Nature and Art — A Closer Reading

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Inchbald, Mrs., 1753-1821, Morley, Henry, 1822-1894 [Editor] Project Gutenberg 2003 Not confirmed
Inchbald, Mrs., 1753-1821; Fathers and sons -- Fiction; Young women -- Fiction; Domestic fiction; Epistolary fiction; Brothers -- Fiction Readers of public-domain and historical texts
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Words 50,526
Reading time 220 min
Text sections 5

For Nature and Art — A Closer Reading, the stored edition analysis reports 50,526 words, 3 hr 40 min estimated reading time, and 5 detected text sections.

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Inchbald contrasts natural sincerity with artificial social codes through the plight of Rebecca, whose truthful account of a foundling is disbelieved by her family, exposing how innocence can be crushed by rigid authority and gendered suspicion.
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At a time when the nobility of Britain were said, by the poet laureate, to be the admirers and protectors of the arts, and were acknowledged by the whole nation to be the patrons of music--William and Henry, youths under twenty years of age, brothers, and the sons of a country shopkeeper who had lately died insolvent, set out on foot for London, in the hope of procuring by their industry a scanty subsistence.

As they walked out of their native town, each with a small bundle at his back, each observed the other drop several tears: but, upon the sudden meeting of their eyes, they both smiled with a degree of disdain at the weakness in which they had been caught.

"I am sure," said William (the elder), "I don't know what makes me cry."

"Nor I neither," said Henry; "for though we may never see this town again, yet we leave nothing behind us to give us reason to lament."

"No," replied William, "nor anybody who cares what becomes of us."

"But I was thinking," said Henry, now weeping bitterly, "that, if my poor father were alive, _he_ would care what was to become of us: he would not have suffered us to begin this long journey without a few more shillings in our pockets."

At the end of this sentence, William, who had with some effort suppressed his tears while his brother spoke, now uttered, with a voice almost inarticulate,--"Don't say any more; don't talk any more about it. My father used to tell us, that when he was gone we must take care of ourselves: and so we must. I only wish," continued he, giving way to his grief, "that I had never done anything to offend him while he was living."

"That is what I wish too," cried Henry. "If I had always been dutiful to him while he was alive, I would not shed one tear for him now that he is gone--but I would thank Heaven that he has escaped from his creditors."

In conversation such as this, wherein their sorrow for their deceased parent seemed less for his death than because he had not been so happy when living as they ought to have made him; and wherein their own outcast fortune was less the subject of their grief, than the reflection what their father would have endured could he have beheld them in their present situation;--in conversation such as this, they pursued their journey till they arrived at that metropolis, which has received for centuries past, from the provincial towns, the bold adventurer of every denomination; has stamped his character with experience and example; and, while it has bestowed on some coronets and mitres--on some the lasting fame of genius--to others has dealt beggary, infamy, and untimely death.

After three weeks passed in London, a year followed, during which William and Henry never sat down to a dinner, or went into a bed, without hearts glowing with thankfulness to that Providence who had bestowed on them such unexpected blessings; for they no longer presumed to expect (what still they hoped they deserved) a secure pittance in this world of plenty. Their experience, since they came to town, had informed them that to obtain a permanent livelihood is the good fortune but of a part of those who are in want of it: and the precarious earning of half-a-crown, or a shilling, in the neighbourhood where they lodged, by an errand, or some such accidental means, was the sole support which they at present enjoyed.

They had sought for constant employment of various kinds, and even for servants' places; but obstacles had always occurred to prevent their success. If they applied for the situation of a clerk to a man of extensive concerns, their qualifications were admitted; but there must be security given for their fidelity;--they had friends, who would give them a character, but who would give them nothing else.

If they applied for the place even of a menial servant, they were too clownish and awkward for the presence of the lady of the house;--and once, when William (who had been educated at the free grammar-school of the town in which he was born, and was an excellent scholar), hoping to obtain the good opinion of a young clergyman whom he solicited for the favour of waiting upon him, said submissively, "that he understood Greek and Latin," he was rejected by the divine, "because he could not dress hair."

