Though a man of luxury, pride and pleasure, he is a master of art and learning, though affecting to despise it. Those who can think that the proud Huntsman and Noble Housekeeper, Chaucer’s Monk, is intended for a buffoon or a burlesque character, know little of Chaucer.
For the Host who follows this group, and holds the center of the cavalcade, is a first rate character, and his jokes are no trifles; they are always, though uttered with audacity, and equally free with the Lord and the Peasant, they are always substantially and weightily expressive of knowledge and experience; Henry Baillie, the keeper of the greatest Inn of the greatest City, for such was the Tabarde Inn in Southwark, near London: our Host was also a leader of the age.
By way of illustration, I instance Shakspeare’s Witches in Macbeth. Those who dress them for the stage, consider them as wretched old women, and not as Shakspeare intended, the Goddesses of Destiny; this shews how Chaucer has been misunderstood in his sublime work. Shakspeare’s Fairies also are the rulers of the vegetable world, and so are Chaucer’s; let them be so considered, and then the poet will be understood, and not else.
But I have omitted to speak of a very prominent character, the Pardoner, the Age’s Knave, who always commands and domineers over the high and low vulgar. This man is sent in every age for a rod and scourge, and for a blight, for a trial of men, to divide the classes of men; he is in the most holy sanctuary, and he is suffered by Providence for wise ends, and has also his great use, and his grand leading destiny.
His companion, the Sompnour, is also a Devil of the first magnitude, grand, terrific, rich and honoured in the rank of which he holds the destiny. The uses to Society are perhaps equal of the Devil and of the Angel, their sublimity, who can dispute.
In daunger had he at his own gise,
The young girls of his diocese,
And he knew well their counsel, &c.
The principal figure in the next groupe is the Good Parson; an Apostle, a real Messenger of Heaven, sent in every age for its light and its warmth. This man is beloved and venerated by all, and neglected by all; He serves all, and is served by none; he is, according to Christ’s definition, the greatest of his age. Yet he is a Poor Parson of a town. Read Chaucer’s description of the Good Parson, and bow the head and the knee to him, who, in every age, sends us such a burning and a shining light. Search, 0 ye rich and powerful, for these men and obey their counsel, then shall the golden age return: But alas! you will not easily distinguish him from the Friar or the Pardoner; they, also, are “full solemn men”, and their counsel you will continue to follow.
I have placed by his side the Sergeant at Lawe, who appears delighted to ride in his company, and between him and his brother, the Plowman; as I wish men, of Law would always ride with them, and take their counsel, especially in all difficult points. Chaucer’s Lawyer is a character of great venerableness, a Judge, and a real master of the jurisprudence of his age.
The Doctor of Physic is in this groupe, and the Franklin, the voluptuous country gentleman, contrasted with the Physician, and on his other hand, with two Citizens of London. Chaucer’s characters live age after age. Every age is a Canterbury Pilgrimage; we all pass on, each sustaining one or other of these characters; nor can a child be born, who is not one of these characters of Chaucer. The Doctor of Physic is described as the first of his profession; perfect, learned, completely Master and Doctor in his art. Thus the reader will observe, that Chaucer makes every one of his characters perfect in his kind; every one is an Antique Statue; the image of a class, and not of an imperfect individual.
This groupe also would furnish substantial matter, on which volumes might be written. The Franklin is one who keeps open table, who is the genius of eating and drinking, the Bacchus; as the Doctor of Physic is the Esculapius, the Host is the Silenus, the Squire is the Apollo, the Miller is the Hercules, &c. Chaucer’s characters are a description of the eternal Principles that exist in all ages. The Franklin is voluptuousness itself, most nobly pourtrayed:It snewed in his house of meat and drink.
The Plowman is simplicity itself, with wisdom and strength for its stamina. Chaucer has divided the ancient character of Hercules between his Miller and his Plowman. Benevolence is the plowman’s great characteristic; he is thin with excessive labour, and not with old age, as some have supposed:He would thresh, and thereto dike and delve
For Christe’s sake, for every poore wight,
Withouten hire, if it lay in his might.
