Public and Private Life of Animals: Adapted from the French of Balzac, Droz, Jules Janin, E. Lemoine, A. De Musset, Georges Sand, &c.
General
Public and Private Life of Animals: Adapted from the French of Balzac, Droz, Jules Janin, E. Lemoine, A. De Musset, Georges Sand, &c.
Fables, French
Here Topaz became an historical pilferer; he arranged his hair like
the powdered wig of a country priest, caught together the straggling
hairs of his beard into a point, put on a high-peaked hat, dressed
himself in a tight-fitting coat over which the ruffle of his shirt
fell in folds, and, in short, tried to look as much as possible like
a portrait of Van Dyck. Thus attired, with his portfolio under his
arm, and colour-box in hand, he began to frequent the schools. But,
alas! like so many apprentice artists, who are men with all their
faculties fully developed, Topaz followed the empty dreams of his
ambition, rather than the teaching of common sense. It was not long
before he found this out. When the works of his master were not
available, he had to begin with the bare canvas, and unaided lay in
outline, form, light, shadow, and colour; when, in fact, instead of
imitation, originality and talent were required, then, alas! good-bye
to the visions of Topaz. It was no good his working, perspiring,
worrying, knocking his head, tearing his beard. Pegasus, always
restive, refused to carry him to the Helicon of fortune and renown.
In plain English, he did nothing worth the materials wasted in its
production: masters and pupils urged him to choose some other means
of making a living.
“Be a mason, or a shoemaker; your talent lies more in the direction
of trade!” It was in truth a pity that Topaz—full-grown ape as he
was—should have been the slave of his narrow pride and vanity. That
he should have aspired to fill a grand, generous, imposing, humanlike
roll. I have often heard him say he would follow the example of the
men of the Middle Ages, study medicine among the Arabs; and then
return to teach it to the Christians. His foolish ambition was to
transmit, from cultured men to apes, the knowledge of art, and, by
idealising his fellows in portraiture, to place them on the level of
the Lords of Creation. His chagrin was as profound as his project
had been visionary. Wounded by the dreadful fall his vanity had
sustained, sulky, ashamed, discontented with the world and with
himself, Topaz, losing his sleep, appetite, and vivacity, fell into a
languishing illness {165} which threatened his life. Happily he had
no physician, Nature fought out the battle for herself, and won.
Public-domain text, read in full here on John Shaqi.
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