Sketches, Benjamin Disraeli [kiss me liar novel english txt] 📗

on women and priests; the aristocracy devoted to play, and the remainder of the inhabitants immersed in scandalous debauch.

With these recollections of the past, let us enter the palace of the present sovereign. With habits of extreme simplicity, and a personal expenditure rigidly economical, the residence of the King of Bavaria, when completed, will be the most extensive and the most sumptuous palace in the world. But, then, it is not merely the palace of a king: it is a temple dedicated to the genius of a nation. The apartments of state, painted in fresco on the grandest scale, bold in design, splendid in colour, breathe the very Teutonic soul. The subjects are taken from the 'Nibelungenlied,' the Gothic epic, and commemorate all the achievements of the heroic Siegfried, and all the adventures of the beautiful Chrimhilde. The heart of a German beats as he gazes on the forms and scenes of the Teutonic Iliad; as he beholds Haghen the fierce, and Dankwart the swift; Volker, the minstrel knight, and the beautiful and haughty Brunhilda. But in point of harmonious dimension and august beauty, no chamber is perhaps more imposing than the Kaiser Saal, or Hall of the Sovereigns. It is, I should think, considerably above one hundred feet in length, broad and lofty in exact proportion. Its roof is supported on either side by columns of white marble; the inter-columniations are filled by colossal statues, of gilded brass, of the electors and kings of the country. Seated on his throne, at the end of this imperial chamber, Louis of Bavaria is surrounded by the solemn majesty of his ancestors. These statues are by Schwanthaler, a sculptor who to the severe and classic taste and profound sentiment of his master, Thorwaldsen, unites an exuberance of invention which has filled Munich with the greatest works since Phidias. Cornelius, Julius Schnorr, and Hess are the principal painters who have covered the galleries, churches, and palaces of Munich with admirable frescoes. The celebrated Klenze is known throughout Europe as the first of living architects, and the favourite of his sovereign when that sovereign did not wear a crown; but we must not forget the name of Gartner, the architect who has revived the Byzantine style of building with such admirable effect.

But it was in the private apartments of the king that I was peculiarly impressed with the supreme genius of Schwanthaler. These chambers, eight in number, are painted in encaustic, with subjects from the Greek poets, of which Schwanthaler supplied the designs. The ante-chambers are devoted to Orpheus and Hesiod, and the ornaments are in the oldest Greek style; severely simple; archaic, but not rude; the figures of the friezes in outline, and without relief. The saloon of reception, on the contrary, is Homeric; and in its colouring, design, and decoration, as brilliant, as free, and as flowing as the genius of the great Maeonian. The chamber of the throne is entirely adorned with white bas-reliefs, raised on a ground of dead gold; the subjects Pindaric; not inferior in many instances to the Attic remains, and characterised, at the same time, by a singular combination of vigour and grace. Another saloon is devoted to AEschylus, and the library to Sophocles. The gay, wild muse of Aristophanes laughs and sings in his Majesty's dressing-room; while the king is lulled to slumber by the Sicilian melodies and the soothing landscapes of Theocritus.

Of these chambers, I should say that they were a perfect creation of Art. The rooms themselves are beautifully proportioned; the subjects of their decorations are the most interesting in every respect that could be selected; and the purity, grace, and invention of the designs, are equalled only by their colouring, at the same time the most brilliant and harmonious that can be conceived; and the rich fancy of the arabesques and other appropriate decorations, which blend with all around, and heighten the effect of the whole. Yet they find no mean rivals in the private chambers of the queen, decorated in an analogous style, but entirely devoted to the poets of her own land. The Minnesingers occupy her first apartments, but the brilliant saloon is worthy of Wieland, whose Oberon forms it frieze; while the bedchamber gleams with the beautiful forms and pensive incidents of Goethe's esoteric pen. Schiller has filled the study with his stirring characters and his vigorous incidents. Groups from 'Wallenstein' and 'Wilhelm Tell' form the rich and unrivalled ceiling: while the fight of the dragon and the founding of the bell, the innocent Fridolin, the inspired maiden of Orleans, breathe in the compartments of the walls.

When I beheld these refined creations, and recalled the scenes and sights of beauty that had moved before me in my morning's wanderings, I asked myself, how Munich, recently so Boeotian, had become the capital of modern Art; and why a country of limited resources, in a brief space, and with such facility and completeness, should have achieved those results which had so long and utterly eluded the desires of the richest and most powerful community in the world?

It is the fashion of the present age to underrate the influence of individual character. For myself, I have ever rejected this consolation of mediocrity. I believe that everything that is great has been accomplished by great men. It is not what witnessed at Munich, or know of its sovereign, that should make me doubt the truth of my conviction. Munich is the creation of its king, and Louis of Bavaria is not only a king but a poet. A poet on a throne has realised his dreams.


