In speaking of M.Macaire and his adventures, we have managed so entirely to convince ourselves of the reality of the personage, that we have quite forgotten to speak of Messrs.Philipon and Daumier, who are, the one the inventor, the other the designer, of the Macaire Picture Gallery.As works of esprit, these drawings are not more remarkable than they are as works of art, and we never recollect to have seen a series of sketches possessing more extraordinary cleverness and variety.The countenance and figure of Macaire and the dear stupid Bertrand are preserved, of course, with great fidelity throughout; but the admirable way in which each fresh character is conceived, the grotesque appropriateness of Robert's every successive attitude and gesticulation, and the variety of Bertrand's postures of invariable repose, the exquisite fitness of all the other characters, who act their little part and disappear from the scene, cannot be described on paper, or too highly lauded.The figures are very carelessly drawn; but, if the reader can understand us, all the attitudes and limbs are perfectly CONCEIVED, and wonderfully natural and various.After pondering over these drawings for some hours, as we have been while compiling this notice of them, we have grown to believe that the personages are real, and the scenes remain imprinted on the brain as if we had absolutely been present at their acting.Perhaps the clever way in which the plates are colored, and the excellent effect which is put into each, may add to this illusion.Now, in looking, for instance, at H.B.'s slim vapory figures, they have struck us as excellent LIKENESSES of men and women, but no more: the bodies want spirit, action, and individuality.George Cruikshank, as a humorist, has quite as much genius, but he does not know the art of "effect" so well as Monsieur Daumier; and, if we might venture to give a word of advice to another humorous designer, whose works are extensively circulated--the illustrator of "Pickwick" and "Nicholas Nickleby,"--it would be to study well these caricatures of Monsieur Daumier; who, though he executes very carelessly, knows very well what he would express, indicates perfectly the attitude and identity of his figure, and is quite aware, beforehand, of the effect which he intends to produce.The one we should fancy to be a practised artist, taking his ease; the other, a young one, somewhat bewildered: a very clever one, however, who, if he would think more, and exaggerate less, would add not a little to his reputation.
Having pursued, all through these remarks, the comparison between English art and French art, English and French humor, manners, and morals, perhaps we should endeavor, also, to write an analytical essay on English cant or humbug, as distinguished from French.It might be shown that the latter was more picturesque and startling, the former more substantial and positive.It has none of the poetic flights of the French genius, but advances steadily, and gains more ground in the end than its sprightlier compeer.But such a discussion would carry us through the whole range of French and English history, and the reader has probably read quite enough of the subject in this and the foregoing pages.
We shall, therefore, say no more of French and English caricatures generally, or of Mr.Macaire's particular accomplishments and adventures.They are far better understood by examining the original pictures, by which Philipon and Daumier have illustrated them, than by translations first into print and afterwards into English.They form a very curious and instructive commentary upon the present state of society in Paris, and a hundred years hence, when the whole of this struggling, noisy, busy, merry race shall have exchanged their pleasures or occupations for a quiet coffin (and a tawdry lying epitaph) at Montmartre, or Pere la Chaise; when the follies here recorded shall have been superseded by new ones, and the fools now so active shall have given up the inheritance of the world to their children: the latter will, at least, have the advantage of knowing, intimately and exactly, the manners of life and being of their grandsires, and calling up, when they so choose it, our ghosts from the grave, to live, love, quarrel, swindle, suffer, and struggle on blindly as of yore.And when the amused speculator shall have laughed sufficiently at the immensity of our follies, and the paltriness of our aims, smiled at our exploded superstitions, wondered how this man should be considered great, who is now clean forgotten (as copious Guthrie before mentioned);how this should have been thought a patriot who is but a knave spouting commonplace; or how that should have been dubbed a philosopher who is but a dull fool, blinking solemn, and pretending to see in the dark; when he shall have examined all these at his leisure, smiling in a pleasant contempt and good-humored superiority, and thanking heaven for his increased lights, he will shut the book, and be a fool as his fathers were before him.
It runs in the blood.Well hast thou said, O ragged Macaire,--"Le jour va passer, MAIS LES BADAUDS NE PASSERONT PAS."