The Works of Charles and Mary Lamb Part 11

Your unfortunate friend,

PENSILIS.

ON THE DANGER OF CONFOUNDING MORAL WITH PERSONAL DEFORMITY; WITH A HINT TO THOSE WHO HAVE THE FRAMING OF ADVERTIs.e.m.e.nTS FOR APPREHENDING OFFENDERS

(1810. TEXT OF 1818)

_To the Editor of the Reflector_

Mr. Reflector,--There is no science in their pretensions to which mankind are more apt to commit grievous mistakes, than in the supposed very obvious one of physiognomy. I quarrel not with the principles of this science, as they are laid down by learned professors; much less am I disposed, with some people, to deny its existence altogether as any inlet of knowledge that can be depended upon. I believe that there is, or may be, an art to "read the mind's construction in the face." But, then, in every species of _reading_, so much depends upon the eyes of the reader; if they are blear, or apt to dazzle, or inattentive, or strained with too much attention, the optic power will infallibly bring home false reports of what it reads. How often do we say, upon a cursory glance at a stranger, what a fine open countenance he has, who, upon second inspection, proves to have the exact features of a knave. Nay, in much more intimate acquaintances, how a delusion of this kind shall continue for months, years, and then break up all at once.

Ask the married man, who has been so but for a short s.p.a.ce of time, if those blue eyes where, during so many years of anxious courtship, truth, sweetness, serenity, seemed to be written in characters which could not be misunderstood--ask him if the characters which they now convey be exactly the same?--if for truth he does not _read_ a dull virtue (the mimic of constancy) which changes not, only because it wants the judgment to make a preference?--if for sweetness he does not _read_ a stupid habit of looking pleased at every thing;--if for serenity he does not _read_ animal tranquillity, the dead pool of the heart, which no breeze of pa.s.sion can stir into health? Alas! what is this book of the countenance good for, which when we have read so long, and thought that we understood its contents, there comes a countless list of heart-breaking errata at the end!

But these are the pitiable mistakes to which love alone is subject. I have inadvertently wandered from my purpose, which was to expose quite an opposite blunder, into which we are no less apt to fall, through hate. How ugly a person looks upon whose reputation some awkward aspersion hangs, and how suddenly his countenance clears up with his character. I remember being persuaded of a man whom I had conceived an ill opinion of, that he had a very bad set of teeth; which, since I have had better opportunities of being acquainted with his face and facts, I find to have been the very reverse of the truth. _That crooked old woman_, I once said, speaking of an ancient gentlewoman, whose actions did not square altogether with my notions of the rule of right. The unanimous surprise of the company before whom I uttered these words, soon convinced me that I had confounded mental with bodily obliquity, and that there was nothing tortuous about the old lady but her deeds.

This humour of mankind to deny personal comeliness to those with whose moral attributes they are dissatisfied, is very strongly shewn in those advertis.e.m.e.nts, which stare us in the face from the walls of every street, and, with the tempting bait which they hang forth, stimulate at once cupidity and an abstract love of justice in the breast of every pa.s.sing peruser; I mean, the advertis.e.m.e.nts offering rewards for the apprehension of absconded culprits, strayed apprentices, bankrupts who have conveyed away their effects, debtors that have run away from their bail. I observe, that in exact proportion to the indignity with which the prosecutor, who is commonly the framer of the advertis.e.m.e.nt, conceives he has been treated, the personal pretensions of the fugitive are denied, and his defects exaggerated.

A fellow, whose misdeeds have been directed against the public in general, and in whose delinquency no individual shall feel himself particularly interested, generally meets with fair usage. A coiner or a smuggler shall get off tolerably well. His beauty, if he has any, is not much underrated, his deformities are not much magnified. A run-away apprentice, who excites perhaps the next least degree of spleen in his prosecutor, generally escapes with a pair of bandy legs; if he has taken any thing with him in his flight, a hitch in his gait is generally superadded. A bankrupt, who has been guilty of withdrawing his effects, if his case be not very atrocious, commonly meets with mild usage. But a debtor who has left his bail in jeopardy, is sure to be described in characters of unmingled deformity. Here the personal feelings of the bail, which may be allowed to be somewhat poignant, are admitted to interfere; and, as wrath and revenge commonly strike in the dark, the colours are laid on with a grossness which I am convinced must often defeat its own purpose. The fish that casts an inky cloud about him that his enemies may not find him, cannot more obscure himself by that device than the blackening representations of these angry advertisers must inevitably serve to cloak and screen the persons of those who have injured them from detection. I have before me at this moment one of these bills, which runs thus:--

"FIFTY POUNDS REWARD.

