Intentions Part 3

Laelaps lies beneath, and shows by his panting the rapid pace of death. On the other side of the group, Virtuous Love with 'vans dejected' holds forth the arrow to an approaching troop of sylvan people, fauns, rams, goats, satyrs, and satyr-mothers, pressing their children tighter with their fearful hands, who hurry along from the left in a sunken path between the foreground and a rocky wall, on whose lowest ridge a brook-guardian pours from her urn her grief-telling waters. Above and more remote than the Ephidryad, another female, rending her locks, appears among the vine-festooned pillars of an unshorn grove. The centre of the picture is filled by shady meadows, sinking down to a river-mouth; beyond is 'the vast strength of the ocean stream,' from whose floor the extinguisher of stars, rosy Aurora, drives furiously up her brine- washed steeds to behold the death-pangs of her rival.

Were this description carefully re-written, it would be quite admirable. The conception of making a prose poem out of paint is excellent. Much of the best modern literature springs from the same aim. In a very ugly and sensible age, the arts borrow, not from life, but from each other.

His sympathies, too, were wonderfully varied. In everything connected with the stage, for instance, he was always extremely interested, and strongly upheld the necessity for archaeological accuracy in costume and scene-painting. 'In art,' he says in one of his essays, 'whatever is worth doing at all is worth doing well'; and he points out that once we allow the intrusion of anachronisms, it becomes difficult to say where the line is to be drawn. In literature, again, like Lord Beaconsfield on a famous occasion, he was 'on the side of the angels.' He was one of the first to admire Keats and Sh.e.l.ley--'the tremulously-sensitive and poetical Sh.e.l.ley,' as he calls him. His admiration for Wordsworth was sincere and profound. He thoroughly appreciated William Blake.

One of the best copies of the 'Songs of Innocence and Experience'

that is now in existence was wrought specially for him. He loved Alain Chartier, and Ronsard, and the Elizabethan dramatists, and Chaucer and Chapman, and Petrarch. And to him all the arts were one. 'Our critics,' he remarks with much wisdom, 'seem hardly aware of the ident.i.ty of the primal seeds of poetry and painting, nor that any true advancement in the serious study of one art co- generates a proportionate perfection in the other'; and he says elsewhere that if a man who does not admire Michael Angelo talks of his love for Milton, he is deceiving either himself or his listeners. To his fellow-contributors in the London Magazine he was always most generous, and praises Barry Cornwall, Allan Cunningham, Hazlitt, Elton, and Leigh Hunt without anything of the malice of a friend. Some of his sketches of Charles Lamb are admirable in their way, and, with the art of the true comedian, borrow their style from their subject:-

What can I say of thee more than all know? that thou hadst the gaiety of a boy with the knowledge of a man: as gentle a heart as ever sent tears to the eyes.

How wittily would he mistake your meaning, and put in a conceit most seasonably out of season. His talk without affectation was compressed, like his beloved Elizabethans, even unto obscurity.

Like grains of fine gold, his sentences would beat out into whole sheets. He had small mercy on spurious fame, and a caustic observation on the FASHION FOR MEN OF GENIUS was a standing dish.

Sir Thomas Browne was a 'bosom cronie' of his; so was Burton, and old Fuller. In his amorous vein he dallied with that peerless d.u.c.h.ess of many-folio odour; and with the heyday comedies of Beaumont and Fletcher he induced light dreams. He would deliver critical touches on these, like one inspired, but it was good to let him choose his own game; if another began even on the acknowledged pets he was liable to interrupt, or rather append, in a mode difficult to define whether as misapprehensive or mischievous. One night at C-'s, the above dramatic partners were the temporary subject of chat. Mr. X. commended the pa.s.sion and haughty style of a tragedy (I don't know which of them), but was instantly taken up by Elia, who told him 'THAT was nothing; the lyrics were the high things--the lyrics!'

