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diff --git a/2993-h/2993-h.htm b/2993-h/2993-h.htm new file mode 100644 index 0000000..353517a --- /dev/null +++ b/2993-h/2993-h.htm @@ -0,0 +1,1797 @@ +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" /> +<title>Samuel Butler: A Sketch</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + H1, H2 { + text-align: center; + margin-top: 2em; + margin-bottom: 2em; + } + H3, H4 { + text-align: left; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + TD { vertical-align: top; } + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .smcap {font-variant: small-caps;} + + .pagenum {position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: gray;} + + .citation {vertical-align: super; + font-size: .8em; + text-decoration: none;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h2> +<a href="#startoftext">Samuel Butler: A Sketch, by Henry Festing Jones</a> +</h2> +<pre> +The Project Gutenberg eBook, Samuel Butler: A Sketch, by Henry Festing +Jones + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: Samuel Butler: A Sketch + + +Author: Henry Festing Jones + + + +Release Date: May 1, 2007 [eBook #2993] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK SAMUEL BUTLER: A SKETCH*** +</pre> +<p><a name="startoftext"></a></p> +<p>Transcribed from the 1921 Jonathan Cape edition by David +Price, email ccx074@pglaf.org</p> +<h1>SAMUEL BUTLER:<br /> +A Sketch, by Henry Festing Jones</h1> +<p style="text-align: center">Author of <i>Samuel Butler</i>: +<i>A Memoir</i></p> +<p style="text-align: center">Jonathan Cape<br /> +Eleven Gower Street London</p> +<p style="text-align: center"><i>First published in</i> +“<i>The Humour of Homer & Other Essays</i>” <i>by +Samuel Butler</i> 1913. <i>Reissued by Jonathan Cape</i> +1921</p> +<h2>Samuel Butler: A Sketch</h2> +<p>Samuel Butler was born on the 4th December, 1835, at the +Rectory, Langar, near Bingham, in Nottinghamshire. His +father was the Rev. Thomas Butler, then Rector of Langar, +afterwards one of the canons of Lincoln Cathedral, and his mother +was Fanny Worsley, daughter of John Philip Worsley of +Arno’s Vale, Bristol, sugar-refiner. His grandfather +was Dr. Samuel Butler, the famous headmaster of Shrewsbury +School, afterwards Bishop of Lichfield. The Butlers are not +related either to the author of <i>Hudibras</i>, or to the author +of the <i>Analogy</i>, or to the present Master of Trinity +College, Cambridge.</p> +<p>Butler’s father, after being at school at Shrewsbury +under Dr. Butler, went up to St. John’s College, Cambridge; +he took his degree in 1829, being seventh classic and twentieth +senior optime; he was ordained and returned to Shrewsbury, where +he was for some time assistant master at the school under Dr. +Butler. He married in 1832 and left Shrewsbury for +Langar. He was a learned botanist, and made a collection of +dried plants which he gave to the Town Museum of Shrewsbury.</p> +<p>Butler’s childhood and early life were spent at Langar +among the surroundings of an English country rectory, and his +education was begun by his father. In 1843, when he was +only eight years old, the first great event in his life occurred; +the family, consisting of his father and mother, his two sisters, +his brother and himself, went to Italy. The South-Eastern +Railway stopped at Ashford, whence they travelled to Dover in +their own carriage; the carnage was put on board the steamboat, +they crossed the Channel, and proceeded to Cologne, up the Rhine +to Basle and on through Switzerland into Italy, through Parma, +where Napoleon’s widow was still reigning, Modena, Bologna, +Florence, and so to Rome. They had to drive where there was +no railway, and there was then none in all Italy except between +Naples and Castellamare. They seemed to pass a fresh +custom-house every day, but, by tipping the searchers, generally +got through without inconvenience. The bread was sour and +the Italian butter rank and cheesy—often uneatable. +Beggars ran after the carriage all day long, and when they got +nothing jeered at the travellers and called them heretics. +They spent half the winter in Rome, and the children were taken +up to the top of St. Peter’s as a treat to celebrate their +father’s birthday. In the Sistine Chapel they saw the +cardinals kiss the toe of Pope Gregory XVI., and in the Corso, in +broad daylight, they saw a monk come rolling down a staircase +like a sack of potatoes, bundled into the street by a man and his +wife. The second half of the winter was spent in +Naples. This early introduction to the land which he always +thought of and often referred to as his second country made an +ineffaceable impression upon him.</p> +<p>In January, 1846, he went to school at Allesley, near +Coventry, under the Rev. E. Gibson. He seldom referred to +his life there, though sometimes he would say something that +showed he had not forgotten all about it. For instance, in +1900, Mr. Sydney C. Cockerell, now the Director of the +Fitzwilliam Museum, Cambridge, showed him a medieval missal, +laboriously illuminated. He found that it fatigued him to +look at it, and said that such books ought never to be +made. Cockerell replied that such books relieved the tedium +of divine service, on which Butler made a note ending thus:</p> +<blockquote><p>Give me rather a robin or a peripatetic cat like +the one whose loss the parishioners of St. Clement Danes are +still deploring. When I was at school at Allesley the boy +who knelt opposite me at morning prayers, with his face not more +than a yard away from mine, used to blow pretty little bubbles +with his saliva which he would send sailing off the tip of his +tongue like miniature soap bubbles; they very soon broke, but +they had a career of a foot or two. I never saw anyone else +able to get saliva bubbles right away from him and, though I have +endeavoured for some fifty years and more to acquire the art, I +never yet could start the bubble off my tongue without its +bursting. Now things like this really do relieve the tedium +of church, but no missal that I have ever seen will do anything +except increase it.</p> +</blockquote> +<p>In 1848 he left Allesley and went to Shrewsbury under the Rev. +B. H. Kennedy. Many of the recollections of his school life +at Shrewsbury are reproduced for the school life of Ernest +Pontifex at Roughborough in <i>The Way of All Flesh</i>, Dr. +Skinner being Dr. Kennedy.</p> +<p>During these years he first heard the music of Handel; it went +straight to his heart and satisfied a longing which the music of +other composers had only awakened and intensified. He +became as one of the listening brethren who stood around +“when Jubal struck the chorded shell” in the <i>Song +for Saint Cecilia’s Day</i>:</p> +<blockquote><p>Less than a god, they thought, there could not +dwell<br /> +Within the hollow of that shell<br /> +That spoke so sweetly and so well.</p> +</blockquote> +<p>This was the second great event in his life, and henceforward +Italy and Handel were always present at the bottom of his mind as +a kind of double pedal to every thought, word, and deed. +Almost the last thing he ever asked me to do for him, within a +few days of his death, was to bring <i>Solomon</i> that he might +refresh his memory as to the harmonies of “With thee +th’ unsheltered moor I’d trace.” He often +tried to like the music of Bach and Beethoven, but found himself +compelled to give them up—they bored him too much. +Nor was he more successful with the other great composers; Haydn, +for instance, was a sort of Horace, an agreeable, facile man of +the world, while Mozart, who must have loved Handel, for he wrote +additional accompaniments to the <i>Messiah</i>, failed to move +him. It was not that he disputed the greatness of these +composers, but he was out of sympathy with them, and never could +forgive the last two for having led music astray from the Handel +tradition, and paved the road from Bach to Beethoven. +Everything connected with Handel interested him. He +remembered old Mr. Brooke, Rector of Gamston, North Notts, who +had been present at the Handel Commemoration in 1784, and his +great-aunt, Miss Susannah Apthorp, of Cambridge, had known a lady +who had sat upon Handel’s knee. He often regretted +that these were his only links with “the greatest of all +composers.”</p> +<p>Besides his love for Handel he had a strong liking for +drawing, and, during the winter of 1853-4, his family again took +him to Italy, where, being now eighteen, he looked on the works +of the old masters with intelligence.</p> +<p>In October, 1854, he went into residence at St. John’s +College, Cambridge. He showed no aptitude for any +particular branch of academic study, nevertheless he impressed +his friends as being likely to make his mark. Just as he +used reminiscences of his own schooldays at Shrewsbury for +Ernest’s life at Roughborough, so he used reminiscences of +his own Cambridge days for those of Ernest. When the +Simeonites, in <i>The Way of All Flesh</i>, “distributed +tracts, dropping them at night in good men’s letter boxes +while they slept, their tracts got burnt or met with even worse +contumely.” Ernest Pontifex went so far as to parody +one of these tracts and to get a copy of the parody +“dropped into each of the Simeonites’ boxes.” +Ernest did this in the novel because Butler had done it in real +life. Mr. A. T. Bartholomew, of the University Library, has +found, among the Cambridge papers of the late J. Willis +Clark’s collection, three printed pieces belonging to the +year 1855 bearing on the subject. He speaks of them in an +article headed “Samuel Butler and the Simeonites,” +and signed A. T. B. in the <i>Cambridge Magazine</i>, 1st March, +1913; the first is “a genuine Simeonite tract; the other +two are parodies. All three are anonymous. At the top +of the second parody is written ‘By S. Butler, March +31.’” The article gives extracts from the +genuine tract and the whole of Butler’s parody.