Kitabı oku: «Blackwood's Edinburgh Magazine, Volume 61, No. 380, June, 1847», sayfa 10

The best picture of the massacre of St Bartholomew we have read in a book of fiction, is given by M. Mérimée, in small compass and without unnecessary horrors. Less than an hour before its commencement, the Countess informs her lover of the fate reserved for him and all of his faith. She urges and implores him to abjure his heresy; he steadfastly refuses—and she, her love redoubled by his courageous constancy, conceals him from the assassins. In the disguise of a monk, he escapes from Paris, and makes his way to La Rochelle, the last stronghold of the persecuted Protestants. On the road, he falls in with another refugee, the lanzknecht Captain Dietrich Hornstein, similarly disguised and bound to the same place. There is an excellent scene at a country inn, where four ruffians, their hands reeking with Protestant blood, compel the false Franciscans to baptise a pair of pullets by the names of carp and perch, that they may not sin by eating fowl on Friday. Mergy at last loses patience, and breaks a bottle over one of their heads; and a fight ensues, in which the bandits are worsted. The two Huguenots reach La Rochelle, which is soon afterwards besieged by the king's troops. In a sortie, Bernard forms an ambuscade, into which his brother unfortunately falls, and receives a mortal wound. Taken into La Rochelle, he is laid upon a bed to die; and, refusing the spiritual assistance of Catholic priest and Protestant minister, he accelerates his death by a draught from Hornstein's wine flask, and strives to comfort Bernard, who is frantic with remorse.

"He again closed his eyes, but soon re-opened them and said to Mergy: 'Madame de Turgis bade me assure you of her love.' He smiled gently. These were his last words. In a quarter of an hour he died, without appearing to suffer much. A few minutes later Béville expired in the arms of the monk, who afterwards declared that he had distinctly heard in the air the cries of joy of the angels who received the soul of the penitent, whilst subterraneous demons responded with a yell of triumph as they bore away the spiritual part of Captain George."

"It is to be seen in any history of France, how La Noue left La Rochelle, disgusted with civil wars and tormented by his conscience, which reproached him for bearing arms against his king; how the Catholic army was compelled to raise the siege, and how the fourth peace was made, soon followed by the death of Charles IX.

"Did Mergy console himself? Did Diana take another lover? I leave it to the decision of the reader, who thus will end the romance to his own liking."

By his countrymen, M. Mérimée's short tales are the most esteemed of his writings. He produces them at intervals much too long to please the editor and readers of the periodical in which they have for some time appeared,—the able and excellent Revue des Deux Mondes. Once in eighteen months, or two years, he throws a few pages to the public, which, like a starved hound to whom a scanty meal is tossed, snaps eagerly at the gift whilst growling at the niggardliness of the giver: and the publisher of the Revue knows that he may safely print an extra thousand copies of a number containing a novel by Prosper Mérimée. Now and then, M. Mérimée comes out with a criticism of a foreign book. His last was a review of "Grote's Greece," and he has also written a paper on "Borrow's Spanish Rambles." A man of great erudition and extensive travel, he is thoroughly master of many languages, and, in writing about foreign countries and people, steers clear of the absurd blunders into which some of his contemporaries, of respectable talents and attainments, not unfrequently fall. His English officer and lady in Colomba are excellent; very different from the absurd caricatures of Englishmen one is accustomed to see in French novels. He is equally truthful in his Spanish characters. A great lover of things Spanish, he has frequently visited, and still visits, the Peninsula. In 1831 he published, in the Revue de Paris, three charming letters from Madrid. The action of most of his tales passes in Spain or Corsica, or the South of France, although he now and then dashes at Parisian society. With this he has unquestionably had ample opportunity to become acquainted, for he is a welcome guest in the best circles of the French capital. Still we must hope there is some flaw in the glasses through which he has observed the gay world of Paris. The "Vase Etrusque" is one of his sketches of modern French life, in the style of the "Double Méprise," but better. It is a most amusing and spirited tale, but unnecessarily immoral. Had the heroine been virtuous, the interest of the story would in no way have suffered, so far as we can see; and that which attaches to her, as a charming and unhappy woman, would have been augmented. This opinion, however, would be scoffed at on the other side of the Channel, and set down as a piece of English prudery. And perhaps, instead of grumbling at M. Mérimée for making the Countess Mathilde the mistress of Saint Clair—which nothing compelled him to do—we ought thankfully to acknowledge his moderation in contenting himself with a quiet intrigue between unmarried persons, instead of favouring us with a flagrant case of adultery, as in the "Double Méprise," or initiating us into the very profane mysteries of operatic figurantes, as in "Arsène Guillot." Even in France, where he is so greatly and justly admired, this last tale was severely censured, as bringing before the public eye phases of society that ill bear the light. Fidelity to life in his scenes and characters is a high quality in an author, and one possessed in a high degree by M. Mérimée; but he has been sometimes too bold and cynical in the choice and treatment of his subjects. "La Partie de Tric-trac," and "L'Enlèvement de la Redoute," are amongst his happiest efforts. Both are especially remarkable for their terse and vigorous style. We have been prodigal of extracts from "Charles IX."—for it is a great favourite of ours—and, although well known and much esteemed by all habitual readers of French novels, it is hitherto, we believe, untranslated into English. But we shall still make room for—

