No residents were left in Moscow, and the soldiers--like water percolating through sand--spread irresistibly through the city in all directions from the Kremlin into which they had first marched. The cavalry, on entering a merchant's house that had been abandoned and finding there stabling more than sufficient for their horses, went on, all the same, to the next house which seemed to them better. Many of them appropriated several houses, chalked their names on them, and quarreled and even fought with other companies for them. Before they had had time to secure quarters the soldiers ran out into the streets to see the city and, hearing that everything had been abandoned, rushed to places where valuables were to be had for the taking. The officers followed to check the soldiers and were involuntarily drawn into doing the same. In Carriage Row carriages had been left in the shops, and generals flocked there to select caleches and coaches for themselves. The few inhabitants who had remained invited commanding officers to their houses, hoping thereby to secure themselves from being plundered. There were masses of wealth and there seemed no end to it. All around the quarters occupied by the French were other regions still unexplored and unoccupied where, they thought, yet greater riches might be found. And Moscow engulfed the army ever deeper and deeper. When water is spilled on dry ground both the dry ground and the water disappear and mud results; and in the same way the entry of the famished army into the rich and deserted city resulted in fires and looting and the destruction of both the army and the wealthy city.
The first Russians to enter Moscow were the Cossacks of Wintzingerode's detachment, peasants from the adjacent villages, and residents who had fled from Moscow and had been hiding in its vicinity. The Russians who entered Moscow, finding it plundered, plundered it in their turn. They continued what the French had begun. Trains of peasant carts came to Moscow to carry off to the villages what had been abandoned in the ruined houses and the streets. The Cossacks carried off what they could to their camps, and the householders seized all they could find in other houses and moved it to their own, pretending that it was their property.
Proceeding from circuit to circuit, he reached a lane which he judged to be the Rue de la Poterie; near the middle of this street, he came in contact with an obstacle. He extended his hands. It was an overturned wagon; his foot recognized pools of water, gullies, and paving-stones scattered and piled up. A barricade had been begun there and abandoned. He climbed over the stones and found himself on the other side of the barrier. He walked very near the street-posts, and guided himself along the walls of the houses. A little beyond the barricade, it seemed to him that he could make out something white in front of him. He approached, it took on a form. It was two white horses; the horses of the omnibus harnessed by Bossuet in the morning, who had been straying at random all day from street to street, and had finally halted there, with the weary patience of brutes who no more understand the actions of men, than man understands the actions of Providence.
In the city the garrison regiments were leaving the Bolsheviki, they said. Smolny was already abandoned.... All the Governmental machinery had stopped functioning. The employees of the State Bank had refused to work under Commissars from Smolny, refused to pay out money to them. All the private banks were closed. The Ministries were on strike. Even now a committee from the Duma was making the rounds of business houses, collecting a fund to pay the salaries of the strikers....
On the twenty-eighth of October Kutuzov with his army crossed to the left bank of the Danube and took up a position for the first time with the river between himself and the main body of the French. On the thirtieth he attacked Mortier's division, which was on the left bank, and broke it up. In this action for the first time trophies were taken: banners, cannon, and two enemy generals. For the first time, after a fortnight's retreat, the Russian troops had halted and after a fight had not only held the field but had repulsed the French. Though the troops were ill-clad, exhausted, and had lost a third of their number in killed, wounded, sick, and stragglers; though a number of sick and wounded had been abandoned on the other side of the Danube with a letter in which Kutuzov entrusted them to the humanity of the enemy; and though the big hospitals and the houses in Krems converted into military hospitals could no longer accommodate all the sick and wounded, yet the stand made at Krems and the victory over Mortier raised the spirits of the army considerably. Throughout the whole army and at headquarters most joyful though erroneous rumors were rife of the imaginary approach of columns from Russia, of some victory gained by the Austrians, and of the retreat of the frightened Bonaparte.
The French found Moscow abandoned but with all the organizations of regular life, with diverse branches of commerce and craftsmanship, with luxury, and governmental and religious institutions. These forms were lifeless but still existed. There were bazaars, shops, warehouses, market stalls, granaries--for the most part still stocked with goods-- and there were factories and workshops, palaces and wealthy houses filled with luxuries, hospitals, prisons, government offices, churches, and cathedrals. The longer the French remained the more these forms of town life perished, until finally all was merged into one confused, lifeless scene of plunder.
