THE CROCK OF GOLD, ETC.
The origin of the "Crock of Gold" is so well given in a preface, written
by Mr. Butler of Philadelphia, for his American edition of my works in
1851, that I choose here to reproduce it, as below. Our cousins over the
water were characteristically very fond of the "Crock of Gold," and some
editions of "Proverbial Philosophy" were published by them as "by the
author of the 'Crock of Gold'" on the title-page, whereof I have a copy.
Moreover, it was dramatised and acted at "the Boston Museum, Tremont
Street"--a playbill which I have announcing the twenty-first
representation, November 1, 1845; the writer sent it to me in MS., where
it lies among the chaos of my papers. In England it has been issued five
times in various forms, and a printed play thereof as adapted by
Fitzball, who wrote for Astley's and the like, was acted (without my
leave asked or granted) in November 1847, at the City of London Theatre
in the East End: I did not stop it, as on a certain private scrutiny I
saw that the influence of the play upon its crowded audiences seemed a
good one. Unseen and unknown in a private box I noted the touching
effect of Grace's Psalm (ch. viii.) and the sobs and tears all over the
theatre that accompanied it; so it was a wisdom not to interfere with
such wholesome popularity and wholesale good-doing. It was a fair
method of preaching the Gospel to the poor, for that crowd was of the
humblest.
The "Crock of Gold" has been translated complete as a _feuilleton_ both
in French and German by newspapers; and I have copies somewhere,--but I
know not who wrote the French, the German authoress having been the
Fraulein Von Lagerström.
What Mr. Butler says in his preface, no doubt after speech with me, for
I was his visitor at the time in 1851, is this:--
"All who have had the good fortune to meet Mr. Tupper during his visit
here have been struck with his characteristic impulsiveness. In
accordance with this feature of his mind, nearly all of his most
successful performances have been occasioned by something altogether
incidental and unpremeditated--the result of an impulse
accidentally--shall we not say, providentially?--imparted. It was so
with the first work in this series (four volumes) respecting the
composition of which he has given to me in conversation the following
account. Some years ago he purchased a house at Brighton. While laying
out the garden, he had occasion to have several drains made. One day
observing a workman, Francis Suter, standing in one of the trenches wet
and wearied with toil, Mr. Tupper said to him in a tone of pleasantry,
'Wouldn't you like to dig up there a crock full of gold?'--'If I did,'
said the man, 'it would do me no good, because merely finding it would
not make it mine.'--'But suppose you could not only find such a
treasure, but might honestly keep it, wouldn't you think yourself
lucky?'--'Oh yes, sir, I suppose I should--but,' after a pause, 'but I
am not so sure, sir, that it is the best thing that could happen to me.
I think, on the whole, I would rather have steady work and fair wages
all the season than find a crock of gold.'
"Here was wisdom. The remark of the honest trench-digger at once set in
motion a train of thought in the mind of the author. He entered his
study, wrote in large letters on a sheet of paper these words, 'The
Crock of Gold, a Tale of Covetousness,' and in less than a week
that remarkable story was written. By the advice of his wife, however,
he spent another week in rewriting it, and then gave it to the world in
its finished state."
In the same Butlerian volume occurs the following MS. notice written by
me (in about 1853) respecting the origins of my two other tales, the
three being issued together:--
"As in the instance of my 'Crock of Gold,' both 'The Twins' and 'Heart'
were undoubtedly the outcome in after years of early observations,
anecdotes, and incidents, whereof memory kept in silence an experimental
record. Very few artists succeed in the delineation of life without
living models; but no good one servilely will betray the forms they
rather get hints from than actually copy. Thus though I sketched Roger
Acton from one Robert Tunnel, an Albury labourer, and took the cottage
near Postford Pond as his home,--adding thereto Mr. Campion's park and
house at Danney, near Hurst (I was then living at Brighton) as the model
for Sir John Vincent's estate,--as well as Grace, Ben Burke, and so on
from persons I had seen,--I need not say that my sketches from nature
were but outlines to my finished work of art. Simon Jennings, however,
is an exact portrait of a man I knew at Brighton. So also with these
tales, and others of my writings."