THE STORMING OF THE REDOUBT

"I rejoined the regiment on the evening of the 4th September. I found the colonel at the bivouac. At first he received me rather roughly; but after reading General B's. letter of recommendation, he changed his manner, and spoke a few obliging words. He presented me to my captain, who had just returned from a reconnoissance. This captain, whom I had little opportunity to become acquainted with, was a tall dark man, of hard and repulsive physiognomy. He had been a private soldier, and had won his cross and his epaulets on the battle-field. His voice, hoarse and weak, contrasted strangely with his gigantic stature. They told me he was indebted for this singular voice to a bullet that had passed completely through his body at Jena.

"On hearing that I came from the school at Fontainbleau, he made a wry face, and said, 'My lieutenant died yesterday.'—I understood that he meant to say, 'You are to replace him, and you are not able.' A sharp word rose to my lips, but I repressed it.

"The moon rose behind the redoubt of Cheverino, situate at twice cannon-shot from our bivouac. She was large and red, as is common at her rising; but that night she seemed to me of extraordinary size. For an instant the black outline of the redoubt stood out against the moon's brilliant disc, resembling the cone of a volcano at the moment of an eruption.

"An old soldier who stood near me, noticed the colour of the moon. 'She is very red,' he said; ''tis a sign that yon famous redoubt will cost us dear.' I was always superstitious, and this augury, just at that moment, affected me. I lay down, but could not sleep; I got up and walked for some time, gazing at the immense line of fires covering the heights beyond the village of Cheverino.

"When I deemed my blood sufficient cooled by the fresh night air, I returned to the fire, wrapped myself carefully in my cloak, and shut my eyes, hoping not to re-open them till daylight. But sleep shunned me. Insensibly my thoughts took a gloomy turn. I said to myself, that I had not one friend amongst the hundred thousand men covering that plain. If I were wounded, I should be in an hospital, carelessly treated by ignorant surgeons. All that I had heard of surgical operations returned to my memory. My heart beat violently; and mechanically I arranged, as a species of cuirass, the handkerchief and portfolio that I carried in the breast of my uniform. I was overwhelmed by fatigue, and continually fell into a doze, but as often as I did so, some sinister idea awoke me with a start. Fatigue, however, at last got the upper hand, and I was fast asleep when the reveillé sounded. We formed up, the roll was called, then arms were piled, and according to all appearance the day was to pass quietly.

"Towards three o'clock an aid-de-camp arrived with an order. We resumed our arms; our skirmishers spread themselves over the plain; we followed slowly; and in twenty minutes we saw the Russian pickets withdraw to the redoubt. A battery of artillery took post on our right hand, another on our left, but both considerably in advance. They opened a vigorous fire upon the enemy, who replied with energy, and soon the redoubt of Cheverino disappeared behind a cloud of smoke.

"Our regiment was almost protected from the Russian fire by a ridge. Their bullets, which seldom came in our direction—for they preferred aiming them at the artillery—passed over our heads, or at most sent earth and pebbles in our faces.