The French attributed the Fire of Moscow au patriotisme feroce de Rostopchine, * the Russians to the barbarity of the French. In reality, however, it was not, and could not be, possible to explain the burning of Moscow by making any individual, or any group of people, responsible for it. Moscow was burned because it found itself in a position in which any town built of wood was bound to burn, quite apart from whether it had, or had not, a hundred and thirty inferior fire engines. Deserted Moscow had to burn as inevitably as a heap of shavings has to burn on which sparks continually fall for several days. A town built of wood, where scarcely a day passes without conflagrations when the house owners are in residence and a police force is present, cannot help burning when its inhabitants have left it and it is occupied by soldiers who smoke pipes, make campfires of the Senate chairs in the Senate Square, and cook themselves meals twice a day. In peacetime it is only necessary to billet troops in the villages of any district and the number of fires in that district immediately increases. How much then must the probability of fire be increased in an abandoned, wooden town where foreign troops are quartered. "Le patriotisme feroce de Rostopchine" and the barbarity of the French were not to blame in the matter. Moscow was set on fire by the soldiers' pipes, kitchens, and campfires, and by the carelessness of enemy soldiers occupying houses they did not own. Even if there was any arson (which is very doubtful, for no one had any reason to burn the houses--in any case a troublesome and dangerous thing to do), arson cannot be regarded as the cause, for the same thing would have happened without any incendiarism.
Kioto remained the source of authority. But with the growth of luxury and effeminacy in the capital the Fujiwara became more and more averse from the hardships of campaigning, and in the 9th and 10th centuries, respectively, the Taira and the Minamoto[1] families came into prominence as military leaders, the field of the Taira operations being the south and west, that of the Minamoto the north and east. Had the court reserved to itself and munificently exercised the privilege of rewarding these services, it might still have retained power and wealth. But by a niggardly and contemptuous policy on the part of Kioto not only were the Minamoto leaders estranged but also they assumed the right of recompensing their followers with tax-free estates, an example which the Taira leaders quickly followed. By the early years of the 12th century these estates had attracted the great majority of the farming class, whereas the public land was left wild and uncultivated. In a word, the court and the Fujiwara found themselves without revenue, while the coffers of the Taira and the Minamoto were full: the power of the purse and the power of the sword had passed effectually to the two military families. Prominent features of the moral condition of the capital at this era (12th century) were superstition, refinement and effeminacy. A belief was widely held that calamity could not be averted or success insured without recourse to Buddhist priests. Thus, during a reign of only 13 years at the close of the 11th century, the emperor Shirakawa caused 5420 religious pictures to be painted, ordered the casting of 127 statues of Buddha, each 11 ft. high, of 3150 life-sized images and of 2930 smaller idols, and constructed 21 large temples as well as 446,630 religious edifices of various kinds. Side by side with this faith in the supernatural, sexual immorality prevailed widely, never accompanied, however, by immodesty. Literary proficiency ranked as the be-all and end-all of existence. "A man estimated the conjugal qualities of a young lady by her skill in finding scholarly similes and by her perception of the cadence of words. If a woman was so fortunate as to acquire a reputation for learning, she possessed a certificate of universal virtue and amiability." All the pastimes of the Nara epoch were pursued with increased fervour and elaboration in the Heian (Kioto) era. The building of fine dwelling-houses and the laying out of landscape gardens took place on a considerable scale, though in these respects the ideals of later ages were not yet reached. As to costume, the close-fitting, business-like and comparatively simple dress of the 8th century was exchanged for a much more elaborate style. During the Nara epoch the many-hued hats of China had been abandoned for a sober head-gear of silk gauze covered with black lacquer, but in the Heian era this was replaced by an imposing structure glistening with jewels: the sleeves of the tunic grew so long that they hung to the knees when a man's arms were crossed, and the trowsers were made so full and baggy that they resembled a divided skirt. From this era may be said to have commenced the manufacture of the tasteful and gorgeous textile fabrics for which Japan afterwards became famous. "A fop's ideal was to wear several suits, one above the other, disposing them so that their various colours