a wound in the solicitor is a very serious thing. As for his bank--failure of his bank's action may be as fatal to a man as failure of his heart. I have said nothing about the medical or spiritual adviser, but most men grow into the society that surrounds them by the help of these four main tap-roots, and not only into the world of humanity, but into the universe at large. We can, indeed, grow butchers, bakers, and greengrocers, almost _ad libitum_, but these are low developments, and correspond to skin, hair, or finger-nails. Those of us again who are not highly enough organised to have grown a solicitor or banker can generally repair the loss of whatever social organisation they may possess as freely as lizards are said to grow new tails; but this with the higher social, as well as organic, developments is only possible to a very limited extent.

The doctrine of metempsychosis, or transmigration of souls--a doctrine to which the foregoing considerations are for the most part easy corollaries--crops up no matter in what direction we allow our thoughts to wander. And we meet instances of transmigration of body as well as of soul. I do not mean that both body and soul have transmigrated together, far from it; but that, as we can often recognise a transmigrated mind in an alien body, so we not less often see a body that is clearly only a transmigration, linked on to some one else's new and alien soul. We meet people every day whose bodies are evidently those of men and women long dead, but whose appearance we know through their portraits. We see them going about in omnibuses, railway carriages, and in all public places.

The cards have been shuffled, and they have drawn fresh lots in life and nationalities, but any one fairly well up in mediaeval and last century portraiture knows them at a glance.

Going down once towards Italy I saw a young man in the train whom I recognised, only he seemed to have got younger. He was with a friend, and his face was in continual play, but for some little time I puzzled in vain to recollect where it was that I had seen him before. All of a sudden I remembered he was King Francis I. of France. I had hitherto thought the face of this king impossible, but when I saw it in play I understood it. His great contemporary Henry VIII. keeps a restaurant in Oxford Street. Falstaff drove one of the St. Gothard diligences for many years, and only retired when the railway was opened. t.i.tian once made me a pair of boots at Vicenza, and not very good ones. At Modena I had my hair cut by a young man whom I perceived to be Raffaelle. The model who sat to him for his celebrated Madonnas is first lady in a confectionery establishment at Montreal. She has a little motherly pimple on the left side of her nose that is misleading at first, but on examination she is readily recognised; probably Raffaelle's model had the pimple too, but Raffaelle left it out--as he would.

Handel, of course, is Madame Patey. Give Madame Patey Handel's wig and clothes, and there would be no telling her from Handel. It is not only that the features and the shape of the head are the same, but there is a certain imperiousness of expression and att.i.tude about Handel which he hardly attempts to conceal in Madame Patey. It is a curious coincidence that he should continue to be such an incomparable renderer of his own music. Pope Julius II. was the late Mr. Darwin. Rameses II. is a blind woman now, and stands in Holborn, holding a tin mug. I never could understand why I always found myself humming "They oppressed them with burthens" when I pa.s.sed her, till one day I was looking in Mr. Spooner's window in the Strand, and saw a photograph of Rameses II. Mary Queen of Scots wears surgical boots and is subject to fits, near the Horse Shoe in Tottenham Court Road.

Michael Angelo is a commissionaire; I saw him on board the _Glen Rosa_, which used to run every day from London to Clacton-on-Sea and back. It gave me quite a turn when I saw him coming down the stairs from the upper deck, with his bronzed face, flattened nose, and with the familiar bar upon his forehead. I never liked Michael Angelo, and never shall, but I am afraid of him, and was near trying to hide when I saw him coming towards me. He had not got his commissionaire's uniform on, and I did not know he was one till I met him a month or so later in the Strand.

When we got to Blackwall the music struck up and people began to dance. I never saw a man dance so much in my life. He did not miss a dance all the way to Clacton, nor all the way back again, and when not dancing he was flirting and cracking jokes. I could hardly believe my eyes when I reflected that this man had painted the famous "Last Judgment," and had made all those statues.