"When we had received the order to advance, my captain looked at me with an attention which made me pass my hand two or three times over my young mustache, in the most cavalier manner I could assume. I felt no fear, save that of being thought to feel it. These harmless cannon-balls contributed to maintain me in my heroic calmness. My vanity told me that I ran a real danger, since I was under fire of a battery. I was enchanted to feel myself so much at my ease, and I thought with what pleasure I should narrate the capture of the redoubt of Cheverino in the drawing-room of Madame de B–, Rue de Provence.

"The colonel passed along the front of our company and spoke to me. 'Well!' he said, 'you will see sharp work for your first affair.'

"I smiled most martially, and brushed my coat-sleeve, on which a ball, fallen about thirty paces from me, had sent a little dust.

"It seems the Russians perceived how small was the effect of their round shot, for they replaced them by shells, which could reach us better in the hollow where we were posted. A tolerably large fragment of one of these knocked off my shako and killed a mail beside me.

"'I congratulate you,' said the captain, as I picked up my shako. 'You are safe for to-day.' I knew the military superstition which holds the maxim Non bis in idem to be as applicable on a battle-field as in a court of justice. I proudly replaced my shako on my head. 'An unceremonious way of making people bow,' said I, as gaily as I could. Under the circumstances, this poor joke appeared excellent. 'I congratulate you,' repeated the captain; 'you will not be hit again, and to-night you will command a company, for I feel that my turn is coming. Every time I have been wounded, the officer near me has received a spent ball, and,' he added in a low voice, and almost ashamed, 'all their names began with a P.'

"I affected to laugh at such superstitions. Many would have done as I did—many would have been struck, as I was, by these prophetic words. As a raw recruit I understood that I must keep my feelings to myself, and always appear coldly intrepid.

"After half an hour the Russian fire sensibly slackened; then we emerged from our cover to march against the redoubt. Our regiment was composed of three battalions. The second was charged to take the redoubt in flank on the side of the gorge; the two others were to deliver the assault. I was in the third battalion.

"On appearing from behind the sort of ridge that had protected us, we were received by several volleys of musketry, which did little harm in our ranks. The whistling of the bullets surprised me: I turned my head several times, thus incurring the jokes of my comrades, to whom the noise was more familiar. 'All things considered,' said I to myself, 'a battle is not such a terrible thing.'

"We advanced at storming pace, preceded by skirmishers. Suddenly the Russians gave three hurras, very distinct ones, and then remained silent, and without firing. 'I don't like that silence,' said my captain. 'It bodes us little good.' I thought our soldiers rather too noisy, and I could not help internally comparing the tumultuous clamour with the imposing stillness of the enemy.

"We rapidly attained the foot of the redoubt: the palisades had been broken, and the earth ploughed by our cannonade. With shouts of 'Vive l'Empereur!' louder than might have been expected from fellows who had already shouted so much, our soldiers dashed over the ruins.

"I looked up, and never shall I forget the spectacle I beheld. The great mass of smoke had arisen, and hung suspended like a canopy twenty feet above the redoubt. Through a gray mist were seen the Russian grenadiers, erect behind their half-demolished parapet, with levelled arms, and motionless as statues. I think I still see each individual soldier, his left eye riveted on us, the right one hidden by his musket. In an embrasure, a few feet from us, stood a man with a lighted fuse in his hand.

"I shuddered, and thought my last hour was come. 'The dance is going to begin,' cried my captain. Good-night.' They were the last words I heard him utter.

"The roll of drums resounded in the redoubt. I saw the musket muzzles sink. I shut my eyes, and heard a frightful noise, followed by cries and groans. I opened my eyes surprised to find myself still alive. The redoubt was again enveloped in smoke. Dead and wounded men lay all around me. My captain was stretched at my feet; his head had been smashed by a cannon-ball, and I was covered with his blood and brains. Of the whole company, only six men and myself were on their legs.

"A moment of stupefaction followed this carnage. Then the colonel, putting his hat on the point of his sword, ascended the parapet, crying 'Vive l'Empereur!' He was instantly followed by all the survivors. I have no clear recollection of what then occurred. We entered the redoubt, I know not how. They fought hand to hand in the middle of a smoke so dense that they could not see each other. I believe I fought too, for my sabre was all bloody. At last I heard a shout of victory, and, the smoke diminishing, I saw the redoubt completely covered with blood and dead bodies. About two hundred men in French uniform stood in a group, without military order, some loading their muskets, others wiping their bayonets. Eleven Russian prisoners were with them.