showed in harmoniously contrasting lines at the folds on the bosom and at the edges of the long sleeves. A successful costume created a sensation in court circles. Its wearer became the hero of the hour, and under the pernicious influence of such ambition men began even to powder their faces and rouge their cheeks like women. As for the fair sex, their costume reached the acme of unpracticality and extravagance in this epoch. Long flowing hair was essential, and what with developing the volume and multiplying the number of her robes, and wearing above her trowsers a many-plied train, a grand lady of the time always seemed to be struggling to emerge from a cataract of habiliments." It was fortunate for Japan that circumstances favoured the growth of a military class in this age of her career, for had the conditions existing in Kioto during the Heian epoch spread throughout the whole country, the penalty never escaped by a demoralized nation must have overtaken her. But by the middle of the 12th century the pernicious influence of the Fujiwara had paled before that of the Taira and the Minamoto, and a question of succession to the throne marshalled the latter two families in opposite camps, thus inaugurating an era of civil war which held the country in the throes of almost continuous battle for 450 years, placed it under the administration of a military feudalism, and educated a nation of warriors. At first the Minamoto were vanquished and driven from the capital, Kiyomori, the Taira chief, being left complete master of the situation. He established his headquarters at Rokuharu, in Kioto, appropriated the revenues of 30 out of the 66 provinces forming the empire, and filled all the high offices of state with his own relatives or connexions. But he made no radical change in the administrative system, preferring to follow the example of the Fujiwara by keeping the throne in the hands of minors. And he committed the blunder of sparing the lives of two youthful sons of his defeated rival, the Minamoto chief. They were Yoritomo and Yoshitsune; the latter the greatest strategist Japan ever produced, with perhaps one exception; the former, one of her three greatest statesmen, the founder of military feudalism. By these two men the Taira were so completely overthrown that they never raised their heads again, a sea-fight at Dan-no-ura (1155) giving them the _coup de grâce_. Their supremacy had lasted 22 years. Entry: IX
_Great Britain_.--During the later 19th century the term caricature, somewhat loosely used at all times, came gradually to cover almost every form of humorous art, from the pictorial wit and wisdom of Sir John Tenniel to the weird grotesques of Mr S.H. Sime, from the gay pleasantries of Randolph Caldecott to the graceful but sedate fancies of Mr Walter Crane. It is made to embrace alike the social studies, satirical and sympathetic, of Du Maurier and Keene, the political cartoons of Mr Harry Furniss and Sir F.C. Gould, the unextenuating likenesses of "Ape," and "Spy," and "Max," the subtle conceits of Mr Linley Sambourne, the whimsicalities of Mr E.T. Reed, the exuberant burlesques of Mr J.F. Sullivan, the frank buffooneries of W.G. Baxter, Of these diverse forms of graphic humour, some have no other object than to amuse, and therefore do not call for serious notice. The work of Mr Max Beerbohm ("Max") has the note of originality and extravagance too; while that of "Spy" (Mr Leslie Ward) in _Vanity Fair_, if it does not rival the occasional brilliancy of his predecessor "Ape" (Carlo Pellegrini, 1839-1889), maintains a higher average of merit. The pupil, too, is much more genial than the master, and he is content if his pencil evokes the comment, "How ridiculously like!" Caricature of this kind is merely an entertainment. Here we are concerned rather with those branches of caricature which, merrily or mordantly, reflect and comment upon the actual life we live. In treating of recent caricature of this kind, we must give the first place to _Punch_. Mr Punch's outlook upon life has not changed much since the 'seventies of the last century. His influence upon the tone of caricature made itself felt most appreciably in the days of John Leech and Richard Doyle. Their successors but follow in their steps. In their work, says a clever German critic, is to be found no vestige of the "sour bilious temper of John Bull" that pervaded the pictures of Hogarth and Rowlandson. Charles Keene (1823-1891) and Du Maurier (1834-1896), he declares, are not caricaturists or satirists, but amiable and tenderly grave observers of life, friendly optimists. The characterization is truer of Keene, perhaps, than of Du Maurier. Charles Keene's sketches are almost always cheerful; almost without exception they make you smile or laugh. In many of Du Maurier's, on the other hand, there is an underlying seriousness. While Keene looks on at life with easy tolerance, an amused spectator, Du Maurier shows himself sensitive, emotional, sympathetic, taking infinite delight in what is pretty and gay and charming, but hurt and offended by