this is a political conspiracy. He may be told, forsooth, that Mr. Disraeli's being in it, that Lord Derby's being in it, that Mr. Bright's being in it, that every Home, Foreign, and Colonial Secretary's being in it, that every ministry's and every opposition's being in it, are but proofs that men will do in politics what they would do in nothing else. Is this the plea? If so, the rejoinder is, that the mighty conspiracy includes the whole circle of Artists of all kinds, and comprehends all degrees of men, down to the worst criminal and the hangman who ends his career. For, all these are intimately known to the London Correspondent of the Tattlesnivel Bleater, and all these deceive him.
Sir, put it to the proof. There is the Bleater on the file — documentary evidence. Weeks, months, before the Exhibition of the Royal Academy, the Bleater's London Correspondent knows the subjects of all the leading pictures, knows what the painters first meant to do, knows what they afterwards substituted for what they first meant to do, knows what they ought to do and won't do, knows what they ought not to do and will do, knows to a letter from whom they have commissions, knows to a shilling how much they are to be paid. Now, no sooner is each studio clear of the remarkable man to whom each studio-occupant has revealed himself as he does not reveal himself to his nearest and dearest bosom friend, than conspiracy and fraud begin. Alfred the Great becomes the Fairy Queen; Moses viewing the Promised Land, turns out to be Moses going to the Fair; Portrait of His Grace the Archbishop of Canterbury, is transformed, as if by irreverent enchantment of the dissenting interest, into A Favourite Terrier, or Cattle Grazing; and the most extraordinary work of art in the list described by the Bleater, is coolly sponged out altogether, and asserted never to have had existence at all, even in the most shadow thoughts of its executant! This is vile enough, but this is not all. Picture-buyers then come forth from their secret positions, and creep into their places in the assassin-multitude of conspirators. Mr. Baring, after expressly telling the Bleater's London Correspondent that he had bought No. 39 for one thousand guineas, gives it up to somebody unknown for a couple of hundred pounds; the Marquis of Lansdowne pretends to have no knowledge whatever of the commissions to which the London Correspondent of the Bleater swore him, but allows a Railway Contractor to cut him out for half the money. Similar examples might be multiplied. Shame, shame, on these men! Is this England?
Sir, look again at Literature. The Bleater's London Correspondent is not merely acquainted with all the eminent writers, but is in possession of the secrets of their souls. He is versed in their hidden meanings and references, sees their manuscripts before publication, and knows the subjects and titles of their books when they are not begun. How dare those writers turn upon the eminent man and depart from every intention they have confided to him? How do they justify themselves in entirely altering their manuscripts, changing their titles, and abandoning their subjects? Will they deny, in the face of Tattlesnivel, that they do so? If they have such hardihood, let the file of the Bleater strike them dumb. By their fruits they shall be known. Let their works be compared with the anticipatory letters of the Bleater's London Correspondent, and their falsehood and deceit will become manifest as the sun; it will be seen that they do nothing which they stand pledged to the Bleater's London Correspondent to do; it will be seen that they are among the blackest parties in this black and base conspiracy. This will become apparent, sir, not only as to their public proceedings but as to their private affairs. The outraged Tattlesnivellian who now drags this infamous combination into the face of day, charges those literary persons with making away with their property, imposing on the Income Tax Commissioners, keeping false books, and entering into sham contracts. He accuses them on the unimpeachable faith of the London Correspondent of the Tattlesnivel Bleater. With whose evidence they will find it impossible to reconcile their own account of any transaction of their lives.
The national character is degenerating under the influence of the ramifications of this tremendous conspiracy. Forgery is committed, constantly. A person of note — any sort of person of note — dies. The Bleater's London Correspondent knows what his circumstances are, what his savings are (if any), who his creditors are, all about his children and relations, and (in general, before his body is cold) describes his will. Is that will ever proved? Never! Some other will is substituted; the real instrument, destroyed. And this (as has been before observed), is England.