"Run away from his bail, John Tomkins, formerly resident in Princes-street, Soho, but lately of Clerkenwell. Whoever shall apprehend, or cause to be apprehended and lodged in one of his Majesty's jails, the said John Tomkins, shall receive the above reward. He is a thickset, st.u.r.dy man, about five foot six inches high, halts in his left leg, with a stoop in his gait, with coa.r.s.e red hair, nose short and c.o.c.ked up, with little grey eyes, one of them bears the effect of a blow which he has lately received, with a pot belly, speaks with a thick and disagreeable voice, goes shabbily drest, had on when he went away a greasy s.h.a.g great coat with rusty yellow b.u.t.tons."

Now, although it is not out of the compa.s.s of possibility that John Tomkins aforesaid may comprehend in his agreeable person all the above-mentioned aggregate of charms; yet, from my observation of the manner in which these advertis.e.m.e.nts are usually drawn up, though I have not the pleasure of knowing the gentleman, yet would I lay a wager, that an advertis.e.m.e.nt to the following effect would have a much better chance of apprehending and laying by the heels this John Tomkins than the above description, although penned by one who, from the good services which he appears to have done for him, has not improbably been blessed with some years of previous intercourse with the said John. Taking, then, the above advertis.e.m.e.nt to be true, or nearly so, down to the words "left leg" inclusive (though I have some doubt if the blemish there implied amount to a positive lameness, or be perceivable by any but the nearest friends of John) I would proceed thus:--

--"Leans a little forward in his walk, his hair thick and inclining to auburn, his nose of the middle size, a little turned up at the end, lively hazel eyes (the contusion, as its effects are probably gone off by this time, I judge better omitted) inclines to be corpulent, his voice thick but pleasing, especially when he sings, had on a decent s.h.a.g great coat with yellow b.u.t.tons."

Now, I would stake a considerable wager (though by no means a positive man) that some such mitigated description would lead the beagles of the law into a much surer track for finding this ungracious varlet, than to set them upon a false scent after fict.i.tious ugliness and fict.i.tious shabbiness; though, to do those gentlemen justice, I have no doubt their experience has taught them in all such cases to abate a great deal of the deformity which they are instructed to expect; and has discovered to them, that the Devil's agents upon this earth, like their master, are far less ugly in reality than they are painted.

I am afraid, Mr. Reflector, that I shall be thought to have gone wide of my subject, which was to detect the practical errors of physiognomy, properly so called; whereas I have introduced physical defects, such as lameness, the effects of accidents upon a man's person, his wearing apparel, &c. as circ.u.mstances on which the eye of dislike, looking ascance, may report erroneous conclusions to the understanding. But if we are liable, through a kind, or an unkind pa.s.sion, to mistake so grossly concerning things so exterior and palpable, how much more are we likely to err respecting those nicer and less perceptible hints of character in a face, whose detection const.i.tutes the triumph of the physiognomist.

To revert to those bestowers of unmerited deformity, the framers of advertis.e.m.e.nts for the apprehension of delinquents, a sincere desire of promoting the ends of public justice induces me to address a word to them on the best means of attaining those ends. I will endeavour to lay down a few practical, or rather negative, rules for their use, for my ambition extends no further than to arm them with cautions against the self-defeating of their own purposes:--

1. Imprimis, then, Mr. Advertiser! If the culprit whom you are willing to recover be one to whom in times past you have shewn kindness, and been disposed to think kindly of him yourself, but he has deceived your trust, and has run away, and left you with a load of debt to answer for him,--sit down calmly, and endeavour to behold him through the spectacles of memory rather than of present conceit. Image to yourself, before you pen a t.i.ttle of his description, the same plausible, good-looking man who took you in; and try to put away from your mind every intrusion of that deceitful spectre which perpetually obtrudes itself in the room of your former friend's known visage. It will do you more credit to have been deceived by such a one; and depend upon it, the traitor will convey to the eyes of the world in general much more of that first idea which you formed (perhaps in part erroneous) of his physiognomy, than of that frightful subst.i.tute which you have suffered to creep in upon your mind and usurp upon it; a creature which has no archetype except in your own brain.

2. If you be a master that have to advertise a runaway apprentice, though the young dog's faults are known only to you, and no doubt his conduct has been aggravating enough, do not presently set him down as having crooked ancles. He may have a good pair of legs, and run away notwithstanding. Indeed, the latter does rather seem to imply the former.