Weary of repeating their mean accomplishments of "honesty, sobriety, humility," and on the precipice of reprobating such qualities,--which, however beneficial to the soul, gave no hope of preservation to the body,--they were prevented from this profanation by the fortunate remembrance of one qualification, which Henry, the possessor, in all his distress, had never till then called to his recollection; but which, as soon as remembered and made known, changed the whole prospect of wretchedness placed before the two brothers; and they never knew want more.

Reader--Henry could play upon the fiddle.

No sooner was it publicly known that Henry could play most enchantingly upon the violin, than he was invited into many companies where no other accomplishment could have introduced him. His performance was so much admired, that he had the honour of being admitted to several tavern feasts, of which he had also the honour to partake without partaking of the expense. He was soon addressed by persons of the very first rank and fashion, and was once seen walking side by side with a peer.

But yet, in the midst of this powerful occasion for rejoicing, Henry, whose heart was particularly affectionate, had one grief which eclipsed all the happiness of his new life;--his brother William could _not_ play on the fiddle! consequently, his brother William, with whom he had shared so much ill, could not share in his good fortune.

One evening, Henry, coming home from a dinner and concert at the Crown and Anchor found William, in a very gloomy and peevish humour, poring over the orations of Cicero. Henry asked him several times "how he did," and similar questions, marks of his kind disposition towards his beloved brother: but all his endeavours, he perceived, could not soothe or soften the sullen mind of William. At length, taking from his pocket a handful of almonds, and some delicious fruit (which he had purloined from the plenteous table, where his brother's wants had never been absent from his thoughts), and laying them down before him, he exclaimed, with a benevolent smile, "Do, William, let me teach you to play upon the violin."

William, full of the great orator whom he was then studying, and still more alive to the impossibility that _his_ ear, attuned only to sense, could ever descend from that elevation, to learn mere sounds--William caught up the tempting presents which Henry had ventured his reputation to obtain for him, and threw them all indignantly at the donor's head.

Henry felt too powerfully his own superiority of fortune to resent this ingratitude: he patiently picked up the repast, and laying it again upon the table, placed by its side a bottle of claret, which he held fast by the neck, while he assured his brother that, "although he had taken it while the waiter's back was turned, yet it might be drank with a safe conscience by them; for he had not himself tasted one drop at the feast, on purpose that he might enjoy a glass with his brother at home, and without wronging the company who had invited him."

The affection Henry expressed as he said this, or the force of a bumper of wine, which William had not seen since he left his father's house, had such an effect in calming the displeasure he was cherishing, that, on his brother offering him the glass, he took it; and he deigned even to eat of his present.

Henry, to convince him that he had stinted himself to obtain for him this collation, sat down and partook of it.

After a few glasses, he again ventured to say, "Do, brother William, let me teach you to play on the violin."

Again his offer was refused, though with less vehemence: at length they both agreed that the attempt could not prosper.

"Then," said Henry, "William, go down to Oxford or to Cambridge. There, no doubt, they are as fond of learning as in this gay town they are of music. You know you have as much talent for the one as I for the other: do go to one of our universities, and see what dinners, what suppers, and what friends you will find there."

William _did_ go to one of those seats of learning, and would have starved there, but for the affectionate remittances of Henry, who shortly became so great a proficient in the art of music, as to have it in his power not only to live in a very reputable manner himself, but to send such supplies to his brother, as enabled him to pursue his studies.

With some, the progress of fortune is rapid. Such is the case when, either on merit or demerit, great patronage is bestowed. Henry's violin had often charmed, to a welcome forgetfulness of his insignificance, an effeminate lord; or warmed with ideas of honour the head of a duke, whose heart could never be taught to feel its manly glow. Princes had flown to the arms of their favourite fair ones with more rapturous delight, softened by the masterly touches of his art: and these elevated personages, ever grateful to those from whom they receive benefits, were competitors in the desire of heaping favours upon him. But he, in all his advantages, never once lost for a moment the hope of some advantage for his brother William: and when at any time he was pressed by a patron to demand a "token of his regard," he would constantly reply--"I have a brother, a very learned man, if your lordship (your grace, or your royal highness) would confer some small favour on him!"

