Barchester Towers [88]
exactly the reverse of that which prevails among great tragedians. The great tragedian hisses out a positive whisper, made with bated breath, and produced by inarticulate tongue-formed sounds, but yet he is audible through the whole house. The signora however used no hisses, and produced all her words in a clear silver tone, but they could only be heard by the ear into which they were poured.
Charlotte hurried and skurried about the room hither and thither, doing, or pretending to do many things; and then saying something about seeing her mother, ran up stairs. Eleanor was then left alone with Bertie, and she hardly felt and hour fly by her. To give Bertie his due credit, he could not have played his cards better. He did not make love to her, nor sigh, nor look languishing; but he was amusing and familiar, yet respectful; and when he left Eleanor at her own door at one o'clock, which he did by the bye with the assistance of the now jealous Slope, she thought he was one of the most agreeable men, and the Stanhopes decidedly the most agreeable family, that she had ever met.
CHAPTER XX
MR ARABIN
The Reverend Francis Arabin, fellow of Lazarus, late professor of poetry at Oxford, and present vicar of St Ewold, in the diocese of Barchester, must now be introduced personally to the reader. And as he will fill a conspicuous place in this volume, it is desirable that he should be made to stand before the reader's eye by the aid of such portraiture as the author is able to produce.
It is to be regretted that no mental method of daguerreotype or photography has yet been discovered, by which the characters of men can be reduced to writing and put into grammatical language with an unerring precision of truthful description. How often does the novelist feel, ay, and the historian also and the biographer, that he has conceived within his mind and accurately depicted on the tablet of his brain the full character and personage of a man, and that nevertheless, when he flies to pen and ink to perpetuate the portrait, his words forsake, elude, disappoint, and play the deuce with him, till at the end of a dozen pages the man described has no more resemblance to the man conceived than the sign board at the corner of the street has to the Duke of Cambridge?
And yet such mechanical descriptive skill would hardly give more satisfaction to the reader than the skill of the photographer does to the anxious mother desirous to possess an absolute duplicate of her beloved child. The likeness is indeed true; but it is a dull, dead, unfeeling, inauspicious likeness. The face is indeed there, and those looking at it will know at once whose image it is; but the owner of the face will not be proud of the resemblance.
There is no royal road to learning; no short cut to the acquirement of any art. Let photographers and daguerreotypers do what they will, and improve as they may with further skill on that which skill has already done, they will never achieve a portrait of the human face as we may under the burdens which we so often feel too heavy for our shoulders; we must either bear them up like men, or own ourselves too weak for the work we have undertaken. There is no way of writing well and also of writing easily.
Labor omnia vincit improbus. Such should be the chosen motto of every labourer, and it may be that labour, if adequately enduring, may suffice at last to produce even some not untrue resemblance of the Rev. Francis Arabin.
Of his doings in the world, and of the sort of fame which he has achieved, enough has already been said. It has also been said that he is forty years of age, and still unmarried. He was the younger son of a country gentleman of small fortune in the north of England. At an early age he went to Winchester, and was intended by his father for New College; but though studious as a boy, he was not studious within the prescribed limits; and at the age of eighteen he left school with a character for talent, but without a scholarship. All that he had obtained, over and above the advantage of his character,
Charlotte hurried and skurried about the room hither and thither, doing, or pretending to do many things; and then saying something about seeing her mother, ran up stairs. Eleanor was then left alone with Bertie, and she hardly felt and hour fly by her. To give Bertie his due credit, he could not have played his cards better. He did not make love to her, nor sigh, nor look languishing; but he was amusing and familiar, yet respectful; and when he left Eleanor at her own door at one o'clock, which he did by the bye with the assistance of the now jealous Slope, she thought he was one of the most agreeable men, and the Stanhopes decidedly the most agreeable family, that she had ever met.
CHAPTER XX
MR ARABIN
The Reverend Francis Arabin, fellow of Lazarus, late professor of poetry at Oxford, and present vicar of St Ewold, in the diocese of Barchester, must now be introduced personally to the reader. And as he will fill a conspicuous place in this volume, it is desirable that he should be made to stand before the reader's eye by the aid of such portraiture as the author is able to produce.
It is to be regretted that no mental method of daguerreotype or photography has yet been discovered, by which the characters of men can be reduced to writing and put into grammatical language with an unerring precision of truthful description. How often does the novelist feel, ay, and the historian also and the biographer, that he has conceived within his mind and accurately depicted on the tablet of his brain the full character and personage of a man, and that nevertheless, when he flies to pen and ink to perpetuate the portrait, his words forsake, elude, disappoint, and play the deuce with him, till at the end of a dozen pages the man described has no more resemblance to the man conceived than the sign board at the corner of the street has to the Duke of Cambridge?
And yet such mechanical descriptive skill would hardly give more satisfaction to the reader than the skill of the photographer does to the anxious mother desirous to possess an absolute duplicate of her beloved child. The likeness is indeed true; but it is a dull, dead, unfeeling, inauspicious likeness. The face is indeed there, and those looking at it will know at once whose image it is; but the owner of the face will not be proud of the resemblance.
There is no royal road to learning; no short cut to the acquirement of any art. Let photographers and daguerreotypers do what they will, and improve as they may with further skill on that which skill has already done, they will never achieve a portrait of the human face as we may under the burdens which we so often feel too heavy for our shoulders; we must either bear them up like men, or own ourselves too weak for the work we have undertaken. There is no way of writing well and also of writing easily.
Labor omnia vincit improbus. Such should be the chosen motto of every labourer, and it may be that labour, if adequately enduring, may suffice at last to produce even some not untrue resemblance of the Rev. Francis Arabin.
Of his doings in the world, and of the sort of fame which he has achieved, enough has already been said. It has also been said that he is forty years of age, and still unmarried. He was the younger son of a country gentleman of small fortune in the north of England. At an early age he went to Winchester, and was intended by his father for New College; but though studious as a boy, he was not studious within the prescribed limits; and at the age of eighteen he left school with a character for talent, but without a scholarship. All that he had obtained, over and above the advantage of his character,