"Our colonel lay bleeding on a broken tumbril. Several soldiers were attending to him, as I drew near—'Where is the senior captain?' said he to a sergeant. The sergeant shrugged his shoulders in a most expressive manlier. 'And the senior lieutenant?' 'Here is Monsieur, who joined yesterday,' replied the sergeant, in a perfectly calm tone. The colonel smiled bitterly. 'You command in chief, sir,' he said to me; 'make haste to fortify the gorge of the redoubt with those carts, for the enemy is in force; but General C. will send you a support.'—'Colonel,' said I, 'you are badly wounded.'—'Foutre, mon cher, but the redoubt is taken.'"

"Carmen," M. Mérimée's latest production, appeared a few months since in the Revue des Deux Mondes, which appears to have got the monopoly of his pen, as it has of many of the cleverest pens in France. "Carmen" is a graceful and animated sketch, in style as brilliant as anything by the same author—in the character of its incidents less strikingly original than some of his other tales. It is a story of Spanish life, not in cities and palaces, in court or camp, but in the barranca and the forest, the gipsy suburb of Seville, the woodland bivouac and smuggler's lair. Carmen is a gipsy, a sort of Spanish Esmeralda, but without the good qualities of Hugo's charming creation. She has no Djali; she is fickle and mercenary, the companion of robbers, the instigator of murder. She inveigles a young soldier from his duty, leads him into crime, deceives and betrays him, and finally meets her death at his hand. M. Mérimée has been much in Spain, and—unlike some of his countrymen, who apparently go thither with the sole view of spying out the nakedness of the land and making odious comparisons, and who, in their excess of patriotic egotism, prefer Versailles to the Alhambra, and the Bal Mabille to a village fandango—he has a vivid perception of the picturesque and characteristic, of the couleur locale, to use the French term, whether in men or manners, scenery or costume, and he embodies his impressions in pointed and sparkling phrase. As an antiquarian and linguist, he unites qualities precious for the due appreciation of Spain. Well-versed in the Castilian, he also displays a familiarity with the Cantabrian tongue—that strange and difficult Vascuense which the Evil One himself, according to a provincial proverb, spent seven years of fruitless labour in endeavouring to acquire. And he patters Romani, the mysterious jargon of the gitanos, in a style no way inferior—so far as we can discover—to Bible Borrow himself. That gentleman, by the bye, when next he goes a missionarying, would find M. Mérimée an invaluable auxiliary, and the joint narrative of their adventures would doubtless be in the highest degree curious. The grave earnestness of the Briton would contrast curiously with the lively half-scoffing tone of the witty and learned Frenchman. Indeed, there would be danger of persons of such opposite character falling out upon the road, and fighting a mortal duel, with the king of the gipsies for bottle-holder. The proverbial jealousy between persons of the same trade might prove another motive of strife. Both are dealers in the romantic. And "Carmen," related as the personal experience of the author during an archæological tour in Andalusia the autumn of 1830, is as graphic and fascinating as any chapters of the great tract-monger's remarkable wanderings.

HOW TO BUILD A HOUSE AND LIVE IN IT

NO. III

Having disposed of two grand categories of mistakes and absurdities in house-building, viz., lightness of structure and badness of material, we shall now address ourselves more particularly to the defects of Arrangement and Form, or, as an architect might term it, to the discussion of Plan and Elevation. The former task was ungrateful enough; for therein we had to attack the cupidity and meanness, and the desire for show and spurious display, which is the besetting sin of every Englishman who pays poor-rates; but, the present undertaking is hardly less hopeless, for we have to appeal to the intelligence, not only of architects and builders, but also of those who commission them.

