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“A Great Earthquake”

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In his novel Dombey and Son (1848), Charles Dickens had a striking passage about the effect that railroad construction was having on parts of London. I remember this passage vividly from when I first read the book decades ago.

The first shock of a great earthquake had, just at that period, rent the whole neighbourhood to its centre. Traces of its course were visible on every side. Houses were knocked down; streets broken through and stopped; deep pits and trenches dug in the ground; enormous heaps of earth and clay thrown up; buildings that were undermined and shaking, propped by great beams of wood. Here, a chaos of carts, overthrown and jumbled together, lay topsy-turvy at the bottom of a steep unnatural hill; there, confused treasures of iron soaked and rusted in something that had accidentally become a pond. Everywhere were bridges that led nowhere; thoroughfares that were wholly impassable; Babel towers of chimneys, wanting half their height; temporary wooden houses and enclosures, in the most unlikely situations; carcases of ragged tenements, and fragments of unfinished walls and arches, and piles of scaffolding, and wildernesses of bricks, and giant forms of cranes, and tripods straddling above nothing. There were a hundred thousand shapes and substances of incompleteness, wildly mingled out of their places, upside down, burrowing in the earth, aspiring in the air, mouldering in the water, and unintelligible as any dream. Hot springs and fiery eruptions, the usual attendants upon earthquakes, lent their contributions of confusion to the scene. Boiling water hissed and heaved within dilapidated walls; whence, also, the glare and roar of flames came issuing forth; and mounds of ashes blocked up rights of way, and wholly changed the law and custom of the neighbourhood.

In short, the yet unfinished and unopened Railroad was in progress; and, from the very core of all this dire disorder, trailed smoothly away, upon its mighty course of civilisation and improvement.

But as yet, the neighbourhood was shy to own the Railroad. One or two bold speculators had projected streets; and one had built a little, but had stopped among the mud and ashes to consider farther of it. A bran-new Tavern, redolent of fresh mortar and size, and fronting nothing at all, had taken for its sign The Railway Arms; but that might be rash enterprise—and then it hoped to sell drink to the workmen. So, the Excavators’ House of Call had sprung up from a beer-shop; and the old-established Ham and Beef Shop had become the Railway Eating House, with a roast leg of pork daily, through interested motives of a similar immediate and popular description. Lodging-house keepers were favourable in like manner; and for the like reasons were not to be trusted. The general belief was very slow. There were frowzy fields, and cow-houses, and dunghills, and dustheaps, and ditches, and gardens, and summer-houses, and carpet-beating grounds, at the very door of the Railway. Little tumuli of oyster shells in the oyster season, and of lobster shells in the lobster season, and of broken crockery and faded cabbage leaves in all seasons, encroached upon its high places. Posts, and rails, and old cautions to trespassers, and backs of mean houses, and patches of wretched vegetation, stared it out of countenance. Nothing was the better for it, or thought of being so. If the miserable waste ground lying near it could have laughed, it would have laughed it to scorn, like many of the miserable neighbours.

The Ghost of New Years Past

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Lucky New Year’s Postcard

I’ve said on many occasions, usually around this time of year, that only a fool celebrates the passing of time. Every January 1, take a picture of yourself in your bathroom mirror and note the thinning and graying of your hair, the mottling of your skin, and the network of spidery lines demarcating the zones of your face. Oh, well, it’s all a natural process.

On a more positive note, let’s see what the youthful Charles Dickens wrote about New Years Day in his first book, Sketches by Boz:

Next to Christmas-day, the most pleasant annual epoch in existence is the advent of the New Year. There are a lachrymose set of people who usher in the New Year with watching and fasting, as if they were bound to attend as chief mourners at the obsequies of the old one. Now, we cannot but think it a great deal more complimentary, both to the old year that has rolled away, and to the New Year that is just beginning to dawn upon us, to see the old fellow out, and the new one in, with gaiety and glee.

There must have been some few occurrences in the past year to which we can look back, with a smile of cheerful recollection, if not with a feeling of heartfelt thankfulness. And we are bound by every rule of justice and equity to give the New Year credit for being a good one, until he proves himself unworthy the confidence we repose in him.

This is our view of the matter; and entertaining it, notwithstanding our respect for the old year, one of the few remaining moments of whose existence passes away with every word we write, here we are, seated by our fireside on this last night of the old year, one thousand eight hundred and thirty-six, penning this article with as jovial a face as if nothing extraordinary had happened, or was about to happen, to
disturb our good humour.

Hackney-coaches and carriages keep rattling up the street and down the street in rapid succession, conveying, doubtless, smartly-dressed coachfuls to crowded parties; loud and repeated double knocks at the house with green blinds, opposite, announce to the whole neighbourhood that there’s one large party in the street at all events; and we saw through the window, and through the fog too, till it grew so thick that we rung for candles, and drew our curtains, pastry-cooks’ men with green boxes on their heads, and rout-furniture-warehouse-carts, with cane seats and French lamps, hurrying to the numerous houses where an annual festival is held in honour of the occasion.

We can fancy one of these parties, we think, as well as if we were duly dress-coated and pumped, and had just been announced at the drawing-room door.

Me and Anne Thistlewaite, Countess of Chesterfield

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Thomas Gainsborough’s “Portrait of Anne, Countess of Chesterfield” (1777-1778)

First, leave the portrait subject out of the painting and notice the quick brush strokes that form the tree, the stone wall, the landscape to the right, and the dark background. Now put in their midst this serene, quite beautiful, long-necked beauty that is Anne Thistlewaite, Countess of Chesterfield. It always amazes me to see women in paintings from other times that make my heart flutter. And it is most particularly the English protraitists of the 18th century that succeed the most in making me feel this way.

When I go to the Huntington Museum in San Marino, there is a large two-story gallery devoted solely to English paintings. So many of the women portrayed are so ethereal that I am in transports of admiration. I can almost begin to understand the way the French were in awe of English milords and miladies.