</p> +<p>Besides parodying Simeonite tracts, Butler wrote various other +papers during his undergraduate days, some of which, preserved by +one of his contemporaries, who remained a lifelong friend, the +Rev. Canon Joseph M’Cormick, now Rector of St. +James’s, Piccadilly, are reproduced in <i>The Note-Books of +Samuel Butler</i> (1912).</p> +<p>He also steered the Lady Margaret first boat, and Canon +M’Cormick told me of a mishap that occurred on the last +night of the races in 1857. Lady Margaret had been head of +the river since 1854, Canon M’Cormick was rowing 5, Philip +Pennant Pearson (afterwards P. Pennant) was 7, Canon Kynaston, of +Durham (whose name formerly was Snow), was stroke, and Butler was +cox. When the cox let go of the bung at starting, the rope +caught in his rudder lines, and Lady Margaret was nearly bumped +by Second Trinity. They escaped, however, and their +pursuers were so much exhausted by their efforts to catch them +that they were themselves bumped by First Trinity at the next +corner. Butler wrote home about it:</p> +<blockquote><p>11 March, 1857. Dear Mamma: My foreboding +about steering was on the last day nearly verified by an accident +which was more deplorable than culpable the effects of which +would have been ruinous had not the presence of mind of No. 7 in +the boat rescued us from the very jaws of defeat. The scene +is one which never can fade from my remembrance and will be +connected always with the gentlemanly conduct of the crew in +neither using opprobrious language nor gesture towards your +unfortunate son but treating him with the most graceful +forbearance; for in most cases when an accident happens which in +itself is but slight, but is visited with serious consequences, +most people get carried away with the impression created by the +last so as to entirely forget the accidental nature of the cause +and if we had been quite bumped I should have been ruined, as it +is I get praise for coolness and good steering as much as and +more than blame for my accident and the crew are so delighted at +having rowed a race such as never was seen before that they are +satisfied completely. All the spectators saw the race and +were delighted; another inch and I should never have held up my +head again. One thing is safe, it will never happen +again.</p> +</blockquote> +<p>The <i>Eagle</i>, “a magazine supported by members of +St. John’s College,” issued its first number in the +Lent term of 1858; it contains an article by Butler “On +English Composition and Other Matters,” signed +“Cellarius”:</p> +<blockquote><p>Most readers will have anticipated me in admitting +that a man should be clear of his meaning before he endeavours to +give it any kind of utterance, and that, having made up his mind +what to say, the less thought he takes how to say it, more than +briefly, pointedly and plainly, the better.</p> +</blockquote> +<p>From this it appears that, when only just over twenty-two, +Butler had already discovered and adopted those principles of +writing from which he never departed.</p> +<p>In the fifth number of the <i>Eagle</i> is an article, +“Our Tour,” also signed “Cellarius”; it +is an account of a tour made in June, 1857, with a friend whose +name he Italianized into Giuseppe Verdi, through France into +North Italy, and was written, so he says, to show how they got so +much into three weeks and spent only £25; they did not, +however, spend quite so much, for the article goes on, after +bringing them back to England, “Next day came safely home +to dear old St. John’s, cash in hand 7d.” <a +name="citation1"></a><a href="#footnote1" +class="citation">[1]</a></p> +<p>Butler worked hard with Shilleto, an old pupil of his +grandfather, and was bracketed 12th in the Classical Tripos of +1858. Canon M’Cormick told me that he would no doubt +have been higher but for the fact that he at first intended to go +out in mathematics; it was only during the last year of his time +that he returned to the classics, and his being so high as he was +spoke well for the classical education of Shrewsbury.</p> +<p>It had always been an understood thing that he was to follow +in the footsteps of his father and grandfather and become a +clergyman; accordingly, after taking his degree, he went to +London and began to prepare for ordination, living and working +among the poor as lay assistant under the Rev. Philip Perring, +Curate of St. James’s, Piccadilly, an old pupil of Dr. +Butler at Shrewsbury. <a name="citation2"></a><a +href="#footnote2" class="citation">[2]</a> Placed among +such surroundings, he felt bound to think out for himself many +theological questions which at this time were first presented to +him, and, the conclusion being forced upon him that he could not +believe in the efficacy of infant baptism, he declined to be +ordained.</p> +<p>It was now his desire to become an artist; this, however, did +not meet with the approval of his family, and he returned to +Cambridge to try for pupils and, if possible, to get a +fellowship. He liked being at Cambridge, but there were few +pupils and, as there seemed to be little chance of a fellowship, +his father wished him to come down and adopt some +profession. A long correspondence took place in the course +of which many alternatives were considered. There are +letters about his becoming a farmer in England, a tutor, a +homoepathic doctor, an artist, or a publisher, and the +possibilities of the army, the bar, and diplomacy. Finally +it was decided that he should emigrate to New Zealand. His +passage was paid, and he was to sail in the <i>Burmah</i>, but a +cousin of his received information about this vessel which caused +him, much against his will, to get back his passage money and +take a berth in the <i>Roman Emperor</i>, which sailed from +Gravesend on one of the last days of September, 1859. On +that night, for the first time in his life, he did not say his +prayers. “I suppose the sense of change was so great +that it shook them quietly off. I was not then a sceptic; I +had got as far as disbelief in infant baptism, but no +further. I felt no compunction of conscience, however, +about leaving off my morning and evening prayers—simply I +could no longer say them.”</p> +<p>The <i>Roman Emperor</i>, after a voyage every incident of +which interested him deeply, arrived outside Port +Lyttelton. The captain shouted to the pilot who came to +take them in:</p> +<p>“Has the <i>Robert Small</i> arrived?”</p> +<p>“No,” replied the pilot, “nor yet the +<i>Burmah</i>.”</p> +<p>And Butler, writing home to his people, adds the comment: +“You may imagine what I felt.”</p> +<p>The <i>Burmah</i> was never heard of again.</p> +<p>He spent some time looking round, considering what to do and +how to employ the money with which his father was ready to supply +him, and determined upon sheep-farming. He made several +excursions looking for country, and ultimately took up a run +which is still called Mesopotamia, the name he gave it because it +is situated among the head-waters of the Rangitata.</p> +<p>It was necessary to have a horse, and he bought one for +£55, which was not considered dear. He wrote home +that the horse’s name was “Doctor”: “I +hope he is a Homoeopathist.” From this, and from the +fact that he had already contemplated becoming a homoeopathic +doctor himself, I conclude that he had made the acquaintance of +Dr. Robert Ellis Dudgeon, the eminent homoeopathist, while he was +doing parish work in London. After his return to England +Dr. Dudgeon was his medical adviser, and remained one of his most +intimate friends until the end of his life. Doctor, the +horse, is introduced into <i>Erewhon Revisited</i>; the shepherd +in Chapter XXVI tells John Hicks that Doctor “would pick +fords better than that gentleman could, I know, and if the +gentleman fell off him he would just stay stock still.”</p> +<p>Butler carried on his run for about four and a half years, and +the open-air life agreed with him; he ascribed to this the good +health he afterwards enjoyed. The following, taken from a +notebook he kept in the colony and destroyed, gives a glimpse of +one side of his life there; he preserved the note because it +recalled New Zealand so vividly.</p> +<blockquote><p>April, 1861. It is Sunday. We rose +later than usual. There are five of us sleeping in the +hut. I sleep in a bunk on one side of the fire; Mr. Haast, +<a name="citation3"></a><a href="#footnote3" +class="citation">[3]</a> a German who is making a geological +survey of the province, sleeps upon the opposite one; my +bullock-driver and hut-keeper have two bunks at the far end of +the hut, along the wall, while my shepherd lies in the loft among +the tea and sugar and flour. It was a fine morning, and we +turned out about seven o’clock.</p> +<p>The usual mutton and bread for breakfast with a pudding made +of flour and water baked in the camp oven after a joint of +meat—Yorkshire pudding, but without eggs. While we +were at breakfast a robin perched on the table and sat there a +good while pecking at the sugar. We went on breakfasting +with little heed to the robin, and the robin went on pecking with +little heed to us. After breakfast Pey, my bullock-driver, +went to fetch the horses up from a spot about two miles down the +river, where they often run; we wanted to go pig-hunting.</p> +<p>I go into the garden and gather a few peascods for seed till +the horses should come up. Then Cook, the shepherd, says +that a fire has sprung up on the other side of the river. +Who could have lit it? Probably someone who had intended +coming to my place on the preceding evening and has missed his +way, for there is no track of any sort between here and +Phillips’s. In a quarter of an hour he lit another +fire lower down, and by that time, the horses having come up, +Haast and myself—remembering how Dr. Sinclair had just been +drowned so near the same spot—think it safer to ride over +to him and put him across the river. The river was very low +and so clear that we could see every stone. On getting to +the river-bed we lit a fire and did the same on leaving it; our +tracks would guide anyone over the intervening ground.