George Eliot's Zionist Novel - 1876
Daniel Deronda - George Eliot's Zionist Novel - 1876
In spite of Deronda's reasons for wishing to be in town again--reasons in which his anxiety for Mirah was blent with curiosity to know more of the enigmatic Mordecai--he did not manage to go up before Sir Hugo, who preceded his family that he might be ready for the opening of Parliament on the sixth of February. Deronda took up his quarters in Park Lane, aware that his chambers were sufficiently tenanted by Hans Meyrick. This was what he expected; but he found other things not altogether according to his expectations.
Most of us remember Retzsch's drawing of destiny in the shape of Mephistopheles playing at chess with man for his soul, a game in which we may imagine the clever adversary making a feint of unintended moves so as to set the beguiled mortal on carrying his defensive pieces away from the true point of attack. The fiend makes preparation his favorite object of mockery, that he may fatally persuade us against our taking out waterproofs when he is well aware the sky is going to clear, foreseeing that the imbecile will turn this delusion into a prejudice against waterproofs instead of giving a closer study to the weather-signs. It is a peculiar test of a man's metal when, after he has painfully adjusted himself to what seems a wise provision, he finds all his mental precaution a little beside the mark, and his excellent intentions no better than miscalculated dovetails, accurately cut from a wrong starting-point. His magnanimity has got itself ready to meet misbehavior, and finds quite a different call upon it. Something of this kind happened to Deronda.
His first impression was one of pure pleasure and amusement at finding his sitting-room transformed into an atelier strewed with miscellaneous drawings and with the contents of two chests from Rome, the lower half of the windows darkened with baize, and the blonde Hans in his weird youth as the presiding genius of the littered place--his hair longer than of old, his face more whimsically creased, and his high voice as usual getting higher under the excitement of rapid talk. The friendship of the two had been kept up warmly since the memorable Cambridge time, not only by correspondence but by little episodes of companionship abroad and in England, and the original relation of confidence on one side and indulgence on the other had been developed in practice, as is wont to be the case where such spiritual borrowing and lending has been well begun.
"I knew you would like to see my casts and antiquities," said Hans, after the first hearty greetings and inquiries, "so I didn't scruple to unlade my chests here. But I've found two rooms at Chelsea not many hundred yards from my mother and sisters, and I shall soon be ready to hang out there-- when they've scraped the walls and put in some new lights. That's all I'm waiting for. But you see I don't wait to begin work: you can't conceive what a great fellow I'm going to be. The seed of immortality has sprouted within me."
"Only a fungoid growth, I dare say--a growing disease in the lungs," said Deronda, accustomed to treat Hans in brotherly fashion. He was walking toward some drawings propped on the ledge of his bookcases; five rapidly- sketched heads--different aspects of the same face. He stood at a convenient distance from them, without making any remark. Hans, too, was silent for a minute, took up his palette and began touching the picture on his easel.
"What do you think of them?" he said at last.
"The full face looks too massive; otherwise the likenesses are good," said Deronda, more coldly than was usual with him.
"No, it is not too massive," said Hans, decisively. "I have noted that. There is always a little surprise when one passes from the profile to the full face. But I shall enlarge her scale for Berenice. I am making a Berenice series--look at the sketches along there--and now I think of it, you are just the model I want for the Agrippa." Hans, still with pencil and palette in hand, had moved to Deronda's side while he said this, but he added hastily, as if conscious of a mistake, "No, no, I forgot; you don't like sitting for your portrait, confound you! However, I've picked up a capital Titus. There are to be five in the series. The first is Berenice clasping the knees of Gessius Florus and beseeching him to spare her people; I've got that on the easel. Then, this, where she is standing on the Xystus with Agrippa, entreating the people not to injure themselves by resistance."
"Agrippa's legs will never do," said Deronda.
"The legs are good realistically," said Hans, his face creasing drolly; "public men are often shaky about the legs--' Their legs, the emblem of their various thought,' as somebody says in the 'Rehearsal.'"
"But these are as impossible as the legs of Raphael's Alcibiades," said Deronda.
"Then they are good ideally," said Hans. "Agrippa's legs were possibly bad; I idealize that and make them impossibly bad. Art, my Eugenius, must intensify. But never mind the legs now: the third sketch in the series is Berenice exulting in the prospects of being Empress of Rome, when the news has come that Vespasian is declared Emperor and her lover Titus his successor."
"You must put a scroll in her mouth, else people will not understand that. You can't tell that in a picture."
"It will make them feel their ignorance then--an excellent aesthetic effect. The fourth is, Titus sending Berenice away from Rome after she has shared his palace for ten years--both reluctant, both sad--invitus invitam, as Suetonius hath it. I've found a model for the Roman brute."
"Shall you make Berenice look fifty? She must have been that."
"No, no; a few mature touches to show the lapse of time. Dark-eyed beauty wears well, hers particularly. But now, here is the fifth: Berenice seated lonely on the ruins of Jerusalem. That is pure imagination. That is what ought to have been--perhaps was. Now, see how I tell a pathetic negative. Nobody knows what became of her--that is finely indicated by the series coming to a close. There is no sixth picture." Here Hans pretended to speak with a gasping sense of sublimity, and drew back his head with a frown, as if looking for a like impression on Deronda. "I break off in the Homeric style. The story is chipped off, so to speak, and passes with a ragged edge into nothing--le neant; can anything be more sublime, especially in French? The vulgar would desire to see her corpse and burial--perhaps her will read and her linen distributed. But now come and look at this on the easel. I have made some way there."
"That beseeching attitude is really good," said Deronda, after a moment's contemplation. "You have been very industrious in the Christmas holidays; for I suppose you have taken up the subject since you came to London." Neither of them had yet mentioned Mirah.
"No," said Hans, putting touches to his picture, "I made up my mind to the subject before. I take that lucky chance for an augury that I am going to burst on the world as a great painter. I saw a splendid woman in the Trastevere--the grandest women there are half Jewesses--and she set me hunting for a fine situation of a Jewess at Rome. Like other men of vast learning, I ended by taking what lay on the surface. I'll show you a sketch of the Trasteverina's head when I can lay my hands on it."
"I should think she would be a more suitable model for Berenice," said Deronda, not knowing exactly how to express his discontent.
"Not a bit of it. The model ought to be the most beautiful Jewess in the world, and I have found her."
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