Chapter 44
CHAPTER XLIV. IN WHICH THE LAST THREE WORDS OF THE LAST CHAPTER ARE MADE THE TEXT OF DISCOURSE, WHICH WILL BE SURE OF RECEIVING MORE OR LESS ATTENTION FROM THOSE READERS WHO DO NOT SKIP IT
"QUITE AN ORIGINAL: " Note: [44.1] A phrase, we fancy, rather oftener used by the young, or the unlearned, or the untraveled, than by the old, or the well-read, or the man who has made the grand tour. Certainly, the sense of originality exists at its highest in an infant, and probably at its lowest in him who has completed the circle of the sciences.
As for original characters in fiction, a grateful reader will, on meeting with one, keep the anniversary of that day. True, we sometimes hear of an author who, at one creation, produces some two or three score such characters; it may be possible. But they can hardly be original in the sense that Hamlet is, or Don Quixote, or Milton's Satan. That is to say, they are not, in a thorough sense, original at all. They are novel, or singular, or striking, or captivating, or all four at once.
More likely, they are what are called odd characters; but for that, are no more original, than what is called an odd genius, in his way, is. But, if original, whence came they? Or where did the novelist pick them up?
Where does any novelist pick up any character? For the most part, in town, to be sure. Every great town is a kind of man-show, where the novelist goes for his stock, just as the agriculturist goes to the cattle-show for his. But in the one fair, new species of quadrupeds are hardly more rare, than in the other are new species of characters — that is, original ones. Their rarity may still the more appear from this, that, while characters, merely singular, imply but singular forms so to speak, original ones, truly so, imply original instincts.
In short, a due conception of what is to be held for this sort of personage in fiction would make him almost as much of a prodigy there, as in real history is a new law-giver, a revolutionizing philosopher, or the founder of a new religion.
In nearly all the original characters, loosely accounted such in works of invention, there is discernible something prevailingly local, or of the age; which circumstance, of itself, would seem to invalidate the claim, judged by the principles here suggested.
Furthermore, if we consider, what is popularly held to entitle characters in fiction to being deemed original, is but something, personal — confined to itself. The character sheds not its characteristic on its surroundings, whereas, the original character, essentially such, is like a revolving Drummond light, Note: [44.2] raying away from itself all round it — everything is lit by it, everything starts up to it (mark how it is with Hamlet), so that, in certain minds, there follows upon the adequate conception of such a character, an effect, in its way, akin to that which in Genesis attends upon the beginning of things. Note: [44.3]
For much the same reason that there is but one planet to one orbit, so can there be but one such original character to one work of invention. Note: [44.4] Two would conflict to chaos. In this view, to say that there are more than one to a book, is good presumption there is none at all. But for new, singular, striking, odd, eccentric, and all sorts of entertaining and instructive characters, a good fiction may be full of them. To produce such characters, an author, beside other things, must have seen much, and seen through much: to produce but one original character, he must have had much luck.
There would seem but one point in common between this sort of phenomenon in fiction and all other sorts: it cannot be born in the author's imagination — it being as true in literature as in zoology, that all life is from the egg.
In the endeavor to show, if possible, the impropriety of the phrase, Quite an Original, as applied by the barber's friends, we have, at unawares, been led into a dissertation bordering upon the prosy, perhaps upon the smoky. If so, the best use the smoke can be turned to, will be, by retiring under cover of it, in good trim as may be, to the story.
Chapter 45
CHAPTER XLV. THE COSMOPOLITAN INCREASES IN SERIOUSNESS
IN the middle of the gentlemen's cabin burned a solar lamp, swung from the ceiling, and whose shade of ground glass was all round fancifully variegated, in transparency, with the image of a horned altar, from which flames rose, alternate with the figure of a robed man, his head encircled by a halo. Note: [45.1] The light of this lamp, after dazzlingly striking on marble, snow-white and round — the slab of a centre-table beneath — on all sides went rippling off with ever-diminishing distinctness, till, like circles from a stone dropped in water, the rays died dimly away in the furthest nook of the place.
Here and there, true to their place, but not to their function, swung other lamps, barren planets, which had either gone out from exhaustion, or been extinguished by such occupants of berths as the light annoyed, or who wanted to sleep, not see.
By a perverse man, in a berth not remote, the remaining lamp would have been extinguished as well, had not a steward forbade, saying that the commands of the captain required it to be kept burning till the natural light of day should come to relieve it. This steward, who, like many in his vocation, was apt to be a little free-spoken at times, had been provoked by the man's pertinacity to remind him, not only of the sad consequences which might, upon occasion, ensue from the cabin being left in darkness, but, also, of the circumstance that, in a place full of strangers, to show one's self anxious to produce darkness there, such an anxiety was, to say the least, not becoming. So the lamp — last survivor of many — burned on, inwardly blessed by those in some berths, and inwardly execrated by those in others.
Keeping his lone vigils beneath his lone lamp, which lighted his book on the table, sat a clean, comely, old man, his head snowy as the marble, and a countenance like that which imagination ascribes to good Simeon, when, having at last beheld the Master of Faith, he blessed him and departed in peace. Note: [45.2] From his hale look of greenness in winter, and his hands ingrained with the tan, less, apparently, of the present summer, than of accumulated ones past, the old man seemed a well-to-do farmer, happily dismissed, after a thrifty life of activity, from the fields to the fireside — one of those who, at three-score-and-ten, are fresh-hearted as at fifteen; to whom seclusion gives a boon more blessed than knowledge, and at last sends them to heaven untainted by the world, because ignorant of it; just as a country-man putting up at a London inn, and never stirring out of it as a sight-seer, will leave London at last without once being lost in its fog, or soiled by its mud.
Redolent from the barber's shop, as any bridegroom tripping to the bridal chamber might come, Note: [45.3] and by his look of cheeriness seeming to dispense a sort of morning through the night, in came the cosmopolitan; but marking the old man, and how he was occupied, he toned himself down, and trod softly, and took a seat on the other side of the table, and said nothing. Still, there was a kind of waiting expression about him.
"Sir," said the old man, after looking up puzzled at him a moment, "sir," said he, "one would think this was a coffee-house, and it was war-time, and I had a newspaper here with great news, and the only copy to be had, you sit there looking at me so eager."
"And so you have good news there, sir — the very best of good news."
"Too good to be true," here came from one of the curtained berths.