</p> +</blockquote> +<p>Besides his occupation with the sheep, he found time to play +the piano, to read and to write. In the library of St. +John’s College, Cambridge, are two copies of the Greek +Testament, very fully annotated by him at the University and in +the colony. He also read the <i>Origin of Species</i>, +which, as everyone knows, was published in 1859. He became +“one of Mr. Darwin’s many enthusiastic admirers, and +wrote a philosophic dialogue (the most offensive form, except +poetry and books of travel into supposed unknown countries, that +even literature can assume) upon the <i>Origin of +Species</i>” (<i>Unconscious Memory</i>, close of Chapter +I). This dialogue, unsigned, was printed in the +<i>Press</i>, Canterbury, New Zealand, on 20th December, +1862. A copy of the paper was sent to Charles Darwin, who +forwarded it to a, presumably, English editor with a letter, now +in the Canterbury Museum, New Zealand, speaking of the dialogue +as “remarkable from its spirit and from giving so clear and +accurate an account of Mr. D’s theory.” It is +possible that Butler himself sent the newspaper containing his +dialogue to Mr. Darwin; if so he did not disclose his name, for +Darwin says in his letter that he does not know who the author +was. Butler was closely connected with the <i>Press</i>, +which was founded by James Edward FitzGerald, the first +Superintendent of the Province, in May, 1861; he frequently +contributed to its pages, and once, during FitzGerald’s +absence, had charge of it for a short time, though he was never +its actual editor. The <i>Press</i> reprinted the dialogue +and the correspondence which followed its original appearance on +8th June, 1912.</p> +<p>On 13th June, 1863, the <i>Press</i> printed a letter by +Butler signed “Cellarius” and headed “Darwin +among the Machines,” reprinted in <i>The Note-Books of +Samuel Butler</i> (1912). The letter begins:</p> +<p>“Sir: There are few things of which the present +generation is more justly proud than of the wonderful +improvements which are daily taking place in all sorts of +mechanical appliances”; and goes on to say that, as the +vegetable kingdom was developed from the mineral, and as the +animal kingdom supervened upon the vegetable, “so now, in +the last few ages, an entirely new kingdom has sprung up of which +we as yet have only seen what will one day be considered the +antediluvian types of the race.” He then speaks of +the minute members which compose the beautiful and intelligent +little animal which we call the watch, and of how it has +gradually been evolved from the clumsy brass clocks of the +thirteenth century. Then comes the question: Who will be +man’s successor? To which the answer is: We are +ourselves creating our own successors. Man will become to +the machine what the horse and the dog are to man; the conclusion +being that machines are, or are becoming, animate.</p> +<p>In 1863 Butler’s family published in his name <i>A First +Year in Canterbury Settlement</i>, which, as the preface states, +was compiled from his letters home, his journal and extracts from +two papers contributed to the <i>Eagle</i>. These two +papers had appeared in the <i>Eagle</i> as three articles +entitled “Our Emigrant” and signed +“Cellarius.” The proof-sheets of the book went +out to New Zealand for correction and were sent back in the +Colombo, which was as unfortunate as the <i>Burmah</i>, for she +was wrecked. The proofs, however, were fished up, though so +nearly washed out as to be almost undecipherable. Butler +would have been just as well pleased if they had remained at the +bottom of the Indian Ocean, for he never liked the book and +always spoke of it as being full of youthful priggishness; but I +think he was a little hard upon it. Years afterwards, in +one of his later books, after quoting two passages from Mr. Grant +Allen and pointing out why he considered the second to be a +recantation of the first, he wrote: “When Mr. Allen does +make stepping-stones of his dead selves he jumps upon them to +some tune.” And he was perhaps a little inclined to +treat his own dead self too much in the same spirit.</p> +<p>Butler did very well with the sheep, sold out in 1864, and +returned via Callao to England. He travelled with three +friends whose acquaintance he had made in the colony; one was +Charles Paine Pauli, to whom he dedicated <i>Life and +Habit</i>. He arrived in August, 1864, in London, where he +took chambers consisting of a sitting-room, a bedroom, a +painting-room and a pantry, at 15, Clifford’s Inn, second +floor (north). The net financial result of the +sheep-farming and the selling out was that he practically doubled +his capital, that is to say he had about £8,000. This +he left in New Zealand, invested on mortgage at 10 per cent., the +then current rate in the colony; it produced more than enough for +him to live upon in the very simple way that suited him best, and +life in the Inns of Court resembles life at Cambridge in that it +reduces the cares of housekeeping to a minimum; it suited him so +well that he never changed his rooms, remaining there +thirty-eight years till his death.</p> +<p>He was now his own master and able at last to turn to +painting. He studied at the art school in Streatham Street, +Bloomsbury, which had formerly been managed by Henry Sass, but, +in Butler’s time, was being carried on by Francis Stephen +Cary, son of the Rev. Henry Francis Cary, who had been a +school-fellow of Dr. Butler at Rugby, and is well known as the +translator of Dante and the friend of Charles Lamb. Among +his fellow-students was Mr. H. R. Robertson, who told me that the +young artists got hold of the legend, which is in some of the +books about Lamb, that when Francis Stephen Cary was a boy and +there was a talk at his father’s house as to what +profession he should take up, Lamb, who was present, said:</p> +<p>“I should make him an apo-po-pothe-Cary.”</p> +<p>They used to repeat this story freely among themselves, being, +no doubt, amused by the Lamb-like pun, but also enjoying the +malicious pleasure of hinting that it might have been as well for +their art education if the advice of the gentle humorist had been +followed. Anyone who wants to know what kind of an artist +F. S. Cary was can see his picture of Charles and Mary Lamb in +the National Portrait Gallery.</p> +<p>In 1865 Butler sent from London to New Zealand an article +entitled “Lucubratio Ebria,” which was published in +the <i>Press</i> of 29th July, 1865. It treated machines +from a point of view different from that adopted in “Darwin +among the Machines,” and was one of the steps that led to +<i>Erewhon</i> and ultimately to <i>Life and Habit</i>. The +article is reproduced in <i>The Note-Books of Samuel Butler</i> +(1912).</p> +<p>Butler also studied art at South Kensington, but by 1867 he +had begun to go to Heatherley’s School of Art in Newman +Street, where he continued going for many years. He made a +number of friends at Heatherley’s, and among them Miss +Eliza Mary Anne Savage. There also he first met Charles +Gogin, who, in 1896, painted the portrait of Butler which is now +in the National Portrait Gallery. He described himself as +an artist in the Post Office Directory, and between 1868 and 1876 +exhibited at the Royal Academy about a dozen pictures, of which +the most important was “Mr. Heatherley’s +Holiday,” hung on the line in 1874. He left it by his +will to his college friend Jason Smith, whose representatives, +after his death, in 1910, gave it to the nation, and it is now in +the National Gallery of British Art. Mr. Heatherley never +went away for a holiday; he once had to go out of town on +business and did not return till the next day; one of the +students asked him how he had got on, saying no doubt he had +enjoyed the change and that he must have found it refreshing to +sleep for once out of London.</p> +<p>“No,” said Heatherley, “I did not like +it. Country air has no body.”</p> +<p>The consequence was that, whenever there was a holiday and the +school was shut, Heatherley employed the time in mending the +skeleton; Butler’s picture represents him so engaged in a +corner of the studio. In this way he got his model for +nothing. Sometimes he hung up a looking-glass near one of +his windows and painted his own portrait. Many of these he +painted out, but after his death we found a little store of them +in his rooms, some of the early ones very curious. Of the +best of them one is now at Canterbury, New Zealand, one at St. +John’s College, Cambridge, and one at the Schools, +Shrewsbury.</p> +<p>This is Butler’s own account of himself, taken from a +letter to Sir Julius von Haast; although written in 1865 it is +true of his mode of life for many years:</p> +<blockquote><p>I have been taking lessons in painting ever since +I arrived. I was always very fond of it and mean to stick +to it; it suits me and I am not without hopes that I shall do +well at it. I live almost the life of a recluse, seeing +very few people and going nowhere that I can help—I mean in +the way of parties and so forth; if my friends had their way they +would fritter away my time without any remorse; but I made a +regular stand against it from the beginning and so, having my +time pretty much in my own hands, work hard; I find, as I am sure +you must find, that it is next to impossible to combine what is +commonly called society and work.