the sordid and the ugly. Thus while Keene takes things dispassionately as they come, seeing only the humorous side of them, we find Du Maurier ever and anon attacking some new phase of snobbishness or philistinism or cant. For all his kindliness in depicting congenial scenes, he is at times as unrelenting a satirist as Rowlandson. The other _Punch_ artists, whose work is in the same field, resemble Keene in this respect rather than Du Maurier. Mr Leonard Raven-Hill recalls Charles Keene not merely in temperament but in technique; like Keene, too, he finds his subjects principally in _bourgeois_ life. Mr J. Bernard Partridge, though, like Du Maurier, he has an eye for physical beauty, is a spectator rather than a critic of life, yet he has made his mark as a "cartoonist." Phil May (d. 1903), a modern Touchstone, is less easily classified. Though he wears the cap and bells, he is alive to the pity of things; he sees the pathos no less than the humour of his street-boys and "gutter-snipes." He is, however, a jester primarily: an artist, too, of high achievement. Two others stand out as masters of the art of social caricature--Frederick Barnard and Mr J.F. Sullivan. Barnard's illustrations to Dickens, like his original sketches, have a lively humour--the humour of irrepressible high spirits--and endless invention. High spirits and invention are characteristics also of Mr Sullivan. It is at the British artisan and petty tradesman--at the grocer given to adulteration and the plumber who outstays his welcome--that he aims his most boisterous fun. He rebels, too, delightfully, against red tape and all the petty tyrannies of officialdom. In political caricature Sir John Tenniel (_q.v._) remained the leading artist of his day. The death of Abraham Lincoln, Bismarck's fall from power, the tragedy of Khartum--to subjects such as these, worthy of a great painter, Tenniel has brought a classic simplicity and a sense of dignity unknown previously to caricature. It is hard to say in which field Tenniel most excels--whether in those ingenious parables in which the British Lion and the Russian Bear, John Chinaman, Jacques Bonhomme and Uncle Sam play their part--or in the ever-changing scenes of the great parliamentary Comedy--or in sombre dramas of Anarchy, Famine or Crime--or in those London extravaganzas in which the symbolic personalities of Gog and Magog, Father Thames and the Fog Fiend, the duke of Mudford and Mr Punch himself, have become familiar. Subjects similar to these have been treated also for many years by Mr Linley Sambourne in his fanciful and often beautiful designs. In the field of humorous portraiture also, as in cartoon-designing, Mr Sambourne has made his mark, and he may be said almost to have originated, in a small way, that practice of illustrating the doings of parliament with comic sketches in which Mr Furniss, Mr E.T. Reed and Sir F.C. Gould were his most notable successors. Mr Furniss satirized the Royal Academy as effectively as the Houses of Parliament, but he has been above all the illustrator of parliament--the creator of Mr Gladstone's collars, the thief of Lord Randolph Churchill's inches, the immortalizer of so many otherwise obscure politicians who has worked the House of Commons and its doings into so many hundreds of eccentric designs. But Mr Furniss was never, like Sir F.C. Gould (of the _Westminster Gazette_), a politician first and a caricaturist afterwards. Gould is an avowed partisan, and his caricatures became the most formidable weapons of the Radical party. Caustic, witty and telling, not specially well drawn, but drawn well enough--the likenesses unfailingly caught and recognizable at a glance--his "Picture Politics" won him a place unique in the ranks of caricaturists. There is no evidence of such strenuousness in the work of Mr E.T. Read (of _Punch_). In his parliamentary sketches, as in his "Animal Land" and "Prehistoric Peeps," Mr Reed is a wholly irresponsible humorist and parodist. One finds keen satire, however, in those "Ready-made Coats of Arms," in which he turned at once his heraldic lore and his insight into character to excellent account. In his more serious picture in which he has drawn a parallel between the _tricoteuses_ awaiting with grim enjoyment the fall of the guillotine and those modern English gentlewomen who flock to the Old Bailey as to the play, we have the true Hogarthian touch. Mr Gunning King, Mr F.H. Townshend, Mr C.E. Brock, Mr Tom Browne, are among the younger humorists who have advanced to the front rank. Though there have been some notable competitors with _Punch_, there has never been a really "good second." In Matt Morgan the _Tomahawk_ (1865-1867) could boast an original cartoonist after Tenniel's style, but without Tenniel's power and humour. Morgan's _Tomahawk_ cartoons gained in effect from an ingenious method of printing in two colours. In Fred Barnard, W.G. Baxter, and Mr J.F. Sullivan, _Judy_ (founded in 1867) possessed a trio of pictorial humorists of the first rank, and in W. Bowcher a political cartoonist thoroughly to the taste of