One side of his literary career deserves especial notice. Modern journalism may be said to owe almost as much to him as to any man of the early part of this century. He was the pioneer of Asiatic prose, and delighted in pictorial epithets and pompous exaggerations. To have a style so gorgeous that it conceals the subject is one of the highest achievements of an important and much admired school of Fleet Street leader-writers, and this school Ja.n.u.s Weatherc.o.c.k may be said to have invented. He also saw that it was quite easy by continued reiteration to make the public interested in his own personality, and in his purely journalistic articles this extraordinary young man tells the world what he had for dinner, where he gets his clothes, what wines he likes, and in what state of health he is, just as if he were writing weekly notes for some popular newspaper of our own time. This being the least valuable side of his work, is the one that has had the most obvious influence. A publicist, nowadays, is a man who bores the community with the details of the illegalities of his private life.

Like most artificial people, he had a great love of nature. 'I hold three things in high estimation,' he says somewhere: 'to sit lazily on an eminence that commands a rich prospect; to be shadowed by thick trees while the sun shines around me; and to enjoy solitude with the consciousness of neighbourhood. The country gives them all to me.' He writes about his wandering over fragrant furze and heath repeating Collins's 'Ode to Evening,' just to catch the fine quality of the moment; about smothering his face 'in a watery bed of cowslips, wet with May dews'; and about the pleasure of seeing the sweet-breathed kine 'pa.s.s slowly homeward through the twilight,' and hearing 'the distant clank of the sheep-bell.' One phrase of his, 'the polyanthus glowed in its cold bed of earth, like a solitary picture of Giorgione on a dark oaken panel,' is curiously characteristic of his temperament, and this pa.s.sage is rather pretty in its way:-

The short tender gra.s.s was covered with marguerites--'such that men called DAISIES in our town'--thick as stars on a summer's night.

The harsh caw of the busy rooks came pleasantly mellowed from a high dusky grove of elms at some distance off, and at intervals was heard the voice of a boy scaring away the birds from the newly-sown seeds. The blue depths were the colour of the darkest ultramarine; not a cloud streaked the calm aether; only round the horizon's edge streamed a light, warm film of misty vapour, against which the near village with its ancient stone church showed sharply out with blinding whiteness. I thought of Wordsworth's 'Lines written in March.'

However, we must not forget that the cultivated young man who penned these lines, and who was so susceptible to Wordsworthian influences, was also, as I said at the beginning of this memoir, one of the most subtle and secret poisoners of this or any age.

How he first became fascinated by this strange sin he does not tell us, and the diary in which he carefully noted the results of his terrible experiments and the methods that he adopted, has unfortunately been lost to us. Even in later days, too, he was always reticent on the matter, and preferred to speak about 'The Excursion,' and the 'Poems founded on the Affections.' There is no doubt, however, that the poison that he used was strychnine. In one of the beautiful rings of which he was so proud, and which served to show off the fine modelling of his delicate ivory hands, he used to carry crystals of the Indian nux vomica, a poison, one of his biographers tells us, 'nearly tasteless, difficult of discovery, and capable of almost infinite dilution.' His murders, says De Quincey, were more than were ever made known judicially.

This is no doubt so, and some of them are worthy of mention. His first victim was his uncle, Mr. Thomas Griffiths. He poisoned him in 1829 to gain possession of Linden House, a place to which he had always been very much attached. In the August of the next year he poisoned Mrs. Abercrombie, his wife's mother, and in the following December he poisoned the lovely Helen Abercrombie, his sister-in- law. Why he murdered Mrs. Abercrombie is not ascertained. It may have been for a caprice, or to quicken some hideous sense of power that was in him, or because she suspected something, or for no reason. But the murder of Helen Abercrombie was carried out by himself and his wife for the sake of a sum of about 18,000 pounds, for which they had insured her life in various offices. The circ.u.mstances were as follows. On the 12th of December, he and his wife and child came up to London from Linden House, and took lodgings at No. 12 Conduit Street, Regent Street. With them were the two sisters, Helen and Madeleine Abercrombie. On the evening of the 14th they all went to the play, and at supper that night Helen sickened. The next day she was extremely ill, and Dr.