His lordship would reply, "He was so teased and harassed in his youth by learned men, that he had ever since detested the whole fraternity."

His grace would inquire, "if the learned man could play upon any instrument."

And his highness would ask "if he could sing."

Rebuffs such as these poor Henry met with in all his applications for William, till one fortunate evening, at the conclusion of a concert, a great man shook him by the hand, and promised a living of five hundred a year (the incumbent of which was upon his death-bed) to his brother, in return for the entertainment that Henry had just afforded him.

Henry wrote in haste to William, and began his letter thus: "My dear brother, I am not sorry you did not learn to play upon the fiddle."

The incumbent of this living died--William underwent the customary examinations, obtained successively the orders of deacon and priest; then as early as possible came to town to take possession of the gift which his brother's skill had acquired for him.

William had a steady countenance, a stern brow, and a majestic walk; all of which this new accession, this holy calling to religious vows, rather increased than diminished. In the early part of his life, the violin of his brother had rather irritated than soothed the morose disposition of his nature: and though, since their departure from their native habitation, it had frequently calmed the violent ragings of his hunger, it had never been successful in appeasing the disturbed passions of a proud and disdainful mind.

As the painter views with delight and wonder the finished picture, expressive testimony of his taste and genius; as the physician beholds with pride and gladness the recovering invalid, whom his art has snatched from the jaws of death; as the father gazes with rapture on his first child, the creature to whom he has given life; so did Henry survey, with transporting glory, his brother, dressed for the first time in canonicals, to preach at his parish church. He viewed him from head to foot--smiled--viewed again--pulled one side of his gown a little this way, one end of his band a little that way; then stole behind him, pretending to place the curls of his hair, but in reality to indulge and to conceal tears of fraternal pride and joy.

William was not without joy, neither was he wanting in love or gratitude to his brother; but his pride was not completely satisfied.

"I am the elder," thought he to himself, "and a man of literature, and yet am I obliged to my younger brother, an illiterate man." Here he suppressed every thought which could be a reproach to that brother. But there remained an object of his former contempt, now become even detestable to him; ungrateful man. The very agent of his elevation was now so odious to him, that he could not cast his eyes upon the friendly violin without instant emotions of disgust.

In vain would Henry, at times, endeavour to subdue his haughtiness by a tune on this wonderful machine. "You know I have no ear," William would sternly say, in recompense for one of Henry's best solos. Yet was William enraged at Henry's answer, when, after taking him to hear him preach, he asked him, "how he liked his sermon," and Henry modestly replied (in the technical phrase of his profession), "You know, brother, I have no ear."

Henry's renown in his profession daily increased; and, with his fame, his friends. Possessing the virtues of humility and charity far above William, who was the professed teacher of those virtues, his reverend brother's disrespect for his vocation never once made him relax for a moment in his anxiety to gain him advancement in the Church. In the course of a few years, and in consequence of many fortuitous circumstances, he had the gratification of procuring for him the appointment to a deanery; and thus at once placed between them an insurmountable barrier to all friendship, that was not the effect of condescension on the part of the dean.

William would now begin seriously to remonstrate with his brother "upon his useless occupation," and would intimate "the degradation it was to him to hear his frivolous talent spoken of in all companies." Henry believed his brother to be much wiser than himself, and suffered shame that he was not more worthy of such a relation. To console himself for the familiar friend, whom he now perceived he had entirely lost, he searched for one of a softer nature--he married.

As Henry despaired of receiving his brother's approbation of his choice, he never mentioned the event to him. But William, being told of it by a third person, inquired of Henry, who confirmed the truth of the intelligence, and acknowledged, that, in taking a wife, his sole view had been to obtain a kind companion and friend, who would bear with his failings and know how to esteem his few qualifications; therefore, he had chosen one of his own rank in life, and who, having a taste for music, and, as well as himself, an obligation to the art--

"And is it possible," cried the dean, "that what has been hinted to me is true? Is it possible that you have married a public singer?"

"She is as good as myself," returned Henry. "I did not wish her to be better, for fear she should despise me."

"As to despise," answered the dean, "Heaven forbid that we should despise anyone, that would be acting unlike a Christian; but do you imagine I can ever introduce her to my intended wife, who is a woman of family?"