</p> +</blockquote> +<p>But the time saved from society was not all devoted to +painting. He modified his letter to the <i>Press</i> about +“Darwin among the Machines” and, so modified, it +appeared in 1865 as “The Mechanical Creation” in the +<i>Reasoner</i>, a paper then published in London by Mr. G. J. +Holyoake. And his mind returned to the considerations which +had determined him to decline to be ordained. In 1865 he +printed anonymously a pamphlet which he had begun in New Zealand, +the result of his study of the Greek Testament, entitled <i>The +Evidence for the Resurrection of Jesus Christ as given by the +Four Evangelists critically examined</i>. After weighing +this evidence and comparing one account with another, he came to +the conclusion that Jesus Christ did not die upon the +cross. It is improbable that a man officially executed +should escape death, but the alternative, that a man actually +dead should return to life, seemed to Butler more improbable +still and unsupported by such evidence as he found in the +gospels. From this evidence he concluded that Christ +swooned and recovered consciousness after his body had passed +into the keeping of Joseph of Arimathæa. He did not +suppose fraud on the part of the first preachers of Christianity; +they sincerely believed that Christ died and rose again. +Joseph and Nicodemus probably knew the truth but kept +silence. The idea of what might follow from belief in one +single supposed miracle was never hereafter absent from +Butler’s mind.</p> +<p>In 1869, having been working too hard, he went abroad for a +long change. On his way back, at the Albergo La Luna, in +Venice, he met an elderly Russian lady in whose company he spent +most of his time there. She was no doubt impressed by his +versatility and charmed, as everyone always was, by his +conversation and original views on the many subjects that +interested him. We may be sure he told her all about +himself and what he had done and was intending to do. At +the end of his stay, when he was taking leave of her, she +said:</p> +<p>“Et maintenant, Monsieur, vous allez +créer,” meaning, as he understood her, that he had +been looking long enough at the work of others and should now do +something of his own.</p> +<p>This sank into him and pained him. He was nearly +thirty-five, and hitherto all had been admiration, vague +aspiration and despair; he had produced in painting nothing but a +few sketches and studies, and in literature only a few ephemeral +articles, a collection of youthful letters and a pamphlet on the +Resurrection; moreover, to none of his work had anyone paid the +slightest attention. This was a poor return for all the +money which had been spent upon his education, as Theobald would +have said in <i>The Way of All Flesh</i>. He returned home +dejected, but resolved that things should be different in the +future. While in this frame of mind he received a visit +from one of his New Zealand friends, the late Sir F. Napier +Broome, afterwards Governor of Western Australia, who +incidentally suggested his rewriting his New Zealand +articles. The idea pleased him; it might not be creating, +but at least it would be doing something. So he set to work +on Sundays and in the evenings, as relaxation from his profession +of painting, and, taking his New Zealand article, “Darwin +among the Machines,” and another, “The World of the +Unborn,” as a starting-point and helping himself with a few +sentences from <i>A First Year in Canterbury Settlement</i>, he +gradually formed <i>Erewhon</i>. He sent the MS. bit by +bit, as it was written, to Miss Savage for her criticism and +approval. He had the usual difficulty about finding a +publisher. Chapman and Hall refused the book on the advice +of George Meredith, who was then their reader, and in the end he +published it at his own expense through Messrs. Trübner.</p> +<p>Mr. Sydney C. Cockerell told me that in 1912 Mr. Bertram +Dobell, second-hand bookseller of Charing Cross Road, offered a +copy of <i>Erewhon</i> for £1 10s.; it was thus described +in his catalogue: “Unique copy with the following note in +the author’s handwriting on the half-title: ‘To Miss +E. M. A. Savage this first copy of <i>Erewhon</i> with the +author’s best thanks for many invaluable suggestions and +corrections.’” When Mr. Cockerell inquired for +the book it was sold. After Miss Savage’s death in +1885 all Butler’s letters to her were returned to him, +including the letter he wrote when he sent her this copy of +<i>Erewhon</i>. He gave her the first copy issued of all +his books that were published in her lifetime, and, no doubt, +wrote an inscription in each. If the present possessors of +any of them should happen to read this sketch I hope they will +communicate with me, as I should like to see these books. I +should also like to see some numbers of the <i>Drawing-Room +Gazette</i>, which about this time belonged to or was edited by a +Mrs. Briggs. Miss Savage wrote a review of <i>Erewhon</i>, +which appeared in the number for 8th June, 1872, and Butler +quoted a sentence from her review among the press notices in the +second edition. She persuaded him to write for Mrs. Briggs +notices of concerts at which Handel’s music was +performed. In 1901 he made a note on one of his letters +that he was thankful there were no copies of the <i>Drawing-Room +Gazette</i> in the British Museum, meaning that he did not want +people to read his musical criticisms; nevertheless, I hope some +day to come across back numbers containing his articles.</p> +<p>The opening of <i>Erewhon</i> is based upon Butler’s +colonial experiences; some of the descriptions remind one of +passages in <i>A First Year in Canterbury Settlement</i>, where +he speaks of the excursions he made with Doctor when looking for +sheep-country. The walk over the range as far as the +statues is taken from the Upper Rangitata district, with some +alterations; but the walk down from the statues into Erewhon is +reminiscent of the Leventina Valley in the Canton Ticino. +The great chords, which are like the music moaned by the statues +are from the prelude to the first of Handel’s <i>Trois +Leçons</i>; he used to say:</p> +<p>“One feels them in the diaphragm—they are, as it +were, the groaning and labouring of all creation travailing +together until now.”</p> +<p>There is a place in New Zealand named Erewhon, after the book; +it is marked on the large maps, a township about fifty miles west +of Napier in the Hawke Bay Province (North Island). I am +told that people in New Zealand sometimes call their houses +Erewhon and occasionally spell the word Erehwon which Butler did +not intend; he treated wh as a single letter, as one would treat +th. Among other traces of Erewhon now existing in real life +are Butler’s Stones on the Hokitika Pass, so called because +of a legend that they were in his mind when he described the +statues.</p> +<p>The book was translated into Dutch in 1873 and into German in +1897.</p> +<p>Butler wrote to Charles Darwin to explain what he meant by the +“Book of the Machines”: “I am sincerely sorry +that some of the critics should have thought I was laughing at +your theory, a thing which I never meant to do and should be +shocked at having done.” Soon after this Butler was +invited to Down and paid two visits to Mr. Darwin there; he thus +became acquainted with all the family and for some years was on +intimate terms with Mr. (now Sir) Francis Darwin.</p> +<p>It is easy to see by the light of subsequent events that we +should probably have had something not unlike <i>Erewhon</i> +sooner or later, even without the Russian lady and Sir F. N. +Broome, to whose promptings, owing to a certain diffidence which +never left him, he was perhaps inclined to attribute too much +importance. But he would not have agreed with this view at +the time; he looked upon himself as a painter and upon +<i>Erewhon</i> as an interruption. It had come, like one of +those creatures from the Land of the Unborn, pestering him and +refusing to leave him at peace until he consented to give it +bodily shape. It was only a little one, and he saw no +likelihood of its having any successors. So he satisfied +its demands and then, supposing that he had written himself out, +looked forward to a future in which nothing should interfere with +the painting. Nevertheless, when another of the unborn came +teasing him he yielded to its importunities and allowed himself +to become the author of <i>The Fair Haven</i>, which is his +pamphlet on the Resurrection, enlarged and preceded by a +realistic memoir of the pseudonymous author, John Pickard +Owen. In the library of St. John’s College, +Cambridge, are two copies of the pamphlet with pages cut out; he +used these pages in forming the MS. of <i>The Fair +Haven</i>. To have published this book as by the author of +<i>Erewhon</i> would have been to give away the irony and +satire. And he had another reason for not disclosing his +name; he remembered that as soon as curiosity about the +authorship of <i>Erewhon</i> was satisfied, the weekly sales fell +from fifty down to only two or three. But, as he always +talked openly of whatever was in his mind, he soon let out the +secret of the authorship of <i>The Fair Haven</i>, and it became +advisable to put his name to a second edition.</p> +<p>One result of his submitting the MS. of <i>Erewhon</i> to Miss +Savage was that she thought he ought to write a novel, and urged +him to do so. I have no doubt that he wrote the memoir of +John Pickard Owen with the idea of quieting Miss Savage and also +as an experiment to ascertain whether he was likely to succeed +with a novel. The result seems to have satisfied him, for, +not long after <i>The Fair Haven</i>, he began <i>The Way of All +Flesh</i>, sending the MS. to Miss Savage, as he did everything +he wrote, for her approval and putting her into the book as +Ernest’s Aunt Alethea. He continued writing it in the +intervals of other work until her death in February, 1885, after +which he did not touch it. It was published in 1903 by Mr. +R. A. Streatfeild, his literary executor.