Now, there is nothing drier and more unprofitable under the sun, nothing more nearly approaching to a state of addle, than a builder's brains. Your regular builders (and, indeed, not a few of your architects) are the sorriest animals twaddling about on two legs; mere vivified bags of sawdust, or lumps of lath and plaster, galvanised for a while, and forming themselves into strange, uncouth, unreasonable shapes. A mere "builder" has not two ideas in his head; he has only one; he can draw only one "specification," as he calls it, under different forms; he can make only one plan; he has one set of cornices always in his eye; one peculiar style of panel; one special cut of a chimney. You may trace him all through a town, or across a county, if his fame extends so far; a dull repetition of the same notion characterises all his works. He served his apprenticeship to old Plumbline, in Brick Lane; got up the Carpenter's Vade-Mecum by heart; had a little smattering of drawing from Daub the painter, and then set up in business for himself. As for Mr Triangle the architect, who built the grand town-hall here, the other-day, in the newest style of Egyptian architecture, and copied two mummies for door-posts, and who is now putting up the pretty little Gothic church for the Diocesan Church-and-Chapel-Building and Pew-Extension Society, with an east window from York, and a spire from Salisbury, and a west front from Lincoln—why, he is the veriest stick of a designer that ever applied a T-square to a stretching-board. He has studied Wilkins's Vitruvius, it is true, and he has looked all through Hunt's Tudor Architecture, but his imagination is as poor as when he began them; he has never in his life seen one of the good buildings he is pirating from, barring St Paul's and Westminster Abbey; he knows nothing finer than Regent Street and Pall-Mall, and yet he pretends to be a modern Palladio. It will not do, all this sham and parade of knowledge; we want a new generation, both of architects and builders, before we shall see any thing good arising in the way of houses—but as this new progeny is not likely to spring up within a few days, nor even years, we may as well buckle to the task of criticism at once, and find out faults, which we shall leave others to mend.

And, to lay the foundation of criticism in such matters once more and for ever, let us again assert that good common-sense, and a plain straight-forward perception of what is really useful, and suited to the wants of climate and locality, are worth all the other parts of any architect's education. These are the great qualities, without which he will take up his rulers and pencils in vain; without them, his ambitious façades and intricate plans will all come to nothing, except dust and rubbish. He may draw and colour like Barry himself; but unless he has some spark of the genius that animated old Inigo and Sir Christopher, some little inkling of William of Wickham's spirit within him, some sound knowledge of the fitness and the requirements of things, he had better throw down his instruments, and give it up as a bad job; he'll only "damn himself to lasting shame."

A moderate degree of science, an ordinarily correct eye, so as to tell which is straightest, the letter I or the letter S, and a good share of plain common-sense—these are the real qualifications of all architects, builders, and constructors whatsoever.

One other erroneous idea requires to be upset; the notion that our modern houses, merely because they are recent, are better built and more convenient than ancient ones. If there be one thing more certain than another in the matter, it is this, that a gentleman's house built in 1700, is far handsomer, stronger, and more convenient, than one built in 1800; and not only so, but if it had had fair play given it, would still outlive the newer one, and give it fifty years to boot;—and also that another house built in 1600, is stronger than the one raised in 1700, and has still an equal chance of survivorship; but that any veteran mansion which once witnessed the year 1500, is worth all the other three put together—not only for design and durability, but also for comfort and real elegance. Pick out a bit of walling or roofing some four or five centuries old, and it would take a modern erection of five times the same solidity to stand the same test of ages.

Let it not be supposed that our ancestors dwelt in rooms smaller, or darker, or smokier, than those we now cram ourselves into. Nothing at all of the kind; they knew what ease was, better than we do. They had glorious bay-windows, and warm chimney-corners, and well-hung buttery hatches, and good solid old oak tables, and ponderous chairs: had their windows and doors been only a little more air-tight, their comforts could not have been increased.