3. If the unhappy person against whom your laudable vengeance is directed be a thief, think that a thief may have a good nose, good eyes, good ears. It is indispensable to his profession that he be possessed of sagacity, foresight, vigilance; it is more than probable, then, that he is endued with the bodily types or instruments of these qualities to some tolerable degree of perfectness.

4. If petty larceny be his offence, I exhort you, do not confound meanness of crime with diminutiveness of stature. These things have no connection. I have known a tall man stoop to the basest action, a short man aspire to the height of crime, a fair man be guilty of the foulest actions, &c.

5. Perhaps the offender has been guilty of some atrocious and aggravated murder. Here is the most difficult case of all. It is above all requisite, that such a daring violator of the peace and safety of society should meet with his reward, a violent and ignominious death.

But how shall we get at him? Who is there among us, that has known him before he committed the offence, that shall take upon him to say he can sit down coolly and pen a dispa.s.sionate description of a murderer? The tales of our nursery,--the reading of our youth,--the ill-looking man that was hired by the Uncle to dispatch the Children in the Wood,--the grim ruffians who smothered the babes in the Tower,--the black and beetle-browed a.s.sa.s.sin of Mrs. Ratcliffe,--the s.h.a.g-haired villain of Mr. Monk Lewis,--the Tarquin tread, and mill-stone dropping eyes, of Murder in Shakspeare,--the exaggerations of picture and of poetry,--what we have read and what we have dreamed of,--rise up and crowd in upon us such eye-scaring portraits of the man of blood, that our pen is absolutely forestalled; we commence poets when we should play the part of strictest historians, and the very blackness of horror which the deed calls up, serves as a cloud to screen the doer. The fiction is blameless, it is accordant with those wise prejudices with which nature has guarded our innocence, as with impa.s.sable barriers, against the commission of such appalling crimes; but meantime, the criminal escapes; or if,--owing to that wise abatement in their expectation of deformity, which, as I hinted at before, the officers of pursuit never fail to make, and no doubt in cases of this sort they make a more than ordinary allowance,--if, owing to this or any accident, the offender is caught and brought to his trial, who that has been led out of curiosity to witness such a scene, has not with astonishment reflected on the difference between a real committer of a murder, and the idea of one which he has been collecting and heightening all his life out of books, dreams, &c. The fellow, perhaps, is a sleek, smug-looking man, with light hair and eye-brows,--the latter by no means jutting out or like a crag,--and with none of those marks which our fancy had pre-bestowed upon him.

I find I am getting unawares too serious; the best way on such occasions is, to leave off, which I shall do by generally recommending to all prosecuting advertisers not to confound crimes with ugliness; or rather, to distinguish between that physiognomical deformity, which I am willing to grant always accompanies crime, and mere _physical ugliness_,--which signifies nothing, is the exponent of nothing, and may exist in a good or bad person indifferently.

CRITO.

ON THE AMBIGUITIES ARISING FROM PROPER NAMES

(1811)

Mr. Reflector,--How oddly it happens that the same sound shall suggest to the minds of two persons hearing it ideas the most opposite! I was conversing a few years since with a young friend upon the subject of poetry, and particularly that species of it which is known by the name of the Epithalamium. I ventured to a.s.sert, that the most perfect specimen of it in our language was the Epithalamium of Spenser upon his own marriage.

My young gentleman, who has a smattering of taste, and would not willingly be thought ignorant of any thing remotely connected with the belles lettres, expressed a degree of surprise, mixed with mortification, that he should never have heard of this poem, Spenser being an author with whose writings he thought himself peculiarly conversant.

I offered to show him the poem in the fine folio copy of the poet's works, which I have at home. He seemed pleased with the offer, though the mention of the folio seemed again to puzzle him. But presently after, a.s.suming a grave look, he compa.s.sionately muttered to himself "poor Spencer."

There was something in the tone with which he spoke these words that struck me not a little. It was more like the accent with which a man bemoans some recent calamity that has happened to a friend, than that tone of sober grief with which we lament the sorrows of a person, however excellent, and however grievous his afflictions may have been, who has been dead more than two centuries. I had the curiosity to enquire into the reasons of so uncommon an e.j.a.c.u.l.a.t.i.o.n. My young gentleman, with a more solemn tone of pathos than before, repeated "poor Spencer," and added, "he has lost his wife."