</p> +<p>Soon after <i>The Fair Haven</i> Butler began to be aware that +his letter in the <i>Press</i>, “Darwin among the +Machines,” was descending with further modifications and +developing in his mind into a theory about evolution which took +shape as <i>Life and Habit</i>; but the writing of this very +remarkable and suggestive book was delayed and the painting +interrupted by absence from England on business in Canada. +He had been persuaded by a college friend, a member of one of the +great banking families, to call in his colonial mortgages and to +put the money into several new companies. He was going to +make thirty or forty per cent, instead of only ten. One of +these companies was a Canadian undertaking, of which he became a +director; it was necessary for someone to go to headquarters and +investigate its affairs; he went, and was much occupied by the +business for two or three years. By the beginning of 1876 +he had returned finally to London, but most of his money was lost +and his financial position for the next ten years caused him very +serious anxiety. His personal expenditure was already so +low that it was hardly possible to reduce it, and he set to work +at his profession more industriously than ever, hoping to paint +something that he could sell, his spare time being occupied with +<i>Life and Habit</i>, which was the subject that really +interested him more deeply than any other.</p> +<p>Following his letter in the <i>Press</i>, wherein he had seen +machines as in process of becoming animate, he went on to regard +them as living organs and limbs which we had made outside +ourselves. What would follow if we reversed this and +regarded our limbs and organs as machines which we had +manufactured as parts of our bodies? In the first place, +how did we come to make them without knowing anything about +it? But then, how comes anybody to do anything +unconsciously? The answer usually would be: By habit. +But can a man be said to do a thing by habit when he has never +done it before? His ancestors have done it, but not +he. Can the habit have been acquired by them for his +benefit? Not unless he and his ancestors are the same +person. Perhaps, then, they are the same person.</p> +<p>In February, 1876, partly to clear his mind and partly to tell +someone, he wrote down his thoughts in a letter to his namesake, +Thomas William Gale Butler, a fellow art-student who was then in +New Zealand; so much of the letter as concerns the growth of his +theory is given in <i>The Note-Books of Samuel Butler</i> +(1912).</p> +<p>In September, 1877, when <i>Life and Habit</i> was on the eve +of publication, Mr. Francis Darwin came to lunch with him in +Clifford’s Inn and, in course of conversation, told him +that Professor Ray Lankester had written something in +<i>Nature</i> about a lecture by Dr. Ewald Hering of Prague, +delivered so long ago as 1870, “On Memory as a Universal +Function of Organized Matter.” This rather alarmed +Butler, but he deferred looking up the reference until after +December, 1877, when his book was out, and then, to his relief, +he found that Hering’s theory was very similar to his own, +so that, instead of having something sprung upon him which would +have caused him to want to alter his book, he was +supported. He at once wrote to the <i>Athenæum</i>, +calling attention to Hering’s lecture, and then pursued his +studies in evolution.</p> +<p><i>Life and Habit</i> was followed in 1879 by <i>Evolution Old +and New</i>, wherein he compared the teleological or purposive +view of evolution taken by Buffon, Dr. Erasmus Darwin, and +Lamarck with the view taken by Charles Darwin, and came to the +conclusion that the old was better. But while agreeing with +the earlier writers in thinking that the variations whose +accumulation results in species were originally due to +intelligence, he could not take the view that the intelligence +resided in an external personal God. He had done with all +that when he gave up the Resurrection of Jesus Christ from the +dead. He proposed to place the intelligence inside the +creature (“The Deadlock in Darwinism,” +<i>post</i>).</p> +<p>In 1880 he continued the subject by publishing <i>Unconscious +Memory</i>. Chapter IV of this book is concerned with a +personal quarrel between himself and Charles Darwin which arose +out of the publication by Charles Darwin of Dr. Krause’s +<i>Life of Erasmus Darwin</i>. We need not enter into +particulars here, the matter is fully dealt with in a pamphlet, +<i>Charles Darwin and Samuel Butler</i>: <i>A Step towards +Reconciliation</i>, which I wrote in 1911, the result of a +correspondence between Mr. Francis Darwin and myself. +Before this correspondence took place Mr. Francis Darwin had made +several public allusions to <i>Life and Habit</i>; and in +September, 1908, in his inaugural address to the British +Association at Dublin, he did Butler the posthumous honour of +quoting from his translation of Hering’s lecture “On +Memory,” which is in <i>Unconscious Memory</i>, and of +mentioning Butler as having enunciated the theory contained in +<i>Life and Habit</i>.</p> +<p>In 1886 Butler published his last book on evolution, <i>Luck +or Cunning as the Main Means of Organic Modification</i>? +His other contributions to the subject are some essays, written +for the <i>Examiner</i> in 1879, “God the Known and God the +Unknown,” which were republished by Mr. Fifield in 1909, +and the articles “The Deadlock in Darwinism” which +appeared in the <i>Universal Review</i> in 1890 and some further +notes on evolution will be found in <i>The Note-Books of Samuel +Butler</i> (1912).</p> +<p>It was while he was writing <i>Life and Habit</i> that I first +met him. For several years he had been in the habit of +spending six or eight weeks of the summer in Italy and the Canton +Ticino, generally making Faido his headquarters. Many a +page of his books was written while resting by the fountain of +some subalpine village or waiting in the shade of the chestnuts +till the light came so that he could continue a sketch. +Every year he returned home by a different route, and thus +gradually became acquainted with every part of the Canton and +North Italy. There is scarcely a town or village, a point +of view, a building, statue or picture in all this country with +which he was not familiar. In 1878 he happened to be on the +Sacro Monte above Varese at the time I took my holiday; there I +joined him, and nearly every year afterwards we were in Italy +together.</p> +<p>He was always a delightful companion, and perhaps at his +gayest on these occasions. “A man’s +holiday,” he would say, “is his garden,” and he +set out to enjoy himself and to make everyone about him enjoy +themselves too. I told him the old schoolboy muddle about +Sir Walter Raleigh introducing tobacco and saying: “We +shall this day light up such a fire in England as I trust shall +never be put out.” He had not heard it before and, +though amused, appeared preoccupied, and perhaps a little +jealous, during the rest of the evening. Next morning, +while he was pouring out his coffee, his eyes twinkled and he +said, with assumed carelessness:</p> +<p>“By the by, do you remember?—wasn’t it +Columbus who bashed the egg down on the table and said +‘Eppur non si muove’?”</p> +<p>He was welcome wherever he went, full of fun and ready to play +while doing the honours of the country. Many of the +peasants were old friends, and every day we were sure to meet +someone who remembered him. Perhaps it would be an old +woman labouring along under a burden; she would smile and stop, +take his hand and tell him how happy she was to meet him again +and repeat her thanks for the empty wine bottle he had given her +after an out-of-door luncheon in her neighbourhood four or five +years before. There was another who had rowed him many +times across the Lago di Orta and had never been in a train but +once in her life, when she went to Novara to her son’s +wedding. He always remembered all about these people and +asked how the potatoes were doing this year and whether the +grandchildren were growing up into fine boys and girls, and he +never forgot to inquire after the son who had gone to be a waiter +in New York. At Civiasco there is a restaurant which used +to be kept by a jolly old lady, known for miles round as La +Martina; we always lunched with her on our way over the Colma to +and from Varallo-Sesia. On one occasion we were accompanied +by two English ladies and, one being a teetotaller, Butler +maliciously instructed La Martina to make the <i>sabbaglione</i> +so that it should be <i>forte</i> and <i>abbondante</i>, and to +say that the Marsala, with which it was more than flavoured, was +nothing but vinegar. La Martina never forgot that when she +looked in to see how things were going, he was pretending to lick +the dish clean. These journeys provided the material for a +book which he thought of calling “Verdi Prati,” after +one of Handel’s most beautiful songs; but he changed his +mind, and it appeared at the end of 1881 as <i>Alps and +Sanctuaries of Piedmont and the Canton Ticino</i> with more than +eighty illustrations, nearly all by Butler. Charles Gogin +made an etching for the frontispiece, drew some of the pictures, +and put figures into others; half a dozen are mine. They +were all redrawn in ink from sketches made on the spot, in oil, +water-colour, and pencil. There were also many +illustrations of another kind—extracts from Handel’s +music, each chosen because Butler thought it suitable to the +spirit of the scene he wished to bring before the reader. +The introduction concludes with these words: “I have chosen +Italy as my second country, and would dedicate this book to her +as a thank-offering for the happiness she has afforded +me.”