Visions of these eternal principles or characters of human life appear to poets, in all ages; the Grecian gods were the ancient Cherubim of Phoenicia; but the Greeks, and since them the Moderns, have neglected to subdue the gods of Priam. These gods are visions of the eternal attributes, or divine names, which, when erected into gods, become destructive to humanity. They ought to be the servants, and not the masters of man, or of society. They ought to be made to sacrifice to Man, and not man compelled to sacrifice to them; for when separated from man or humanity, who is Jesus the Saviour, the vine of eternity, they are thieves and rebels, they are destroyers.
The Plowman of Chaucer is Hercules in his supreme eternal state, divested of his spectrous shadow; which is the Miller, a terrible fellow, such as exists in all times and places for the trial of men, to astonish every neighbourhood with brutal strength and courage, to get rich and powerful to curb the pride of Man.
The Reeve and the Manciple are two characters of the most consummate worldly wisdom. The Shipman, or Sailor, is a similar genius of Ulyssean art; but with the highest courage superadded.
The Citizens and their Cook are each leaders of a class. Chaucer has been somehow made to number four citizens, which would make his whole company, himself included, thirty-one. But he says there was but nine and twenty in his company:Full nine and twenty in a company.
The Webbe, or Weaver, and the Tapiser, or Tapestry Weaver, appear to me to be the same person; but this is only an opinion, for full nine and twenty may signify one more or less. But I dare say that Chaucer wrote “A Webbe Dyer”, that is, a Cloth Dyer:A Webbe Dyer, and a Tapiser.
The Merchant cannot be one of the Three Citizens, as his dress is different, and his character is more marked, whereas Chaucer says of his rich citizens:All were yclothed in o liverie.
The characters of Women Chaucer has divided into two classes, the Lady Prioress and the Wife of Bath. Are not these leaders of the ages of men? The lady prioress, in some ages, predominates; and in some the wife of Bath, in whose character Chaucer has been equally minute and exact, because she is also a scourge and a blight. I shall say no more of her, nor expose what Chaucer has left hidden; let the young reader study what he has said of her: it is useful as a scare-crow. There are of such characters born too many for the peace of the world.
I come at length to the Clerk of Oxenford. This character varies from that of Chaucer, as the contemplative philosopher varies from the poetical genius. There are always these two classes of learned sages, the poetical and the philosophical. The painter has put them side by side, as if the youthful clerk had put himself under the tuition of the mature poet. Let the Philosopher always be the servant and scholar of inspiration and all will be happy.
Such are the characters that compose this Picture, which was painted in self-defence against the insolent and envious imputation of unfitness for finished and scientific art; and this imputation, most artfully and industriously endeavoured to be propagated among the public by ignorant hirelings. The painter courts comparison with his competitors, who, having received fourteen hundred guineas and more, from the profits of his designs in that well-known work, Designs for Blair’s Grave, have left him to shift for himself, while others, more obedient to an employer’s opinions and directions, are employed, at a great expence, to produce works, in succession to his, by which they acquired public patronage. This has hitherto been his lot—to get patronage for others and then to be left and neglected, and his work, which gained that patronage, cried down as eccentricity and madness; as
unfinished and neglected by the artist’s violent temper; he is sure the works now exhibited will give the lie to such aspersions.
Those who say that men are led by interest are knaves. A knavish character will often say, “of what interest is it to me to do so and so?” I answer, “of none at all, but the contrary, as you well know. It is of malice and envy that you have done this; hence I am aware of you, because I know that you act, not from interest, but from malice, even to your own destruction.” It is therefore become a duty which Mr. B. owes to the Public, who have always recognized him, and patronized him, however hidden by artifices, that he should not suffer such things to be done, or be hindered from the public Exhibition of his finished productions by any calumnies in future.