those hot and strong Conservatives to whom _Punch's_ faint Whiggery was but Radicalism in disguise. His successor, Mr William Parkinson, was not less loyal to Tory ideas, though more urbane in his methods. _Fun_ has had cartoonists of high merit in Mr Gordon Thomson and in Mr John Proctor, who worked also for _Moonshine_ (founded in 1879, now extinct). _Moonshine_ afterwards enlisted the services of Alfred Bryan, to whose clever pencil the Christmas number of the _World_ was indebted for many years. _Ally Sloper_, founded in 1884, is notable only as the widely circulated medium for W.G. Baxter's wild humours, kept up in the same spirit by Mr W.F. Thomas, his successor. _Pick-me-up_ could once count a staff which rivalled at least the social side of _Punch_; Mr Raven-Hill, Phil May, Mr Maurice Greiffenhagen and Mr Dudley Hardy all contributed in their time to its sprightly pages, while Mr S.H. Sime made it the vehicle for his "squint-brained" imaginings. The _Will o' the Wisp_, the _Butterfly_ and the _Unicorn_, kindred ventures, though on different lines, all met with an early death. _Lika Joko_, founded in 1894 by Mr Harry Furniss, who in that year abandoned _Punch_, and afterwards _Fair Game_, were also short-lived. To this brief list of purely comic or satirical journals should be added the names of several daily and weekly publications--and among monthlies the _Idler_, with its caricatures by Mr Scott Rankin, Mr Sime and Mr Beerbohm--which have made a special feature of humorous art. Among these are the _Graphic_, whose Christmas numbers were first brightened by Randolph Caldecott; the _Daily Graphic_, enlivened sometimes by Phil May and Mr A.S. Boyd; _Vanity Fair_, with its grotesque portraits; _Truth_, to whose Christmas numbers Sir F.C. Gould contributed some of his best and most ambitious work, printed in colours; the _Sketch_, with Phil May and others; _Black and White_, with Mr Henry Meyer; the _Pall Mall Gazette_, first with Sir F.C. Gould, and later with Mr G.R. Halkett. The _St Stephen's Review_, whose crudely powerful cartoons, the work of Tom Merry, were so popular, ceased publication in 1892. A tribute should be paid in conclusion to the coloured cartoons of the _Weekly Freeman_ and other Irish papers, often remarkable for their humour and talent. (See also CARTOON and ILLUSTRATION.) Entry: CARICATURE
KELLY, HUGH (1739-1777), Irish dramatist and poet, son of a Dublin publican, was born in 1739 at Killarney. He was apprenticed to a staymaker, and in 1760 went to London. Here he worked at his trade for some time, and then became an attorney's clerk. He contributed to various newspapers, and wrote pamphlets for the booksellers. In 1767 he published _Memoirs of a Magdalen, or the History of Louisa Mildmay_ (2 vols.), a novel which obtained considerable success. In 1766 he published anonymously _Thespis; or, A Critical Examination into the Merits of All the Principal Performers belonging to Drury Lane Theatre_, a poem in the heroic couplet containing violent attacks on the principal contemporary actors and actresses. The poem opens with a panegyric on David Garrick, however, and bestows foolish praise on friends of the writer. This satire was partly inspired by Churchill's _Rosciad_, but its criticism is obviously dictated chiefly by personal prejudice. In 1767 he produced a second part, less scurrilous in tone, dealing with the Covent Garden actors. His first comedy, _False Delicacy_, written in prose, was produced by Garrick at Drury Lane on the 23rd of January 1768, with the intention of rivalling Oliver Goldsmith's _Good-Natured Man_. It is a moral and sentimental comedy, described by Garrick in the prologue as a sermon preached in acts. Although Samuel Johnson described it as "totally void of character," it was very popular and had a great sale. In French and Portuguese versions it drew crowded houses in Paris and Lisbon. Kelly was a journalist in the pay of Lord North, and therefore hated by the party of John Wilkes, especially as being the editor of the _Public Ledger_. His _Thespis_ had also made him many enemies; and Mrs Clive refused to act in his pieces. The production of his second comedy, _A Word to the Wise_ (Drury Lane, 3rd of March 1770), occasioned a riot in the theatre, repeated at the second performance, and the piece had to be abandoned. His other plays are: _Clementina_ (Covent Garden, 23rd of February 1771), a blank verse tragedy, given out to be the work of a "young American Clergyman" in order to escape the opposition of the Wilkites; _The School for Wives_ (Drury Lane, 11th of December 1773), a prose comedy given out as the work of Major (afterwards Sir William) Addington; a two-act piece, _The Romance of an Hour_ (Covent Garden, 2nd of December 1774), borrowed from Marmontel's tale _L'Amitié à l'épreuve_; and an unsuccessful comedy, _The Man of Reason_ (Covent Garden, 9th of February 1776). He was called to the bar at the Middle Temple in 1774, and determined to give up literature. He failed in his new profession and died in poverty on the 3rd of February 1777. Entry: KELLY