Loc.o.c.k, of Hanover Square, was called in to attend her. She lived till Monday, the 20th, when, after the doctor's morning visit, Mr.

and Mrs. Wainewright brought her some poisoned jelly, and then went out for a walk. When they returned Helen Abercrombie was dead.

She was about twenty years of age, a tall graceful girl with fair hair. A very charming red-chalk drawing of her by her brother-in- law is still in existence, and shows how much his style as an artist was influenced by Sir Thomas Lawrence, a painter for whose work he had always entertained a great admiration. De Quincey says that Mrs. Wainewright was not really privy to the murder. Let us hope that she was not. Sin should be solitary, and have no accomplices.

The insurance companies, suspecting the real facts of the case, declined to pay the policy on the technical ground of misrepresentation and want of interest, and, with curious courage, the poisoner entered an action in the Court of Chancery against the Imperial, it being agreed that one decision should govern all the cases. The trial, however, did not come on for five years, when, after one disagreement, a verdict was ultimately given in the companies' favour. The judge on the occasion was Lord Abinger.

Egomet Bonmot was represented by Mr. Erle and Sir William Follet, and the Attorney-General and Sir Frederick Pollock appeared for the other side. The plaintiff, unfortunately, was unable to be present at either of the trials. The refusal of the companies to give him the 18,000 pounds had placed him in a position of most painful pecuniary embarra.s.sment. Indeed, a few months after the murder of Helen Abercrombie, he had been actually arrested for debt in the streets of London while he was serenading the pretty daughter of one of his friends. This difficulty was got over at the time, but shortly afterwards he thought it better to go abroad till he could come to some practical arrangement with his creditors. He accordingly went to Boulogne on a visit to the father of the young lady in question, and while he was there induced him to insure his life with the Pelican Company for 3000 pounds. As soon as the necessary formalities had been gone through and the policy executed, he dropped some crystals of strychnine into his coffee as they sat together one evening after dinner. He himself did not gain any monetary advantage by doing this. His aim was simply to revenge himself on the first office that had refused to pay him the price of his sin. His friend died the next day in his presence, and he left Boulogne at once for a sketching tour through the most picturesque parts of Brittany, and was for some time the guest of an old French gentleman, who had a beautiful country house at St.

Omer. From this he moved to Paris, where he remained for several years, living in luxury, some say, while others talk of his 'skulking with poison in his pocket, and being dreaded by all who knew him.' In 1837 he returned to England privately. Some strange mad fascination brought him back. He followed a woman whom he loved.

It was the month of June, and he was staying at one of the hotels in Covent Garden. His sitting-room was on the ground floor, and he prudently kept the blinds down for fear of being seen. Thirteen years before, when he was making his fine collection of majolica and Marc Antonios, he had forged the names of his trustees to a power of attorney, which enabled him to get possession of some of the money which he had inherited from his mother, and had brought into marriage settlement. He knew that this forgery had been discovered, and that by returning to England he was imperilling his life. Yet he returned. Should one wonder? It was said that the woman was very beautiful. Besides, she did not love him.

It was by a mere accident that he was discovered. A noise in the street attracted his attention, and, in his artistic interest in modern life, he pushed aside the blind for a moment. Some one outside called out, 'That's Wainewright, the Bank-forger.' It was Forrester, the Bow Street runner.

On the 5th of July he was brought up at the Old Bailey. The following report of the proceedings appeared in the Times:-

Before Mr. Justice Vaughan and Mr. Baron Alderson, Thomas Griffiths Wainewright, aged forty-two, a man of gentlemanly appearance, wearing mustachios, was indicted for forging and uttering a certain power of attorney for 2259 pounds, with intent to defraud the Governor and Company of the Bank of England.