</p> +<p>In the spring of 1883 he began to compose music, and in 1885 +we published together an album of minuets, gavottes, and +fugues. This led to our writing <i>Narcissus</i>, which is +an Oratorio Buffo in the Handelian manner—that is as nearly +so as we could make it. It is a mistake to suppose that all +Handel’s oratorios are upon sacred subjects; some of them +are secular. And not only so, but, whatever the subject, +Handel was never at a loss in treating anything that came into +his words by way of allusion or illustration. As Butler +puts it in one of his sonnets:</p> +<blockquote><p>He who gave eyes to ears and showed in sound<br /> +All thoughts and things in earth or heaven above—<br /> +From fire and hailstones running along the ground<br /> +To Galatea grieving for her love—<br /> +He who could show to all unseeing eyes<br /> +Glad shepherds watching o’er their flocks by night,<br /> +Or Iphis angel-wafted to the skies,<br /> +Or Jordan standing as an heap upright—</p> +</blockquote> +<p>And so on. But there is one subject which Handel never +treated—I mean the Money Market. Perhaps he avoided +it intentionally; he was twice bankrupt, and Mr. R. A. +Streatfeild tells me that the British Museum possesses a MS. +letter from him giving instructions as to the payment of the +dividends on £500 South Sea Stock. Let us hope he +sold out before the bubble burst; if so, he was more fortunate +than Butler, who was at this time of his life in great anxiety +about his own financial affairs. It seemed a pity that Dr. +Morell had never offered Handel some such words as these:</p> +<blockquote><p>The steadfast funds maintain their wonted state<br +/> +While all the other markets fluctuate.</p> +</blockquote> +<p>Butler wondered whether Handel would have sent the steadfast +funds up above par and maintained them on an inverted pedal with +all the other markets fluctuating iniquitously round them like +the sheep that turn every one to his own way in the +<i>Messiah</i>. He thought something of the kind ought to +have been done, and in the absence of Handel and Dr. Morell we +determined to write an oratorio that should attempt to supply the +want. In order to make our libretto as plausible as +possible, we adopted the dictum of Monsieur Jourdain’s +Maître à danser: “Lorsqu’on a des +personnes à faire parler en musique, il faut bien que, +pour la vraisemblance, on donne dans la bergerie.” +Narcissus is accordingly a shepherd in love with Amaryllis; they +come to London with other shepherds and lose their money in +imprudent speculations on the Stock Exchange. In the second +part the aunt and godmother of Narcissus, having died at an +advanced age worth one hundred thousand pounds, all of which she +has bequeathed to her nephew and godson, the obstacle to his +union with Amaryllis is removed. The money is invested in +consols and all ends happily.</p> +<p>In December, 1886, Butler’s father died, and his +financial difficulties ceased. He engaged Alfred Emery +Cathie as clerk, but made no other change, except that he bought +a pair of new hair brushes and a larger wash-hand basin. +Any change in his mode of life was an event. When in London +he got up at 6.30 in the summer and 7.30 in the winter, went into +his sitting-room, lighted the fire, put the kettle on and +returned to bed. In half an hour he got up again, fetched +the kettle of hot water, emptied it into the cold water that was +already in his bath, refilled the kettle and put it back on the +fire. After dressing, he came into his sitting-room, made +tea and cooked, in his Dutch oven, something he had bought the +day before. His laundress was an elderly woman, and he +could not trouble her to come to his rooms so early in the +morning; on the other hand, he could not stay in bed until he +thought it right for her to go out; so it ended in his doing a +great deal for himself. He then got his breakfast and read +the Times. At 9.30 Alfred came, with whom he discussed +anything requiring attention, and soon afterwards his laundress +arrived. Then he started to walk to the British Museum, +where he arrived about 10.30, every alternate morning calling at +the butcher’s in Fetter Lane to order his meat. In +the Reading Room at the Museum he sat at Block B (“B for +Butler”) and spent an hour “posting his +notes”—that is reconsidering, rewriting, amplifying, +shortening, and indexing the contents of the little note-book he +always carried in his pocket. After the notes he went on +till 1.30 with whatever book he happened to be writing.</p> +<p>On three days of the week he dined in a restaurant on his way +home, and on the other days he dined in his chambers where his +laundress had cooked his dinner. At two o’clock +Alfred returned (having been home to dinner with his wife and +children) and got tea ready for him. He then wrote letters +and attended to his accounts till 3.45, when he smoked his first +cigarette. He used to smoke a great deal, but, believing it +to be bad for him, took to cigarettes instead of pipes, and +gradually smoked less and less, making it a rule not to begin +till some particular hour, and pushing this hour later and later +in the day, till it settled itself at 3.45. There was no +water laid on in his rooms, and every day he fetched one can full +from the tap in the court, Alfred fetching the rest. When +anyone expostulated with him about cooking his own breakfast and +fetching his own water, he replied that it was good for him to +have a change of occupation. This was partly the fact, but +the real reason, which he could not tell everyone, was that he +shrank from inconveniencing anybody; he always paid more than was +necessary when anything was done for him, and was not happy then +unless he did some of the work himself.</p> +<p>At 5.30 he got his evening meal, he called it his tea, and it +was little more than a facsimile of breakfast. Alfred left +in time to post the letters before six. Butler then wrote +music till about 8, when he came to see me in Staple Inn, +returning to Clifford’s Inn by about 10. After a +light supper, latterly not more than a piece of toast and a glass +of milk, he played one game of his own particular kind of +Patience, prepared his breakfast things and fire ready for the +next morning, smoked his seventh and last cigarette, and went to +bed at eleven o’clock.</p> +<p>He was fond of the theatre, but avoided serious pieces. +He preferred to take his Shakespeare from the book, finding that +the spirit of the plays rather evaporated under modern theatrical +treatment. In one of his books he brightens up the old +illustration of <i>Hamlet</i> without the Prince of Denmark by +putting it thus: “If the character of Hamlet be entirely +omitted, the play must suffer, even though Henry Irving himself +be cast for the title-rôle.” Anyone going to +the theatre in this spirit would be likely to be less +disappointed by performances that were comic or even frankly +farcical. Latterly, when he grew slightly deaf, listening +to any kind of piece became too much of an effort; nevertheless, +he continued to the last the habit of going to one pantomime +every winter.</p> +<p>There were about twenty houses where he visited, but he seldom +accepted an invitation to dinner—it upset the regularity of +his life; besides, he belonged to no club and had no means of +returning hospitality. When two colonial friends called +unexpectedly about noon one day, soon after he settled in London, +he went to the nearest cook-shop in Fetter Lane and returned +carrying a dish of hot roast pork and greens. This was all +very well once in a way, but not the sort of thing to be repeated +indefinitely.</p> +<p>On Thursdays, instead of going to the Museum, he often took a +day off, going into the country sketching or walking, and on +Sundays, whatever the weather, he nearly always went into the +country walking; his map of the district for thirty miles round +London is covered all over with red lines showing where he had +been. He sometimes went out of town from Saturday to +Monday, and for over twenty years spent Christmas at +Boulogne-sur-Mer.</p> +<p>There is a Sacro Monte at Varallo-Sesia with many chapels, +each containing life-sized statues and frescoes illustrating the +life of Christ. Butler had visited this sanctuary +repeatedly, and was a great favourite with the townspeople, who +knew that he was studying the statues and frescoes in the +chapels, and who remembered that in the preface to <i>Alps and +Sanctuaries</i> he had declared his intention of writing about +them. In August, 1887, the Varallesi brought matters to a +head by giving him a civic dinner on the Mountain. Everyone +was present, there were several speeches and, when we were coming +down the slippery mountain path after it was all over, he said to +me:</p> +<p>“You know, there’s nothing for it now but to write +that book about the Sacro Monte at once. It must be the +next thing I do.”</p> +<p>Accordingly, on returning home, he took up photography and, +immediately after Christmas, went back to Varallo to photograph +the statues and collect material. Much research was +necessary and many visits to out-of-the-way sanctuaries which +might have contained work by the sculptor Tabachetti, whom he was +rescuing from oblivion and identifying with the Flemish Jean de +Wespin. One of these visits, made after his book was +published, forms the subject of “The Sanctuary of +Montrigone.” <i>Ex Voto</i>, the book about Varallo, +appeared in 1888, and an Italian translation by Cavaliere Angelo +Rizzetti was published at Novara in 1894.</p> +<p>“Quis Desiderio . . . ?” (<i>The Humour of +Homer and Other Essays</i>) was developed in 1888 from something +in a letter from Miss Savage nearly ten years earlier. On +the 15th of December, 1878, in acknowledging this letter, Butler +wrote:</p> +<blockquote><p>I am sure that any tree or flower nursed by Miss +Cobbe would be the <i>very</i> first to fade away and that her +gazelles would die long before they ever came to know her +<i>well</i>. The sight of the brass buttons on her +pea-jacket would settle them out of hand.