About "The Twins" a curious and somewhat awkward coincidence happened,
in the fact that my totally ideal characters of General Tracey and his
family were supposed to be intended for some persons whom the cap (it
seems) fitted pretty accurately, and who then lived at the southern
watering-place I had too diaphanously depicted as Burleigh-Singleton. It
is somewhat dangerous to invent blindly. However, my total innocence of
any intentional allusion to private matters whereof I was entirely
ignorant was set clear at once by an explanatory letter; and so no harm
resulted. In the case of "Heart" similarly, I invented the bankruptcy of
a certain Austral Bank, which at the time of my tale's publication had
no existence,--the very name having been taken some years after. This is
another instance of the literary perils to which imaginative authors may
be subject; for _litera scripta manet_, especially if in printer's ink,
and, for aught I know, that offhand word might be held a continuous
libel. For all else, by way of notice, the stories speak for themselves;
as, Covetousness was the text for "The Crock of Gold," while Concealment
and False Witness are severally the _morale_ of "The Twins" and "Heart."
I once meditated ten tales, on the Ten Commandments, these three being
an instalment; and I mentally sketched my fourth upon Idolatry, "The
Prior of Marrick," but nothing came of it. The Decalogue hangs together
as a whole, and cannot be cut into ten distinct subjects without
reference to one another.
In the chapter headed "The find of the Heartless," I find a manuscript
note perhaps worth printing here:
"If I had been gifted with the true prophetic power, hereabouts should
my heartless hero have stumbled on a big nugget of gold (I wrote before
the Australian gold discovery), even as the shrewd Defoe invented for
his Robinson Crusoe in Juan Fernandez, where gold has not yet been
found, though it may be. However, I did not originally make the splendid
guess, and will not now in a future edition surreptitiously interpolate
such a suggestive incident, after the example of dishonest Murphy in his
prognostic of that coldest January 7th. It may be true enough that, for
my story's sake, I may wish I had thought of such a not unlikely find:
for the uselessness of the mere metal to a positively starving man in
the desert might have furnished comment analogous to what was uttered by
Timon of Athens; and would have been picturesque enough and
characteristic withal."
Here may follow a bit of notice for each tale from two critics of
eminence,--as copied from one of my Archive-books, for memory is
treacherous, and I must not invent. Of the "Crock of Gold" Mr. Ollier
wrote as follows:--
"A story of extraordinary power, and, which is a still greater eulogy,
of power devoted to a great and beneficent purpose. Mr. Martin Tupper
(the author) is already known to the world by his 'Proverbial
Philosophy,' and other works which indicate an extraordinarily gifted
mind and an originality of conception and treatment rare indeed in these
latter days,--but he has never demonstrated these qualities to such
perfection as in his present deeply interesting work, wherein romance is
united to wisdom, and both to practical utility. Terror is there in its
sternest shape--the hateful lust of gold is shown in all its hideous
deformity and inconceivable meanness, and through the awful suspense
that hovers over the incidents, occasional gleams of pure and hallowed
love come to humanise the darkness. This is cue of the few fictions
constructed to stand the shocks of time."
And of the other tales we find the following from the pen of the
celebrated Mr. St. John, when he was editor of the _Sunday Times_. He
speaks of the three tales together:--
"In every page of this work there is something which a reader would wish
to bear in his memory for ever. For power of animated description, for
eloquent reflections upon the events of everyday life, and for soft,
touching, pathetic appeals to the best feelings of the heart, these
tales are worthy of a place on every library table in the kingdom. They
are well calculated to add to the author's already established
reputation."
Of this trilogy of tales, undoubtedly the best is the "Crock of Gold:"
"The Twins," though written from living models, is very inferior, as the
hero is too goody-goody and the villain too hopelessly wicked: "Heart"
has more merit, and has been much praised by a celebrated authoress for
its touching chapter on Old Maids. Much of it also is autobiographical,
as with "The Twins."