The character and expression in this picture could never have been produced with Rubens’s light and shadow, or with Rembrandt’s, or anything Venetian or Flemish. The Venetian and Flemish practice is broken lines, broken masses, and broken colours. Mr. B.’s practice is unbroken lines, unbroken masses; and unbroken colours. Their art is to lose form; his art is to find form, and to keep it. His arts are opposite to theirs in all things.
As there is a class of men whose whole delight is the destruction of men, so there is a class of artist, whose whole art and science is fabricated for the purpose of destroying art. Who these are is soon known: “by their works ye shall know them.” All who endeavour to raise up a style against Rafael, Mich. Angelo, and the Antique; those who separate Painting from Drawing; who look if a picture is well Drawn, and, if it is, immediately cry out that it cannot be well Coloured,—those are the men.
But to shew the stupidity of this class of men nothing need be done but to examine my rival’s prospectus.
The two first characters in Chaucer, the Knight and the Squire, he has put among his rabble; and indeed his prospectus calls the Squire the fop of Chaucer’s age. Now hear Chaucer:Of his Stature, he was of even length,
And wonderly deliver, and of great strength;
And he had be sometime in Chivauchy,
In Flanders, in Artois, and in Picardy,
And borne him well, as of so litele space.
Was this a fop?
Well could he sit a horse, and faire ride,
He could songs make, and eke well indite
Just, and eke dance, pourtray, and well write.
Was this a fop?
Curteis he was, and meek, and serviceable;
And kerft before his fader at the table.
Was this a fop?
It is the same with all his characters; he has done all by chance, or perhaps his fortune,—money, money. According to his prospectus he has Three Monks; these he cannot find in Chaucer, who has only One Monk, and that no vulgar character, as he has endeavoured to make him. When men cannot read they should not pretend to paint. To be sure Chaucer is a little difficult to him who has only blundered over novels, and catchpenny trifles of booksellers. Yet a little pains ought to be taken even by the ignorant and weak. He has put The Reeve, a vulgar fellow, between his Knight and Squire, as if he was resolved to go contrary in every thing to Chaucer, who says of the Reeve:And ever he rode hinderest of the rout.
In this manner he has jumbled his dumb dollies together and is praised by his equals for it; for both himself and his friend are equally masters of Chaucer’s language. They both think that the Wife of Bath is a young, beautiful, blooming damsel, and H—says, that she is the Fair Wife of Bath, and that the Spring appears in her Cheeks. Now hear what Chaucer has made her say of herself, who is no modest one:But Lord when it remembereth me
Upon my youth and on my jollity
It tickleth me about the heart root,
Unto this day it doth my heart boot,
That I have had my world as in my time;
But age, alas, that all will envenime
Hath me bireft my beauty and my pith
Let go; farewell: the Devil go therewith,
The flower is gone; there is no more to tell.
The bran, as best I can, I now mote sell;
And yet to be right merry will I fond,—
Now forth to tell of my fourth husband.
She has had four husbands, a fit subject for this painter; yet the painter ought to be very much offended with his friend H—, who has called his “a common scene”, and “very ordinary forms”, which is the truest part of all, for it is so, and very wretchedly so indeed. What merit can there be in a picture of which such words are spoken with truth?
But the prospectus says that the Painter has represented Chaucer himself as a knave, who thrusts himself among honest people, to make game of and laugh at them; though I must do justice to the painter, and say that he has made him look more like a fool than a knave. But it appears in all the writings of Chaucer, and particularly in his Canterbury Tales, that he was very devout, and paid respect to true enthusiastic superstition. He has laughed at his knaves and fools, as I do now. But he has respected his True Pilgrims, who are a majority of his company, and are not thrown together in the random manner that Mr. S—has done. Chaucer has no where called the Plowman old, worn out with age and labour, as the prospectus has represented him, and says that the picture has done so too. He is worn down with labour, but not with age. How spots of brown and yellow, smeared about at random, can be either young or old, I cannot see. It may be an old man; it may be a young one; it may be any thing that a prospectus pleases. But I know that where there are no lineaments there can be no character. And what connoisseurs call touch, I know by experience, must be the destruction of all character and expression, as it is of every lineament.