There were five indictments against the prisoner, to all of which he pleaded not guilty, when he was arraigned before Mr. Serjeant Arabin in the course of the morning. On being brought before the judges, however, he begged to be allowed to withdraw the former plea, and then pleaded guilty to two of the indictments which were not of a capital nature.

The counsel for the Bank having explained that there were three other indictments, but that the Bank did not desire to shed blood, the plea of guilty on the two minor charges was recorded, and the prisoner at the close of the session sentenced by the Recorder to transportation for life.

He was taken back to Newgate, preparatory to his removal to the colonies. In a fanciful pa.s.sage in one of his early essays he had fancied himself 'lying in Horsemonger Gaol under sentence of death'

for having been unable to resist the temptation of stealing some Marc Antonios from the British Museum in order to complete his collection. The sentence now pa.s.sed on him was to a man of his culture a form of death. He complained bitterly of it to his friends, and pointed out, with a good deal of reason, some people may fancy, that the money was practically his own, having come to him from his mother, and that the forgery, such as it was, had been committed thirteen years before, which, to use his own phrase, was at least a circonstance attenuante. The permanence of personality is a very subtle metaphysical problem, and certainly the English law solves the question in an extremely rough-and-ready manner.

There is, however, something dramatic in the fact that this heavy punishment was inflicted on him for what, if we remember his fatal influence on the prose of modern journalism, was certainly not the worst of all his sins.

While he was in gaol, d.i.c.kens, Macready, and Hablot Browne came across him by chance. They had been going over the prisons of London, searching for artistic effects, and in Newgate they suddenly caught sight of Wainewright. He met them with a defiant stare, Forster tells us, but Macready was 'horrified to recognise a man familiarly known to him in former years, and at whose table he had dined.'

Others had more curiosity, and his cell was for some time a kind of fashionable lounge. Many men of letters went down to visit their old literary comrade. But he was no longer the kind light-hearted Ja.n.u.s whom Charles Lamb admired. He seems to have grown quite cynical.

To the agent of an insurance company who was visiting him one afternoon, and thought he would improve the occasion by pointing out that, after all, crime was a bad speculation, he replied: 'Sir, you City men enter on your speculations, and take the chances of them. Some of your speculations succeed, some fail. Mine happen to have failed, yours happen to have succeeded. That is the only difference, sir, between my visitor and me. But, sir, I will tell you one thing in which I have succeeded to the last. I have been determined through life to hold the position of a gentleman.

I have always done so. I do so still. It is the custom of this place that each of the inmates of a cell shall take his morning's turn of sweeping it out. I occupy a cell with a bricklayer and a sweep, but they never offer me the broom!' When a friend reproached him with the murder of Helen Abercrombie he shrugged his shoulders and said, 'Yes; it was a dreadful thing to do, but she had very thick ankles.'

From Newgate he was brought to the hulks at Portsmouth, and sent from there in the Susan to Van Diemen's Land along with three hundred other convicts. The voyage seems to have been most distasteful to him, and in a letter written to a friend he spoke bitterly about the ignominy of 'the companion of poets and artists'

being compelled to a.s.sociate with 'country b.u.mpkins.' The phrase that he applies to his companions need not surprise us. Crime in England is rarely the result of sin. It is nearly always the result of starvation. There was probably no one on board in whom he would have found a sympathetic listener, or even a psychologically interesting nature.

His love of art, however, never deserted him. At Hobart Town he started a studio, and returned to sketching and portrait-painting, and his conversation and manners seem not to have lost their charm.

