A Critic in Pall Mall: Being Extracts from Reviews and Miscellanies. Wilde OscarЧитать онлайн книгу.
Of secrecy, the violet: what strange powers
Hast thou, as a mere shadow! But how great,
When in an Eye thou art alive with fate!
In the Athenæum of the 3rd of June 1876 appeared a letter from Mr. A. J. Horwood, stating that he had in his possession a copy of The Garden of Florence in which this sonnet was transcribed. Mr. Horwood, who was unaware that the sonnet had been already published by Lord Houghton, gives the transcript at length. His version reads hue for life in the first line, and bright for wide in the second, and gives the sixth line thus:
With all his tributary streams, pools numberless,
a foot too long: it also reads to for of in the ninth line. Mr. Buxton Forman is of opinion that these variations are decidedly genuine, but indicative of an earlier state of the poem than that adopted in Lord Houghton’s edition. However, now that we have before us Keats’s first draft of his sonnet, it is difficult to believe that the sixth line in Mr. Horwood’s version is really a genuine variation. Keats may have written,
Ocean
His tributary streams, pools numberless,
and the transcript may have been carelessly made, but having got his line right in his first draft, Keats probably did not spoil it in his second. The Athenæum version inserts a comma after art in the last line, which seems to me a decided improvement, and eminently characteristic of Keats’s method. I am glad to see that Mr. Buxton Forman has adopted it.
As for the corrections that Lord Houghton’s version shows Keats to have made in the eighth and ninth lines of this sonnet, it is evident that they sprang from Keats’s reluctance to repeat the same word in consecutive lines, except in cases where a word’s music or meaning was to be emphasized. The substitution of ‘its’ for ‘his’ in the sixth line is more difficult of explanation. It was due probably to a desire on Keats’s part not to mar by any echo the fine personification of Hesperus.
It may be noticed that Keats’s own eyes were brown, and not blue, as stated by Mrs. Proctor to Lord Houghton. Mrs. Speed showed me a note to that effect written by Mrs. George Keats on the margin of the page in Lord Houghton’s Life (p. 100, vol. i.), where Mrs. Proctor’s description is given. Cowden Clarke made a similar correction in his Recollections, and in some of the later editions of Lord Houghton’s book the word ‘blue’ is struck out. In Severn’s portraits of Keats also the eyes are given as brown.
The exquisite sense of colour expressed in the ninth and tenth lines may be paralleled by
The Ocean with its vastness, its blue green, of the sonnet to George Keats.
DINNERS AND DISHES
A man can live for three days without bread, but no man can live for one day without poetry, was an aphorism of Baudelaire. You can live without pictures and music but you cannot live without eating, says the author of Dinners and Dishes; and this latter view is, no doubt, the more popular. Who, indeed, in these degenerate days would hesitate between an ode and an omelette, a sonnet and a salmis? Yet the position is not entirely Philistine; cookery is an art; are not its principles the subject of South Kensington lectures, and does not the Royal Academy give a banquet once a year? Besides, as the coming democracy will, no doubt, insist on feeding us all on penny dinners, it is well that the laws of cookery should be explained: for were the national meal burned, or badly seasoned, or served up with the wrong sauce a dreadful revolution might follow.
Under these circumstances we strongly recommend Dinners and Dishes to every one: it is brief and concise and makes no attempt at eloquence, which is extremely fortunate. For even on ortolans who could endure oratory? It also has the advantage of not being illustrated. The subject of a work of art has, of course, nothing to do with its beauty, but still there is always something depressing about the coloured lithograph of a leg of mutton.
As regards the author’s particular views, we entirely agree with him on the important question of macaroni. ‘Never,’ he says, ‘ask me to back a bill for a man who has given me a macaroni pudding.’ Macaroni is essentially a savoury dish and may be served with cheese or tomatoes but never with sugar and milk. There is also a useful description of how to cook risotto – a delightful dish too rarely seen in England; an excellent chapter on the different kinds of salads, which should be carefully studied by those many hostesses whose imaginations never pass beyond lettuce and beetroot; and actually a recipe for making Brussels sprouts eatable. The last is, of course, a masterpiece.
The real difficulty that we all have to face in life is not so much the science of cookery as the stupidity of cooks. And in this little handbook to practical Epicureanism the tyrant of the English kitchen is shown in her proper light. Her entire ignorance of herbs, her passion for extracts and essences, her total inability to make a soup which is anything more than a combination of pepper and gravy, her inveterate habit of sending up bread poultices with pheasants, – all these sins and many others are ruthlessly unmasked by the author. Ruthlessly and rightly. For the British cook is a foolish woman who should be turned for her iniquities into a pillar of salt which she never knows how to use.
But our author is not local merely. He has been in many lands; he has eaten back-hendl at Vienna and kulibatsch at St. Petersburg; he has had the courage to face the buffalo veal of Roumania and to dine with a German family at one o’clock; he has serious views on the right method of cooking those famous white truffles of Turin of which Alexandre Dumas was so fond; and, in the face of the Oriental Club, declares that Bombay curry is better than the curry of Bengal. In fact he seems to have had experience of almost every kind of meal except the ‘square meal’ of the Americans. This he should study at once; there is a great field for the philosophic epicure in the United States. Boston beans may be dismissed at once as delusions, but soft-shell crabs, terrapin, canvas-back ducks, blue fish and the pompono of New Orleans are all wonderful delicacies, particularly when one gets them at Delmonico’s. Indeed, the two most remarkable bits of scenery in the States are undoubtedly Delmonico’s and the Yosemité Valley; and the former place has done more to promote a good feeling between England and America than anything else has in this century.
We hope the ‘Wanderer’ will go there soon and add a chapter to Dinners and Dishes, and that his book will have in England the influence it deserves. There are twenty ways of cooking a potato and three hundred and sixty-five ways of cooking an egg, yet the British cook, up to the present moment, knows only three methods of sending up either one or the other.
Dinners and Dishes. By ‘Wanderer.’ (Simpkin and Marshall.)
SHAKESPEARE ON SCENERY
I have often heard people wonder what Shakespeare would say, could he see Mr. Irving’s production of his Much Ado About Nothing, or Mr. Wilson Barrett’s setting of his Hamlet. Would he take pleasure in the glory of the scenery and the marvel of the colour? Would he be interested in the Cathedral of Messina, and the battlements of Elsinore? Or would he be indifferent, and say the play, and the play only, is the thing?
Speculations like these are always pleasurable, and in the present case happen to be profitable also. For it is not difficult to see what Shakespeare’s attitude would be; not difficult, that is to say, if one reads Shakespeare himself, instead of reading merely what is written about him.
Speaking, for instance, directly, as the manager of a London theatre, through the lips of the chorus in Henry V., he complains of the smallness of the stage on which he has to produce the pageant of a big historical play, and of the want of scenery which obliges him to cut out many of its most picturesque incidents, apologises for the scanty number of supers who had to play the soldiers, and for the shabbiness of the properties, and, finally, expresses his regret at being unable to bring on real horses.
In the Midsummer Night’s Dream, again, he gives us a most amusing picture of the straits to which theatrical managers of his day were reduced by the