The scene of Mr. S—’s Picture is by Dulwich Hills, which was not the way to Canterbury; but perhaps the painter thought he would give them a ride round about, because they were a burlesque set of scare-crows, not worth any man’s respect or care.
But the painter’s thoughts being always upon gold, he has introduced a character that Chaucer has not; namely, a Goldsmith; for so the prospectus tells us. Why he introduced a Goldsmith, and what is the wit of it, the prospectus does not explain. But it takes care to mention the reserve and modesty of the Painter; this makes a good epigram enough:The fox, the owl, the spider, and the mole, By sweet reserve and modesty get fat.
But the prospectus tells us, that the painter has introduced a Sea Captain; Chaucer has a Ship-man, a Sailor, a Trading Master of a Vessel, called by courtesy Captain, as every master of a boat is; but this does not make him a sea Captain. Chaucer has purposely omitted such a personage, as it only exists in certain periods: it is the soldier by sea. He who would be a Soldier in inland nations is a sea captain in commercial nations.
All is misconceived, and its mis-execution is equal to its mis-conception. I have no objection to Rubens and Rembrandt being employed, or even to their living in a palace; but it shall not be at the expence of Rafael and Michael Angelo living in a cottage, and in contempt and derision. I have been scorned long enough by these fellows, who owe me, all that they have; it shall be so no longer.
I found them blind, I taught them how to see;
And, now, they know me not, nor yet themselves.
NUMBER IV.
The Bard, from Gray.
On a rock, whose haughty brow
Frown’d o’er old Conway’s foaming flood,
Robed in the sable garb of woe,
With haggard eyes the Poet stood;
Loose his beard, and hoary hair
Stream’d like a meteor to the troubled air.
Weave the warp, and weave the woof,
The winding sheet of Edward’s race.
Weaving the winding sheet of Edward’s race by means of sounds of spiritual music and its accompanying expressions of articulate speech is a bold, and daring, and most masterly conception, that the public have embraced and approved with avidity. Poetry consists in these conceptions; and shall Painting be confined to the sordid drudgery of fac-simile representations of merely mortal and perishing substances, and not be as
poetry and music are, elevated into its own proper sphere of invention and visionary conception? No, it shall not be so! Painting, as well as poetry and music, exists and exults in immortal thoughts. If Mr. B.’s Canterbury Pilgrims had been done by any other power than that of the poetic visionary, it would have been just as dull as his adversary’s.
The Spirits of the murdered bards assist in weaving the deadly woof:
With me in dreadful harmony they join
And weave, with bloody hands, the tissue of thy line.
The connoisseurs and artists who have made objections to Mr. B.’s mode of representing spirits with real bodies, would do well to consider that the Venus, the Minerva, the Jupiter, the Apollo, which they admire in Greek statues are all of them representations of spiritual existences, of Gods immortal, to the mortal perishing organ of sight; and yet they are embodied and organized in solid marble. Mr. B. requires the same latitude, and all is well. The Prophets describe what they saw in Vision as real and existing men, whom they saw with their imaginative and immortal organs; the Apostles the same; the clearer the organ the more distinct the object. A Spirit and a Vision are not, as the modem philosophy supposes, a cloudy vapour, or a nothing: they are organized and minutely articulated beyond all that the mortal and perishing nature can produce. He who does not imagine in stronger and better lineaments, and in stronger and better light than his perishing and mortal eye can see, does not imagine at all. The painter of this work asserts that all his imaginations appear to him infinitely more perfect and more minutely organized than any thing seen by his mortal eye. Spirits are organized men. Modems wish to draw figures without lines, and with great and heavy shadows; are not shadows more unmeaning than lines, and more heavy? O who can doubt this!
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