</p> +</blockquote> +<p>There was an enclosure in Miss Savage’s letter, but it +is unfortunately lost; I suppose it must have been a newspaper +cutting with an allusion to Moore’s poem and perhaps a +portrait of Miss Frances Power Cobbe—pea-jacket, brass +buttons, and all.</p> +<p>On the 10th November, 1879, Miss Savage, having been ill, +wrote to Butler:</p> +<blockquote><p>I have been dipping into the books of Moses, being +sometimes at a loss for something to read while shut up in my +apartment. You know that I have never read the Bible much, +consequently there is generally something of a novelty that I hit +on. As you do know your Bible well, perhaps you can tell me +what became of Aaron. The account given of his end in +Numbers xx. is extremely ambiguous and unsatisfactory. +Evidently he did not come by his death fairly, but whether he was +murdered secretly for the furtherance of some private ends, or +publicly in a State sacrifice, I can’t make out. I +myself rather incline to the former opinion, but I should like to +know what the experts say about it. A very nice, exciting +little tale might be made out of it in the style of the police +stories in <i>All the rear Round</i> called “The Mystery of +Mount Hor or What became of Aaron?” Don’t +forget to write to me.</p> +</blockquote> +<p>Butler’s people had been suggesting that he should try +to earn money by writing in magazines, and Miss Savage was +falling in with the idea and offering a practical +suggestion. I do not find that he had anything to tell her +about the death of Aaron. On 23rd March, 1880, she +wrote:</p> +<blockquote><p>Dear Mr. Butler: Read the subjoined poem of +Wordsworth and let me know what you understand its meaning to +be. Of course I have my opinion, which I think of +communicating to the Wordsworth Society. You can belong to +that Society for the small sum of 2/6 per annum. I think of +joining because it is cheap.</p> +</blockquote> +<p>“The subjoined poem” was the one beginning: +“She dwelt among the untrodden ways,” and Butler made +this note on the letter:</p> +<p>To the foregoing letter I answered that I concluded Miss +Savage meant to imply that Wordsworth had murdered Lucy in order +to escape a prosecution for breach of promise.</p> +<blockquote><p><i>Miss Savage to Butler</i>.</p> +<p>2nd April, 1880: My dear Mr. Butler: I don’t think you +see all that I do in the poem, and I am afraid that the +suggestion of a <span class="smcap">dark secret</span> in the +poet’s life is not so very obvious after all. I was +hoping you would propose to devote yourself for a few months to +reading the <i>Excursion</i>, his letters, &c., with a view +to following up the clue, and I am disappointed though, to say +the truth, the idea of a <i>crime</i> had not flashed upon me +when I wrote to you. How well the works of <i>great</i> men +repay attention and study! But you, who know your Bible so +well, how was it that you did not detect the plagiarism in the +last verse? Just refer to the account of the disappearance +of Aaron (I have not a Bible at hand, we want one sadly in the +club) but I am sure that the words are identical [I cannot see +what Miss Savage meant. 1901. S. B.] +<i>Cassell’s Magazine</i> have offered a prize for setting +the poem to music, and I fell to thinking how it could be treated +musically, and so came to a right comprehension of it.</p> +</blockquote> +<p>Although Butler, when editing Miss Savage’s letters in +1901, could not see the resemblance between Wordsworth’s +poem and Numbers xx., he at once saw a strong likeness between +Lucy and Moore’s heroine whom he had been keeping in an +accessible pigeon-hole of his memory ever since his letter about +Miss Frances Power Cobbe. He now sent Lucy to keep her +company and often spoke of the pair of them as probably the two +most disagreeable young women in English literature—an +opinion which he must have expressed to Miss Savage and with +which I have no doubt she agreed.</p> +<p>In the spring of 1888, on his return from photographing the +statues at Varallo, he found, to his disgust, that the +authorities of the British Museum had removed Frost’s +<i>Lives of Eminent Christians</i> from its accustomed shelf in +the Reading Room. Soon afterwards Harry Quilter asked him +to write for the <i>Universal Review</i> and he responded with +“Quis Desiderio . . . ?” In this essay he +compares himself to Wordsworth and dwells on the points of +resemblance between Lucy and the book of whose assistance he had +now been deprived in a passage which echoes the opening of +Chapter V of <i>Ex Voto</i>, where he points out the resemblances +between Varallo and Jerusalem.</p> +<p>Early in 1888 the leading members of the Shrewsbury +Archæological Society asked Butler to write a memoir of his +grandfather and of his father for their Quarterly Journal. +This he undertook to do when he should have finished <i>Ex +Voto</i>. In December, 1888, his sisters, with the idea of +helping him to write the memoir, gave him his grandfather’s +correspondence, which extended from 1790 to 1839. On +looking over these very voluminous papers he became penetrated +with an almost Chinese reverence for his ancestor and, after +getting the Archæological Society to absolve him from his +promise to write the memoir, set about a full life of Dr. Butler, +which was not published till 1896. The delay was caused +partly by the immense quantity of documents he had to sift and +digest, the number of people he had to consult, and the many +letters he had to write, and partly by something that arose out +of <i>Narcissus</i>, which we published in June, 1888.</p> +<p>Butler was not satisfied with having written only half of this +work; he wanted it to have a successor, so that by adding his two +halves together, he could say he had written a whole Handelian +oratorio. While staying with his sisters at Shrewsbury with +this idea in his mind, he casually took up a book by Alfred +Ainger about Charles Lamb and therein stumbled upon something +about the <i>Odyssey</i>. It was years since he had looked +at the poem, but, from what he remembered, he thought it might +provide a suitable subject for musical treatment. He did +not, however, want to put Dr. Butler aside, so I undertook to +investigate. It is stated on the title-page of both +<i>Narcissus</i> and <i>Ulysses</i> that the words were written +and the music composed by both of us. As to the music, each +piece bears the initials of the one who actually composed +it. As to the words, it was necessary first to settle some +general scheme and this, in the case of <i>Narcissus</i>, grew in +the course of conversation. The scheme of <i>Ulysses</i> +was constructed in a more formal way and Butler had perhaps +rather less to do with it. We were bound by the +<i>Odyssey</i>, which is, of course, too long to be treated +fully, and I selected incidents that attracted me and settled the +order of the songs and choruses. For this purpose, as I +out-Shakespeare Shakespeare in the smallness of my Greek, I used +<i>The Adventures of Ulysses</i> by Charles Lamb, which we should +have known nothing about but for Ainger’s book. +Butler acquiesced in my proposals, but, when it came to the words +themselves, he wrote practically all the libretto, as he had done +in the case of <i>Narcissus</i>; I did no more than suggest a few +phrases and a few lines here and there.</p> +<p>We had sent <i>Narcissus</i> for review to the papers, and, as +a consequence, about this time, made the acquaintance of Mr. J. +A. Fuller Maitland, then musical critic of the <i>Times</i>; he +introduced us to that learned musician William Smith Rockstro, +under whom we studied medieval counterpoint while composing +<i>Ulysses</i>. We had already made some progress with it +when it occurred to Butler that it would not take long and might, +perhaps, be safer if he were to look at the original poem, just +to make sure that Lamb had not misled me. Not having +forgotten all his Greek, he bought a copy of the <i>Odyssey</i> +and was so fascinated by it that he could not put it down. +When he came to the Phoeacian episode of Ulysses at Scheria he +felt he must be reading the description of a real place and that +something in the personality of the author was eluding him. +For months he was puzzled, and, to help in clearing up the +mystery, set about translating the poem. In August, 1891, +he had preceded me to Chiavenna, and on a letter I wrote him, +telling him when to expect me, he made this note:</p> +<blockquote><p>It was during the few days that I was at Chiavenna +(at the Hotel Grotta Crimée) that I hit upon the feminine +authorship of the <i>Odyssey</i>. I did not find out its +having been written at Trapani till January, 1892.</p> +</blockquote> +<p>He suspected that the authoress in describing both Scheria and +Ithaca was drawing from her native country and searched on the +Admiralty charts for the features enumerated in the poem; this +led him to the conclusion that the country could only be Trapani, +Mount Eryx, and the Ægadean Islands. As soon as he +could after this discovery he went to Sicily to study the +locality and found it in all respects suitable for his theory; +indeed, it was astonishing how things kept turning up to support +his view. It is all in his book <i>The Authoress of the +Odyssey</i>, published in 1897 and dedicated to his friend +Cavaliere Biagio Ingroja of Calatafimi.</p> +<p>His first visit to Sicily was in 1892, in August—a hot +time of the year, but it was his custom to go abroad in the +autumn. He returned to Sicily every year (except one), but +latterly went in the spring. He made many friends all over +the island, and after his death the people of Calatafimi called a +street by his name, the Via Samuel Butler, “thus,” as +Ingroja wrote when he announced the event to me, “honouring +a great man’s memory, handing down his name to posterity, +and doing homage to the friendly English nation.” +Besides showing that the <i>Odyssey</i> was written by a woman in +Sicily and translating the poem into English prose, he also +translated the <i>Iliad</i>, and, in March, 1895, went to Greece +and the Troad to see the country therein described, where he +found nothing to cause him to disagree with the received +theories.