Now, suppose that all through that 9th of November his lordship has had a racking rheumatism, or a toothache, let us say, during all dinner-time--through which he has been obliged to grin and mumble his poor old speeches. Is he enviable? Would you like to change with his lordship? Suppose that bumper which his golden footman brings him, instead i'fackins of ypocras or canary, contains some abomination of senna? Away! Remove the golden goblet, insidious cupbearer! You now begin to perceive the gloomy moral which I am about to draw.
Last month we sang the song of glorification, and rode in the chariot of triumph. It was all very well. It was right to huzza, and be thankful, and cry, Bravo, our side! and besides, you know, there was the enjoyment of thinking how pleased Brown, and Jones, and Robinson (our dear friends) would be at this announcement of success. But now that the performance is over, my good sir, just step into my private room, and see that it is not all pleasure--this winning of successes. Cast your eye over those newspapers, over those letters. See what the critics say of your harmless jokes, neat little trim sentences, and pet waggeries! Why, you are no better than an idiot; you are drivelling; your powers have left you; this always overrated writer is rapidly sinking to, &c.
This is not pleasant; but neither is this the point. It may be the critic is right, and the author wrong. It may be that the archbishop's sermon is not so fine as some of those discourses twenty years ago which used to delight the faithful in Granada. Or it may be (pleasing thought!) that the critic is a dullard, and does not understand what he is writing about. Everybody who has been to an exhibition has heard visitors discoursing about the pictures before their faces. One says, “This is very well;” another says, “This is stuff and rubbish;” another cries, “Bravo! this is a masterpiece:” and each has a right to his opinion. For example, one of the pictures I admired most at the Royal Academy is by a gentleman on whom I never, to my knowledge, set eyes. This picture is No. 346, “Moses,” by Mr. S. Solomon. I thought it had a great intention, I thought it finely drawn and composed. It nobly represented, to my mind, the dark children of the Egyptian bondage, and suggested the touching story. My newspaper says: “Two ludicrously ugly women, looking at a dingy baby, do not form a pleasing object;” and so good-by, Mr. Solomon. Are not most of our babies served so in life? and doesn't Mr. Robinson consider Mr. Brown's cherub an ugly, squalling little brat? So cheer up, Mr. S. S. It may be the critic who discoursed on your baby is a bad judge of babies. When Pharaoh's kind daughter found the child, and cherished and loved it, and took it home, and found a nurse for it, too, I dare say there were grim, brick-dust colored chamberlains, or some of the tough, old, meagre, yellow princesses at court, who never had children themselves, who cried out, “Faugh! the horrid little squalling wretch!” and knew he would never come to good; and said, “Didn't I tell you so?” when he assaulted the Egyptian.