THE SPIRIT OF WHIGGISM


[In the following pages Lord Beaconsfield expounds that theory of the English Constitution which he had previously set forth in his pamphlet 'A Vindication of the English Constitution in a Letter to a Noble and Learned Lord.' The same theory is expounded in another way in the three great novels, 'Coningsby,' 'Sybil,' and 'Tancred.' His contemporaries never seem to have understood it, while his assailants of a later date appear to have written and spoken concerning him in absolute ignorance of his real political creed. The concluding paragraph of the tract ought, in the minds of all candid men, to disperse at once and forever the innumerable calumnies levelled at Lord Beaconsfield during and since the Reform struggle of 1859-1867.]



CHAPTER I.


_Object of the Whigs_


ENGLAND has become great by her institutions. Her hereditary Crown has in a great degree insured us from the distracting evils of a contested succession; her Peerage, interested, from the vast property and the national honours of its members, in the good government of the country, has offered a compact bulwark against the temporary violence of popular passion; her House of Commons, representing the conflicting sentiments of an estate of the realm not less privileged than that of the Peers, though far more numerous, has enlisted the great mass of the lesser proprietors of the country in favour of a political system which offers them a constitutional means of defence and a legitimate method of redress; her Ecclesiastical Establishment, preserved by its munificent endowment from the fatal necessity of pandering to the erratic fancies of its communicants, has maintained the sacred cause of learning and religion, and preserved orthodoxy while it secured toleration; her law of primogeniture has supplied the country with a band of natural and independent leaders, trustees of those legal institutions which pervade the land, and which are the origin of our political constitution. That great body corporate, styled a nation-a vast assemblage of human beings knit together by laws and arts and customs, by the necessities of the present and the memory of the past--offers in this country, through these its vigorous and enduring members, a more substantial and healthy framework than falls to the lot of other nations. Our stout-built constitution throws off with more facility and safety those crude and dangerous humours which must at times arise in all human communities. The march of revolution must here at least be orderly. We are preserved from those reckless and tempestuous sallies that in other countries, like a whirlwind, topple down in an instant an ancient crown, or sweep away an illustrious aristocracy. This constitution, which has secured order, has consequently promoted civilisation; and the almost unbroken tide of progressive amelioration has made us the freest, the wealthiest, and the most refined society of modern ages. Our commerce is unrivalled, our manufacturers supply the world, our agriculture is the most skilful in Christendom. So national are our institutions, so completely have they arisen from the temper and adapted themselves to the character of the people, that when for a season they were apparently annihilated, the people of England voluntarily returned to them, and established them with renewed strength and renovated vigour.

The constitution of England is again threatened, and at a moment when the nation is more prosperous, more free, and more famous than at any period of its momentous and memorable career. Why is this? What has occasioned these distempered times, which make the loyal tremble and the traitor smile? Why has this dark cloud suddenly gathered in a sky so serene and so splendid? Is there any analogy between this age and that of the first Charles? Are the same causes at work, or is the apparent similarity produced only by designing men, who make use of the perverted past as a passport to present mischief? These are great questions, which it may be profitable to discuss and wise to study.

Rapin, a foreigner who wrote our history, in the course of his frigid yet accurate pages, indulged in one philosophical observation. Struck at the same time by our greatness and by the fury of our factions, the Huguenot exclaimed: 'It appears to me that this great society can only be dissolved by the violence of its political parties.' What are these parties? Why are they violent? Why should they exist? In resolving these questions, we may obtain an accurate idea of our present political position, and by pondering over the past we may make that past not a prophecy, as the disaffected intend, but a salutary lesson by which the loyal may profit.

The two great parties into which England has during the last century and a half been divided originated in the ancient struggle between the Crown and the aristocracy. As long as the Crown possessed or aspired to despotic power, the feeling of the nation supported the aristocracy in their struggles to establish a free government. The aristocracy of England formed the constitution of the Plantagenets; the Wars of the Roses destroyed that aristocracy, and the despotism of the Tudors succeeded. Renovated by more than a century of peace and the spoils of the Papacy, the aristocracy of England attacked the first Stuarts, who succeeded to a despotism which they did not create. When Charles the First, after a series of great concessions which ultimately obtained for him the support of the most illustrious of his early opponents, raised the royal standard, the constitution of the Plantagenets, and more than the constitution of the Plantagenets, had been restored and secured. But a portion of the able party which had succeeded in effecting such a vast and beneficial revolution was not content to part with the extraordinary powers which they had obtained in this memorable struggle. This section of the aristocracy were the origin of the English Whigs, though that title was not invented until the next reign. The primitive Whigs-'Parliament-men,' as they liked to call themselves, 'Roundheads,' as they were in time dubbed--aspired to an oligarchy. For a moment they obtained one; but unable to maintain themselves in power against the returning sense and rising spirit of a generous and indignant people, they called to their aid that domestic revolutionary party which