Who are the workmen and artificers, enrolled upon the books of this treacherous league? From what funds are they paid, and with what ceremonies are they sworn to secrecy? Are there none such? Observe what follows. A little time ago the Bleater's London Correspondent had this passage: 'Boddleboy is pianoforte playing at St. Januarius's Gallery, with pretty tolerable success! He clears three hundred pounds per night. Not bad this!!' The builder of St. Januarius's Gallery (plunged to the throat in the conspiracy) met with this piece of news, and observed, with characteristic coarseness, 'that the Bleater's London Correspondent was a Blind Ass'. Being pressed by a man of spirit to give his reasons for this extraordinary statement, he declared that the Gallery, crammed to suffocation, would not hold two hundred pounds, and that its expenses were, probably, at least half what it did hold. The man of spirit (himself a Tattlesnivellian) had the Gallery measured within a week from that hour, and it would not hold two hundred pounds! Now, can the poorest capacity doubt that it had been altered in the meantime?
And so the conspiracy extends, through every grade of society, down to the condemned criminal in prison, the hangman, and the Ordinary. Every famous murderer within the last ten years has desecrated his last moments by falsifying his confidences imparted specially to the London Correspondent of the Tattlesnivel Bleater; on every such occasion, Mr. Calcraft has followed the degrading example; and the reverend Ordinary, forgetful of his cloth, and mindful only (it would seem, alas!) of the conspiracy, has committed himself to some account or other of the criminal's demeanour and conversation, which has been diametrically opposed to the exclusive information of the London Correspondent of the Bleater. And this (as has been before observed) is Merry England!
A man of true genius, however, is not easily defeated. The Bleater's London Correspondent, probably beginning to suspect the existence of a plot against him, has recently fallen on a new style, which, as being very difficult to countermine, may necessitate the organisation of a new conspiracy. One of his masterly letters, lately, disclosed the adoption of this style — which was remarked with profound sensation throughout Tattlesnivel — in the following passage: 'Mentioning literary small talk, I may tell you that some new and extraordinary rumours are afloat concerning the conversations I have previously mentioned, alleged to have taken place in the first floor front (situated over the street door), of Mr. X. Ameter (the poet so well known to your readers), in which, X. Ameter's great uncle, his second son, his butcher, and a corpulent gentleman with one eye universally respected at Kensington, are said not to have been on the most friendly footing; I forbear, however, to pursue the subject further, this week, my informant not being able to supply me with exact particulars.'
But, enough, sir. The inhabitant of Tattlesnivel who has taken pen in hand to expose this odious association of unprincipled men against a shining (local) character, turns from it with disgust and contempt. Let him in few words strip the remaining flimsy covering from the nude object of the conspirators, and his loathsome task is ended.
Sir, that object, he contends, is evidently twofold. First, to exhibit the London Correspondent of the Tattlesnivel Bleater in the light of a mischievous Blockhead who, by hiring himself out to tell what he cannot possibly know, is as great a public nuisance as a Blockhead in a corner can be. Second, to suggest to the men of Tattlesnivel that it does not improve their town to have so much Dry Rubbish shot there.
Now, sir, on both these points Tattlesnivel demands in accents of Thunder, Where is the Attorney General? Why doesn't the Times take it up? (Is the latter in the conspiracy? It never adopts his views, or quotes him, and incessantly contradicts him.) Tattlesnivel, sir, remembering that our forefathers contended with the Norman at Hastings, and bled at a variety of other places that will readily occur to you, demands that its birthright shall not be bartered away for a mess of pottage. Have a care, sir, have a care! Or Tattlesnivel (its idle Rifles piled in its scouted streets) may be seen ere long, advancing with its Bleater to the foot of the Throne, and demanding redress for this conspiracy, from the orbed and sceptred hands of Majesty itself!
Chapter VI
The Young Man from the Country
A song of the hour, now in course of being sung and whistled in every street, the other day reminded the writer of these words — as he chanced to pass a fag-end of the song for the twentieth time in a short London walk — that twenty years ago, a little book on the United States, entitled American Notes, was published by 'a Young Man from the Country', who had just seen and left it.
This Young Man from the Country fell into a deal of trouble, by reason of having taken the liberty to believe that he perceived in America downward popular tendencies for which his young enthusiasm had been anything but