My astonishment at this a.s.sertion rose to such a height, that I began to think the brain of my young friend must be cracked, or some unaccountable reverie had gotten possession of it. But upon further explanation it appeared that the word "Spenser,"--which to you or me, Reader, in a conversation upon poetry too, would naturally have called up the idea of an old poet in a ruff, one Edmund Spenser, that flourished in the days of Queen Elizabeth, and wrote a poem called the _Fairy Queen_, with the _Shepherd's Calender_, and many more verses besides,--did in the mind of my young friend excite a very different and quite modern idea, namely, that of the Honourable William Spencer, one of the living ornaments, if I am not misinformed, of this present poetical era, A.D. 1811.

X. Y. Z.

ON THE GENIUS AND CHARACTER OF HOGARTH; WITH SOME REMARKS ON A Pa.s.sAGE IN THE WRITINGS OF THE LATE MR. BARRY

(1811. TEXT OF 1818)

One of the earliest and n.o.blest enjoyments I had when a boy was in the contemplation of those capital prints by Hogarth, the _Harlot's_ and _Rake's Progresses_, which, along with some others, hung upon the walls of a great hall in an old-fashioned house in ----shire, and seemed the solitary tenants (with myself) of that antiquated and life-deserted apartment.

Recollection of the manner in which those prints used to affect me, has often made me wonder, when I have heard Hogarth described as a mere comic painter, as one whose chief ambition was to _raise a laugh_. To deny that there are throughout the prints which I have mentioned circ.u.mstances introduced of a laughable tendency, would be to run counter to the common notions of mankind; but to suppose that in their _ruling character_ they appeal chiefly to the risible faculty, and not first and foremost to the very heart of man, its best and most serious feelings, would be to mistake no less grossly their aim and purpose. A set of severer Satires (for they are not so much Comedies, which they have been likened to, as they are strong and masculine Satires) less mingled with any thing of mere fun, were never written upon paper, or graven upon copper. They resemble Juvenal, or the satiric touches in Timon of Athens.

I was pleased with the reply of a gentleman, who being asked which book he esteemed most in his library, answered,--"Shakspeare:" being asked which he esteemed next best, replied,--"Hogarth." His graphic representations are indeed books: they have the teeming, fruitful, suggestive meaning of _words_. Other pictures we look at,--his prints we read.

In pursuance of this parallel, I have sometimes entertained myself with comparing the _Timon of Athens_ of Shakspeare (which I have just mentioned) and Hogarth's _Rake's Progress_ together. The story, the moral, in both is nearly the same. The wild course of riot and extravagance, ending in the one with driving the Prodigal from the society of men into the solitude of the deserts, and in the other with conducting the Rake through his several stages of dissipation into the still more complete desolations of the mad-house, in the play and in the picture are described with almost equal force and nature. The levee of the Rake, which forms the subject of the second plate in the series, is almost a transcript of Timon's levee in the opening scene of that play.

We find a dedicating poet, and other similar characters, in both.

The concluding scene in the _Rake's Progress_ is perhaps superior to the last scenes of _Timon_. If we seek for something of kindred excellence in poetry, it must be in the scenes of Lear's beginning madness, where the King and the Fool and the Tom-o'-Bedlam conspire to produce such a medley of mirth checked by misery, and misery rebuked by mirth; where the society of those "strange bed-fellows" which misfortunes have brought Lear acquainted with, so finely sets forth the dest.i.tute state of the monarch, while the lunatic bans of the one, and the disjointed sayings and wild but pregnant allusions of the other, so wonderfully sympathize with that confusion, which they seem to a.s.sist in the production of, in the senses of that "child-changed father."

In the scene in Bedlam, which terminates the _Rake's Progress_, we find the same a.s.sortment of the ludicrous with the terrible. Here is desperate madness, the overturning of originally strong thinking faculties, at which we shudder, as we contemplate the duration and pressure of affliction which it must have asked to destroy such a building;--and here is the gradual hurtless lapse into idiocy, of faculties, which at their best of times never having been strong, we look upon the consummation of their decay with no more of pity than is consistent with a smile. The mad taylor, the poor driveller that has gone out of his wits (and truly he appears to have had no great journey to go to get past their confines) for the love of _Charming Betty Careless_,--these half-laughable, scarce-pitiable objects take off from the horror which the princ.i.p.al figure would of itself raise, at the same time that they a.s.sist the feeling of the scene by contributing to the general notion of its subject:--

Madness, thou chaos of the brain, What art, that pleasure giv'st, and pain?

Tyranny of Fancy's reign!

Mechanic Fancy, that can build Vast labyrinths and mazes wild, With rule disjointed, shapeless measure, Fill'd with horror, fill'd with pleasure!

Shapes of horror, that would even Cast doubts of mercy upon heaven.

Shapes of pleasure, that, but seen, Would split the shaking sides of spleen.[7]