That opinion no man can ask his honor to alter; but (the beer being the question), why make unpleasant allusions to the Gazette, and hint at the probable bankruptcy of the brewer? Why twit me with my poverty; and what can the Times' critic know about the vacuity of my exchequer? Did he ever lend me any money? Does he not himself write for money? (and who would grudge it to such a polite and generous and learned author?) If he finds no disgrace in being paid, why should I? If he has ever been poor, why should he joke at my empty exchequer? Of course such a genius is paid for his work: with such neat logic, such a pure style, such a charming poetical turn of phrase, of course a critic gets money. Why, a man who can say of a Christmas book that "it is an opuscule denominated so-and-so, and ostensibly intended to swell the tide of expansive emotion incident upon the exodus of the old year," must evidently have had immense sums and care expended on his early education, and deserves a splendid return. You can't go into the market, and get scholarship like THAT, without paying for it: even the flogging that such a writer must have had in early youth (if he was at a public school where the rods were paid for), must have cost his parents a good sum. Where would you find any but an accomplished classical scholar to compare the books of the present (or indeed any other) writer to "sardonic divings after the pearl of truth, whose lustre is eclipsed in the display of the diseased oyster;"mere Billingsgate doesn't turn out oysters like these; they are of the Lucrine lake:--this satirist has pickled his rods in Latin brine. Fancy, not merely a diver, but a sardonic diver: and the expression of his confounded countenance on discovering not only a pearl, but an eclipsed pearl, which was in a diseased oyster! Isay it is only by an uncommon and happy combination of taste, genius, and industry, that a man can arrive at uttering such sentiments in such fine language,--that such a man ought to be well paid, as I have no doubt he is, and that he is worthily employed to write literary articles, in large type, in the leading journal of Europe. Don't we want men of eminence and polite learning to sit on the literary bench, and to direct the public opinion?
But when this profound scholar compares me to a scavenger who leaves a copy of verses at his door and begs for a Christmas-box, Imust again cry out and say, "My dear sir, it is true your simile is offensive, but can you make it out? Are you not hasty in your figures and illusions?" If I might give a hint to so consummate a rhetorician, you should be more careful in ****** your figures figures, and your similes like: for instance, when you talk of a book "swelling the tide of exhilaration incident to the inauguration of the new year," or of a book "bearing the stamp of its origin in vacuity," &c.,--or of a man diving sardonically; or of a pearl eclipsed in the display of a diseased oyster--there are some people who will not apprehend your meaning: some will doubt whether you had a meaning: some even will question your great powers, and say, "Is this man to be a critic in a newspaper, which knows what English, and Latin too, and what sense and scholarship, are?" I don't quarrel with you--I take for granted your wit and learning, your modesty and benevolence--but why scavenger--Jupiter Jeames--why scavenger? A gentleman, whose biography the Examiner was fond of quoting before it took its present serious and orthodox turn, was pursued by an outraged wife to the very last stage of his existence with an appeal almost as pathetic--Ah, sir, why scavenger?
How can I be like a dustman that rings for a Christmas-box at your hall-door? I never was there in my life. I never left at your door a copy of verses provocative of an annual gratuity, as your noble honor styles it. Who are you? If you are the man I take you to be, it must have been you who asked the publisher for my book, and not I who sent it in, and begged a gratuity of your worship.
You abused me out of the Times' window; but if ever your noble honor sent me a gratuity out of your own door, may I never drive another dust-cart. "Provocative of a gratuity!" O splendid swell!
How much was it your worship sent out to me by the footman? Every farthing you have paid I will restore to your lordship, and I swear I shall not be a halfpenny the poorer.
As before, and on similar seasons and occasions, I have compared myself to a person following a not dissimilar calling: let me suppose now, for a minute, that I am a writer of a Christmas farce, who sits in the pit, and sees the performance of his own piece.
There comes applause, hissing, yawning, laughter, as may be: but the loudest critic of all is our friend the cheap buck, who sits yonder and makes his remarks, so that all the audience may hear.
"THIS a farce!" says Beau Tibbs: "demmy! it's the work of a poor devil who writes for money,--confound his vulgarity! This a farce!
Why isn't it a tragedy, or a comedy, or an epic poem, stap my vitals? This a farce indeed! It's a feller as sends round his 'at, and appeals to charity. Let's 'ave our money back again, I say."And he swaggers off;--and you find the fellow came with an author's order.
But if, in spite of Tibbs, our "kyind friends," &c. &c. &c.--if the little farce, which was meant to amuse Christmas (or what my classical friend calls Exodus), is asked for, even up to Twelfth Night,--shall the publisher stop because Tibbs is dissatisfied?
Whenever that capitalist calls to get his money back, he may see the letter from the respected publisher, informing the author that all the copies are sold, and that there are demands for a new edition. Up with the curtain, then! Vivat Regina! and no money returned, except the Times "gratuity!"M. A. TITMARSH.
January 5, 1851.
THE KICKLEBURYS ON THE RHINE.