</p> +<p>It has been said of him in a general way that the fact of an +opinion being commonly held was enough to make him profess the +opposite. It was enough to make him examine the opinion for +himself, when it affected any of the many subjects which +interested him, and if, after giving it his best attention, he +found it did not hold water, then no weight of authority could +make him say that it did. This matter of the geography of +the <i>Iliad</i> is only one among many commonly received +opinions which he examined for himself and found no reason to +dispute; on these he considered it unnecessary to write.</p> +<p>It is characteristic of his passion for doing things +thoroughly that he learnt nearly the whole of the <i>Odyssey</i> +and the <i>Iliad</i> by heart. He had a Pickering copy of +each poem, which he carried in his pocket and referred to in +railway trains, both in England and Italy, when saying the poems +over to himself. These two little books are now in the +library of St. John’s College, Cambridge. He was, +however, disappointed to find that he could not retain more than +a book or two at a time and that, on learning more, he forgot +what he had learnt first; but he was about sixty at the +time. Shakespeare’s Sonnets, on which he published a +book in 1899, gave him less trouble in this respect; he knew them +all by heart, and also their order, and one consequence of this +was that he wrote some sonnets in the Shakespearian form. +He found this intimate knowledge of the poet’s work more +useful for his purpose than reading commentaries by those who are +less familiar with it. “A commentary on a +poem,” he would say, “may be useful as material on +which to form an estimate of the commentator, but the poem itself +is the most important document you can consult, and it is +impossible to know it too intimately if you want to form an +opinion about it and its author.”</p> +<p>It was always the author, the work of God, that interested him +more than the book—the work of man; the painter more than +the picture; the composer more than the music. “If a +writer, a painter, or a musician makes me feel that he held those +things to be lovable which I myself hold to be lovable I am +satisfied; art is only interesting in so far as it reveals the +personality of the artist.” Handel was, of course, +“the greatest of all musicians.” Among the +painters he chiefly loved Giovanni Bellini, Carpaccio, Gaudenzio +Ferrari, Rembrandt, Holbein, Velasquez, and De Hooghe; in poetry +Shakespeare, Homer, and the Authoress of the <i>Odyssey</i>; and +in architecture the man, whoever he was, who designed the Temple +of Neptune at Paestum. Life being short, he did not see why +he should waste any of it in the company of inferior people when +he had these. And he treated those he met in daily life in +the same spirit: it was what he found them to be that attracted +or repelled him; what others thought about them was of little or +no consequence.</p> +<p>And now, at the end of his life, his thoughts reverted to the +two subjects which had occupied him more than thirty years +previously—namely, <i>Erewhon</i> and the evidence for the +death and resurrection of Jesus Christ. The idea of what +might follow from belief in one single supposed miracle had been +slumbering during all those years and at last rose again in the +form of a sequel to <i>Erewhon</i>. In <i>Erewhon +Revisited</i> Mr. Higgs returns to find that the Erewhonians now +believe in him as a god in consequence of the supposed miracle of +his going up in a balloon to induce his heavenly father to send +the rain. Mr. Higgs and the reader know that there was no +miracle in the case, but Butler wanted to show that whether it +was a miracle or not did not signify provided that the people +believed it be one. And so Mr. Higgs is present in the +temple which is being dedicated to him and his worship.</p> +<p>The existence of his son George was an afterthought and gave +occasion for the second leading idea of the book—the story +of a father trying to win the love of a hitherto unknown son by +risking his life in order to show himself worthy of it—and +succeeding.</p> +<p>Butler’s health had already begun to fail, and when he +started for Sicily on Good Friday, 1902, it was for the last +time: he knew he was unfit to travel, but was determined to go, +and was looking forward to meeting Mr. and Mrs. J. A. Fuller +Maitland, whom he was to accompany over the Odyssean scenes at +Trapani and Mount Eryx. But he did not get beyond Palermo; +there he was so much worse that he could not leave his +room. In a few weeks he was well enough to be removed to +Naples, and Alfred went out and brought him home to London. +He was taken to a nursing home in St. John’s Wood where he +lay for a month, attended by his old friend Dr. Dudgeon, and +where he died on the 18th June, 1902.</p> +<p>There was a great deal he still wanted to do. He had +intended to revise <i>The Way of All Flesh</i>, to write a book +about Tabachetti, and to publish a new edition of <i>Ex Voto</i> +with the mistakes corrected. Also he wished to reconsider +the articles reprinted in <i>The Humour of Homer</i>, and was +looking forward to painting more sketches and composing more +music. While lying ill and very feeble within a few days of +the end, and not knowing whether it was to be the end or not, he +said to me:</p> +<p>“I am much better to-day. I don’t feel at +all as though I were going to die. Of course, it will be +all wrong if I do get well, for there is my literary position to +be considered. First I write <i>Erewhon</i>—that is +my opening subject; then, after modulating freely through all my +other books and the music and so on, I return gracefully to my +original key and write <i>Erewhon Revisited</i>. Obviously, +now is the proper moment to come to a full close, make my bow and +retire; but I believe I am getting well, after all. +It’s very inartistic, but I cannot help it.”</p> +<p>Some of his readers complain that they often do not know +whether he is serious or jesting. He wrote of Lord +Beaconsfield: “Earnestness was his greatest danger, but if +he did not quite overcome it (as indeed who can? it is the last +enemy that shall be subdued), he managed to veil it with a fair +amount of success.” To veil his own earnestness he +turned most naturally to humour, employing it in a spirit of +reverence, as all the great humorists have done, to express his +deepest and most serious convictions. He was aware that he +ran the risk of being misunderstood by some, but he also knew +that it is useless to try to please all, and, like Mozart, he +wrote to please himself and a few intimate friends.</p> +<p>I cannot speak at length of his kindness, consideration, and +sympathy; nor of his generosity, the extent of which was very +great and can never be known—it was sometimes exercised in +unexpected ways, as when he gave my laundress a shilling because +it was “such a beastly foggy morning”; nor of his +slightly archaic courtliness—unless among people he knew +well he usually left the room backwards, bowing to the company; +nor of his punctiliousness, industry, and painstaking attention +to detail—he kept accurate accounts not only of all his +property by double entry but also of his daily expenditure, which +he balanced to a halfpenny every evening, and his handwriting, +always beautiful and legible, was more so at sixty-six than at +twenty-six; nor of his patience and cheerfulness during years of +anxiety when he had few to sympathize with him; nor of the +strange mixture of simplicity and shrewdness that caused one who +knew him well to say: “Il sait tout; il ne sait rien; il +est poète.”</p> +<p>Epitaphs always fascinated him, and formerly he used to say he +should like to be buried at Langar and to have on his tombstone +the subject of the last of Handel’s <i>Six Great +Fugues</i>. He called this “The Old Man Fugue,” +and said it was like an epitaph composed for himself by one who +was very old and tired and sorry for things; and he made young +Ernest Pontifex in <i>The Way of All Flesh</i> offer it to Edward +Overton as an epitaph for his Aunt Alethea. Butler, +however, left off wanting any tombstone long before he +died. In accordance with his wish his body was cremated, +and a week later Alfred and I returned to Woking and buried his +ashes under the shrubs in the garden of the crematorium, with +nothing to mark the spot.</p> +<h2>Footnotes:</h2> +<p><a name="footnote1"></a><a href="#citation1" +class="footnote">[1]</a> I am indebted to one of +Butler’s contemporaries at Cambridge, the Rev. Dr. T. G. +Bonney, F.R.S., and also to Mr. John F. Harris, both of St. +John’s College, for help in finding and dating +Butler’s youthful contributions to the <i>Eagle</i>.</p> +<p><a name="footnote2"></a><a href="#citation2" +class="footnote">[2]</a> This gentleman, on the death of +his father in 1866, became the Rev. Sir Philip Perring, Bart.</p> +<p><a name="footnote3"></a><a href="#citation3" +class="footnote">[3]</a> The late Sir Julius von Haast, +K.C.M.G., appointed Provincial Geologist in 1860, was ennobled by +the Austrian Government and knighted by the British. He +died in 1887.</p> +<p>***END OF THE PROJECT GUTENBERG EBOOK SAMUEL BUTLER: A SKETCH***</p> +<pre> + + +***** This file should be named 2993-h.htm or 2993-h.zip****** + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/2/9/9/2993 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. 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