Henry had received in his life many insults from his brother; but, as he was not a vain man, he generally thought his brother in the right, and consequently submitted with patience; but, though he had little self-love, he had for his wife an unbounded affection. On the present occasion, therefore, he began to raise his voice, and even (in the coarse expression of clownish anger) to lift his hand; but the sudden and affecting recollection of what he had done for the dean--of the pains, the toils, the hopes, and the fears he had experienced when soliciting his preferment--this recollection overpowered his speech, weakened his arm, and deprived him of every active force, but that of flying out of his brother's house (in which they then were) as swift as lightning, while the dean sat proudly contemplating "that he had done his duty."

For several days Henry did not call, as was his custom, to see his brother. William's marriage drew near, and he sent a formal card to invite him on that day; but not having had the condescension to name his sister-in-law in the invitation, Henry thought proper not to accept it, and the joyful event was celebrated without his presence. But the ardour of the bridegroom was not so vehement as to overcome every other sensation--he missed his brother. That heartfelt cheerfulness with which Henry had ever given him joy upon every happy occasion--even amidst all the politer congratulations of his other friends--seemed to the dean mournfully wanting. This derogation from his felicity he was resolved to resent; and for a whole year these brothers, whom adversity had entwined closely together, prosperity separated.

Though Henry, on his marriage, paid so much attention to his brother's prejudices as to take his wife from her public employment, this had not so entirely removed the scruples of William as to permit him to think her a worthy companion for Lady Clementina, the daughter of a poor Scotch earl, whom he had chosen merely that he might be proud of her family, and, in return, suffer that family to be ashamed of _his_.

If Henry's wife were not fit company for Lady Clementina, it is to be hoped that she was company for angels. She died within the first year of her marriage, a faithful, an affectionate wife, and a mother.

When William heard of her death, he felt a sudden shock, and a kind of fleeting thought glanced across his mind, that

"Had he known she had been so near her dissolution, she might have been introduced to Lady Clementina, and he himself would have called her sister."

That is (if he had defined his fleeting idea), "They would have had no objection to have met this poor woman for the _last time_, and would have descended to the familiarity of kindred, in order to have wished her a good journey to the other world."

Or, is there in death something which so raises the abjectness of the poor, that, on their approach to its sheltering abode, the arrogant believer feels the equality he had before denied, and trembles?

The wife of Henry had been dead near six weeks before the dean heard the news. A month then elapsed in thoughts by himself, and consultations with Lady Clementina, how he should conduct himself on this occurrence. Her advice was,

"That, as Henry was the younger, and by their stations, in every sense the dean's inferior, Henry ought first to make overtures of reconciliation."

The dean answered, "He had no doubt of his brother's good will to him, but that he had reason to think, from the knowledge of his temper, he would be more likely to come to him upon an occasion to bestow comfort, than to receive it. For instance, if I had suffered the misfortune of losing your ladyship, my brother, I have no doubt, would have forgotten his resentment, and--"

She was offended that the loss of the vulgar wife of Henry should be compared to the loss of her--she lamented her indiscretion in forming an alliance with a family of no rank, and implored the dean to wait till his brother should make some concession to him, before he renewed the acquaintance.

Though Lady Clementina had mentioned on this occasion her _indiscretion_, she was of a prudent age--she was near forty--yet, possessing rather a handsome face and person, she would not have impressed the spectator with a supposition that she was near so old had she not constantly attempted to appear much younger. Her dress was fantastically fashionable, her manners affected all the various passions of youth, and her conversation was perpetually embellished with accusations against her own "heedlessness, thoughtlessness, carelessness, and childishness."

Inchbald builds the novel's central conflict around a single, devastating scene: Rebecca, accused of bearing an illegitimate child, is interrogated by her father and sisters. The excerpt reveals how the author uses dialogue and physical description to dramatize the clash between truth and social presumption. Rebecca's simple, repeated assertions—"I do not know" and "she did not know herself"—are met with escalating fury, while her father's language shifts from accusation to prophecy: "From your infancy I have predicted that some fatal catastrophe would befall you." The scene's power lies in its asymmetry: Rebecca's sincerity is rendered implausible by the very conventions her accusers enforce.