Nor did he give up his habit of poisoning, and there are two cases on record in which he tried to make away with people who had offended him. But his hand seems to have lost its cunning. Both of his attempts were complete failures, and in 1844, being thoroughly dissatisfied with Tasmanian society, he presented a memorial to the governor of the settlement, Sir John Eardley Wilmot, praying for a ticket-of-leave. In it he speaks of himself as being 'tormented by ideas struggling for outward form and realisation, barred up from increase of knowledge, and deprived of the exercise of profitable or even of decorous speech.' His request, however, was refused, and the a.s.sociate of Coleridge consoled himself by making those marvellous Paradis Artificiels whose secret is only known to the eaters of opium. In 1852 he died of apoplexy, his sole living companion being a cat, for which he had evinced at extraordinary affection.

His crimes seem to have had an important effect upon his art. They gave a strong personality to his style, a quality that his early work certainly lacked. In a note to the Life of d.i.c.kens, Forster mentions that in 1847 Lady Blessington received from her brother, Major Power, who held a military appointment at Hobart Town, an oil portrait of a young lady from his clever brush; and it is said that 'he had contrived to put the expression of his own wickedness into the portrait of a nice, kind-hearted girl.' M. Zola, in one of his novels, tells us of a young man who, having committed a murder, takes to art, and paints greenish impressionist portraits of perfectly respectable people, all of which bear a curious resemblance to his victim. The development of Mr. Wainewright's style seems to me far more subtle and suggestive. One can fancy an intense personality being created out of sin.

This strange and fascinating figure that for a few years dazzled literary London, and made so brilliant a debut in life and letters, is undoubtedly a most interesting study. Mr. W. Carew Hazlitt, his latest biographer, to whom I am indebted for many of the facts contained in this memoir, and whose little book is, indeed, quite invaluable in its way, is of opinion that his love of art and nature was a mere pretence and a.s.sumption, and others have denied to him all literary power. This seems to me a shallow, or at least a mistaken, view. The fact of a man being a poisoner is nothing against his prose. The domestic virtues are not the true basis of art, though they may serve as an excellent advertis.e.m.e.nt for second-rate artists. It is possible that De Quincey exaggerated his critical powers, and I cannot help saying again that there is much in his published works that is too familiar, too common, too journalistic, in the bad sense of that bad word. Here and there he is distinctly vulgar in expression, and he is always lacking in the self-restraint of the true artist. But for some of his faults we must blame the time in which he lived, and, after all, prose that Charles Lamb thought 'capital' has no small historic interest.

That he had a sincere love of art and nature seems to me quite certain. There is no essential incongruity between crime and culture. We cannot re-write the whole of history for the purpose of gratifying our moral sense of what should be.

Of course, he is far too close to our own time for us to be able to form any purely artistic judgment about him. It is impossible not to feel a strong prejudice against a man who might have poisoned Lord Tennyson, or Mr. Gladstone, or the Master of Balliol. But had the man worn a costume and spoken a language different from our own, had he lived in imperial Rome, or at the time of the Italian Renaissance, or in Spain in the seventeenth century, or in any land or any century but this century and this land, we would be quite able to arrive at a perfectly unprejudiced estimate of his position and value. I know that there are many historians, or at least writers on historical subjects, who still think it necessary to apply moral judgments to history, and who distribute their praise or blame with the solemn complacency of a successful schoolmaster.

This, however, is a foolish habit, and merely shows that the moral instinct can be brought to such a pitch of perfection that it will make its appearance wherever it is not required. n.o.body with the true historical sense ever dreams of blaming Nero, or scolding Tiberius, or censuring Caesar Borgia. These personages have become like the puppets of a play. They may fill us with terror, or horror, or wonder, but they do not harm us. They are not in immediate relation to us. We have nothing to fear from them. They have pa.s.sed into the sphere of art and science, and neither art nor science knows anything of moral approval or disapproval. And so it may be some day with Charles Lamb's friend. At present I feel that he is just a little too modern to be treated in that fine spirit of disinterested curiosity to which we owe so many charming studies of the great criminals of the Italian Renaissance from the pens of Mr.