First of all, then, with regard to the plans best suited for the country residences of the nobility and gentry of England—of that high-minded and highly gifted aristocracy, which is the peculiar ornament of this island,—of that solid honest squirearchy, which shall be the sheet-anchor of the nation, after all our commercial gents, with their ephemeral prosperity, shall have disappeared from the surface of the land, and have been forgotten,—the plan of a house best suited for the "Fine old English Gentleman;" and we really do not care to waste our time in considering the convenience and the taste of any that do not rank with this class of men. It is absurd for any of the worthy members of that truly noble and generous class of men, to try to erect reminiscences of Italy, or any other southern clime, amid their own "tall ancestral groves" at home, here in old England. They have every right in the world to inhabit the palaces of Italy, which many a needy owner is glad to find them tenanting; they cannot but admire the noble proportions, the solid construction, the magnificent decorations, which meet their eyes on every side, whether at Genoa, at Verona, at Venice, at Florence, or at Rome. But it by no means follows, that what looks so beautiful, and is so truly elegant and suitable on the Lake of Como, will preserve the same qualities when erected on the banks of Windermere; those lovely villas that overlook the Val d'Arno, and where one could be content to spend the rest of one's days, with Petrarch and Boccacio, and Dante, and Michael Angelo, and Raffaelle, will not bear transplanting either to Richmond or Malvern. The climate and the sky and the earth of Tuscany and Piedmont, are not those of Gloucestershire and Warwickshire; what may be very harmonious in form and colour when contrasted with the objects of that country which produced it, may have the most disagreeable effect, and be excessively inconvenient, in another region with which it has no relation. Not that the proportions of style and the execution of detail may not be reproduced in England, if sufficient taste and money be applied,—but that all surrounding things are out of harmony with the very idea and existence of the building. The vegetable world is different: the external and internal qualities of the soil jar with the presence of the foreign-looking mansion. An English garden is not, nor can be, an Italian one; an English terrace can never be made to look like an Italian one; those very effects of light and shade on which the architect counted when he made his plans and elevations, are not to be attained under an English sky. The house, however closely it may be taken from the last Palazzo its noble owner lived in, will only be a poor-looking copy after all; and he will wonder, as he paces through its corridors and halls, or views it from every point of the compass on the outside, what can be the cause of such a failure of his hopes? He hoped for and expected an impossibility; he thought to raise up a little Italy in the midst of his Saxon park. Could the experiment end in any thing else than a failure?

Every climate and every country has its own peculiarities, which the inhabitants are found to consult, and which all architects will do well to observe closely before they lay down their plans. The general arrangement, the plan of a house, will depend upon this class of external circumstances more than on any other; while the architectural effect and design of the elevation will have an intimate relation to the physical appearance of the region, to the ideas, the pursuits, and the history of its people.

Thus it was with the ancient Greeks and Romans, as we find their domestic life revealed to us at Pompeii. In that delicious climate of Campania, where the sun shines with a whitening and ever unclouded splendour, and where winter's frosts may be said to be unknown, the great thing wanted was shady coolness, privacy, and the absence of all that might fatigue. Hence, in the arrangement of the Pompeian villas, windows were comparatively unknown: the rooms were lighted from above; the aperture for the light was open to the sky; whatever air could be procured was precious. Colonnades and dark passages were first-rate appendages of a fashionable man's habitation. His sleeping apartment was a dark recess impervious to the sun's rays, lighted only by the artificial glare of lamps, placed on those elegant candelabra, which must be admired as models of fitness and beauty as long as imitative art shall exist. He had not a staircase in all his house, or he would not have if he could help it. The fatigue of lifting the foot in that hot climate was a point of importance, and he carefully avoided it. The house was a regular frigidarium. It answered the end proposed. It was commodious, it was elegant—and it was therefore highly suitable to the people and the place. But it does not therefore follow that it ought to be imitated in a northern clime, nor indeed in any latitude, we would rather say in any country, except Italy itself. Few parts of France and Germany would admit of such erections—some portions of Spain and Greece might. In Greece, indeed, the houses are much after the same plan, but in Spain only portions of the south-eastern coast would allow of such a style of building being considered at all habitable.

Place, then, a Pompeian villa at Highgate or Hampstead—build up an Atrium with an Impluvium, add to it a Caldarium if you please, and a Viridarium, too,—and omne quod exit in um: but you will not thereby produce a good dwelling-house; far from it, you will have a show-box fit for Cockneys to come and gape at: but nothing else.

Now, if we would only follow the same rule of common sense that the Greek or Roman architect did on the shores of the Parthenopœan Gulf, we should arrive at results, different indeed, but equally congruous to our wants, equally correct and harmonious in idea. What is it that we want in this foggy, damp, and cloudy climate of ours, nine days out of every ten? Do we want to have a spacious colonnade and a portico to keep off every ray of a sun only too genial, only too scorching? Is the heavens so bright with his radiance that we should endeavour to escape from his beams? Are we living in an atmosphere of such high temperature that if we could now and then take off our own skins for a few minutes, we should be only too glad to do so? As far as our own individual sensations are concerned, we would that things were so; but we know from unpleasant experience that they are far otherwise.