Diction of Authority and Submission

The curate's speech is marked by imperatives and escalating threats: "Tell me this instant," "Persist in this, and you shall never see my face again." Inchbald pairs his thundering voice with physical cues—"crimson face, knit brow"—to externalize institutional power. In contrast, Rebecca's replies are fragmented and minimal: "Forgive me," "No," "I do not know." The author withholds interior monologue, forcing the reader to infer her terror through her trembling limbs and hesitations. This asymmetry in diction underscores how authority silences truth.

The Sisters as Instruments of Social Pressure

Rebecca's sisters initially appear as charitable observers, but their role shifts when they "conjured her to spare her father still greater grief" by confessing. Inchbald uses the phrase "emboldened by this insult from her own sex" to mark a turning point: the sisters' feigned kindness becomes a weapon. Their advice to "confess and be forgiven" mirrors the logic of the witch trials the narrator invokes. The author thus shows how women can become enforcers of patriarchal norms, using intimacy as leverage.

Structure of the Interrogation Scene

Inchbald structures the scene as a series of escalating confrontations, each punctuated by a pause for Rebecca's internal calculation. The narrator notes that "she paused to think upon a more probable tale than the real one"—a rare glimpse into her thought process. The rhythm alternates between the father's outbursts, the sisters' coaxing, and Rebecca's silent weighing of options. This structural repetition mirrors the psychological pressure of an inquisition, building toward the moment when Rebecca "felt inclined to confess a falsehood."

Recurring Motif of the Foundling

The foundling child functions as a catalyst for revealing character and social hypocrisy. Henry's account of having "found the child" is accepted by Rebecca on faith, but the narrator emphasizes that this story "would be heard by the present auditors with contempt, even with indignation, as a falsehood." Inchbald uses the motif to expose the gap between private trust and public credibility. The child itself remains unnamed and nearly silent, a blank surface onto which the family projects their suspicions.

Narrative Voice and Moral Ambiguity

Inchbald's narrator occasionally steps back to offer generalizing reflections: "innocence is not always a protection against fear—sometimes less bold than guilt." These aphoristic asides create a distance between the reader and the immediate drama, inviting judgment of the social system rather than mere sympathy for Rebecca. The author also draws an explicit parallel to "women formerly accused of witchcraft," framing the scene as a recurring historical pattern. This narrative strategy prevents the scene from becoming mere melodrama.

Readers attentive to Inchbald's diction will notice how she uses repetition—of phrases like "I do not know" and "confess and be forgiven"—to hammer home the impossibility of Rebecca's position. The novel's title, Nature and Art, finds its most concentrated expression in this interrogation, where natural truth is defeated by the artful construction of guilt. The scene rewards close attention to the interplay of dialogue, gesture, and narrative commentary.

There’s something about Inchbald’s Rebecca that stays with you—how her plain truth gets bent by everyone else’s version of the world. It reminded me, quietly, of that same ache in The Last Chronicle of Barset — Context and Discussion, where a man’s simple honesty becomes a burden he can’t set down. Both left me holding my breath long after the last page, thinking about how fragile straight speaking can be.

Luke Harris
1 week ago

Grace Martin
1 month ago

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5 out of 5 (2 User reviews )

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  • ...
    Mary Harris - 1 month ago
    Despite its philosophical ambitions, this novel feels simplistic and heavy-handed in its message. The characters are thinly drawn, and the plot is predictable. It reads more like a moral pamphlet than a fully realized work of fiction, lacking the nuance and subtlety that great literature demands.

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    Peter Williams - 3 weeks ago
    A poignant and thought-provoking novel that contrasts the artificiality of society with the simplicity and truth of nature. The author's philosophical insights are beautifully woven into the narrative, and the characters are memorable. It's a timeless exploration of education, morality, and the human condition.

  • ...
    Jacob Carlson - 3 weeks ago
    A classic work that raises important questions about the influence of civilization on human nature. The story is engaging and the themes are relevant, but the prose can feel somewhat dated and the pacing is occasionally slow. Still, it's a worthy read for those interested in philosophical fiction.


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