John Addington Symonds, Miss A. Mary F. Robinson, Miss Vernon Lee, and other distinguished writers. However, Art has not forgotten him. He is the hero of d.i.c.kens's Hunted Down, the Varney of Bulwer's Lucretia; and it is gratifying to note that fiction has paid some homage to one who was so powerful with 'pen, pencil and poison.' To be suggestive for fiction is to be of more importance than a fact.

THE CRITIC AS ARTIST: WITH SOME REMARKS UPON THE IMPORTANCE OF DOING NOTHING

A DIALOGUE. Part I. Persons: Gilbert and Ernest. Scene: the library of a house in Piccadilly, overlooking the Green Park.

GILBERT (at the Piano). My dear Ernest, what are you laughing at?

ERNEST (looking up). At a capital story that I have just come across in this volume of Reminiscences that I have found on your table.

GILBERT. What is the book? Ah! I see. I have not read it yet.

Is it good?

ERNEST. Well, while you have been playing, I have been turning over the pages with some amus.e.m.e.nt, though, as a rule, I dislike modern memoirs. They are generally written by people who have either entirely lost their memories, or have never done anything worth remembering; which, however, is, no doubt, the true explanation of their popularity, as the English public always feels perfectly at its ease when a mediocrity is talking to it.

GILBERT. Yes: the public is wonderfully tolerant. It forgives everything except genius. But I must confess that I like all memoirs. I like them for their form, just as much as for their matter. In literature mere egotism is delightful. It is what fascinates us in the letters of personalities so different as Cicero and Balzac, Flaubert and Berlioz, Byron and Madame de Sevigne. Whenever we come across it, and, strangely enough, it is rather rare, we cannot but welcome it, and do not easily forget it.

Humanity will always love Rousseau for having confessed his sins, not to a priest, but to the world, and the couchant nymphs that Cellini wrought in bronze for the castle of King Francis, the green and gold Perseus, even, that in the open Loggia at Florence shows the moon the dead terror that once turned life to stone, have not given it more pleasure than has that autobiography in which the supreme scoundrel of the Renaissance relates the story of his splendour and his shame. The opinions, the character, the achievements of the man, matter very little. He may be a sceptic like the gentle Sieur de Montaigne, or a saint like the bitter son of Monica, but when he tells us his own secrets he can always charm our ears to listening and our lips to silence. The mode of thought that Cardinal Newman represented--if that can be called a mode of thought which seeks to solve intellectual problems by a denial of the supremacy of the intellect--may not, cannot, I think, survive.

But the world will never weary of watching that troubled soul in its progress from darkness to darkness. The lonely church at Littlemore, where 'the breath of the morning is damp, and worshippers are few,' will always be dear to it, and whenever men see the yellow snapdragon blossoming on the wall of Trinity they will think of that gracious undergraduate who saw in the flower's sure recurrence a prophecy that he would abide for ever with the Benign Mother of his days--a prophecy that Faith, in her wisdom or her folly, suffered not to be fulfilled. Yes; autobiography is irresistible. Poor, silly, conceited Mr. Secretary Pepys has chattered his way into the circle of the Immortals, and, conscious that indiscretion is the better part of valour, bustles about among them in that 's.h.a.ggy purple gown with gold b.u.t.tons and looped lace'

which he is so fond of describing to us, perfectly at his ease, and prattling, to his own and our infinite pleasure, of the Indian blue petticoat that he bought for his wife, of the 'good hog's hars- let,' and the 'pleasant French frica.s.see of veal' that he loved to eat, of his game of bowls with Will Joyce, and his 'gadding after beauties,' and his reciting of Hamlet on a Sunday, and his playing of the viol on week days, and other wicked or trivial things. Even in actual life egotism is not without its attractions. When people talk to us about others they are usually dull. When they talk to us about themselves they are nearly always interesting, and if one could shut them up, when they become wearisome, as easily as one can shut up a book of which one has grown wearied, they would be perfect absolutely.

ERNEST. There is much virtue in that If, as Touchstone would say.