The Project Gutenberg Etext of The Tragic Comedians, v1, by George Meredith #67 in our series by George Meredith

Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg file.

We encourage you to keep this file, exactly as it is, on your own disk, thereby keeping an electronic path open for future readers.

Please do not remove this.

This header should be the first thing seen when anyone starts to view the etext. Do not change or edit it without written permission. The words are carefully chosen to provide users with the information they need to understand what they may and may not do with the etext. To encourage this, we have moved most of the information to the end, rather than having it all here at the beginning.

**Welcome To The World of Free Plain Vanilla Electronic Texts**

**Etexts Readable By Both Humans and By Computers, Since 1971**

*****These Etexts Were Prepared By Thousands of Volunteers!*****

Information on contacting Project Gutenberg to get etexts, and further information, is included below. We need your donations.

The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541 Find out about how to make a donation at the bottom of this file.

Title: The Tragic Comedians, v1

Author: George Meredith

Edition: 10

Language: English

Release Date: September, 2003 [Etext #4461]
[Yes, we are more than one year ahead of schedule]
[This file was first posted on February 12, 2002]

The Project Gutenberg Etext of The Tragic Comedians, v1, by Meredith
********This file should be named 4461.txt or 4461.zip********

This etext was produced by David Widger <[email protected]>

Project Gutenberg Etexts are often created from several printed editions, all of which are confirmed as Public Domain in the US unless a copyright notice is included. Thus, we usually do not keep etexts in compliance with any particular paper edition.

The "legal small print" and other information about this book may now be found at the end of this file. Please read this important information, as it gives you specific rights and tells you about restrictions in how the file may be used.

[NOTE: There is a short list of bookmarks, or pointers, at the end of the file for those who may wish to sample the author's ideas before making an entire meal of them. D.W.]

THE TRAGIC COMEDIANS

A STUDY IN A WELL-KNOWN STORY

By George Meredith

1892

BOOK 1.

The word 'fantastical' is accentuated in our tongue to so scornful an utterance that the constant good service it does would make it seem an appointed instrument for reviewers of books of imaginative matter distasteful to those expository pens. Upon examination, claimants to the epithet will be found outside of books and of poets, in many quarters, Nature being one of the prominent, if not the foremost. Wherever she can get to drink her fill of sunlight she pushes forth fantastically. As for that wandering ship of the drunken pilot, the mutinous crew and the angry captain, called Human Nature, 'fantastical' fits it no less completely than a continental baby's skull-cap the stormy infant.

Our sympathies, one may fancy, will be broader, our critical acumen shrewder, if we at once accept the thing as a part of us and worthy of study.

The pair of tragic comedians of whom there will be question pass under this word as under their banner and motto. Their acts are incredible: they drank sunlight and drove their bark in a manner to eclipse historical couples upon our planet. Yet they do belong to history, they breathed the stouter air than fiction's, the last chapter of them is written in red blood, and the man pouring out that last chapter, was of a mighty nature not unheroical, a man of the active grappling modern brain which wrestles with facts, to keep the world alive, and can create them, to set it spinning.

A Faust-like legend might spring from him: he had a devil. He was the leader of a host, the hope of a party, venerated by his followers, well hated by his enemies, respected by the intellectual chiefs of his time, in the pride of his manhood and his labours when he fell. And why this man should have come to his end through love, and the woman who loved him have laid her hand in the hand of the slayer, is the problem we have to study, nothing inventing, in the spirit and flesh of both. To ask if it was love is useless. Love may be celestial fire before it enters into the systems of mortals. It will then take the character of its place of abode, and we have to look not so much for the pure thing as for the passion. Did it move them, hurry them, animating the giants and gnomes of one, the elves and sprites of the other, and putting animal nature out of its fashionable front rank? The bare railway-line of their story tells of a passion honest enough to entitle it to be related. Nor is there anything invented, because an addition of fictitious incidents could never tell us how she came to do this, he to do that; or how the comic in their natures led by interplay to the tragic issue. They are real creatures, exquisitely fantastical, strangely exposed to the world by a lurid catastrophe, who teach us, that fiction, if it can imagine events and persons more agreeable to the taste it has educated, can read us no such furrowing lesson in life.

THE TRAGIC COMEDIANS

CHAPTER I

An unresisted lady-killer is probably less aware that he roams the pastures in pursuit of a coquette, than is the diligent Arachne that her web is for the devouring lion. At an early age Clotilde von Rudiger was dissatisfied with her conquests, though they were already numerous in her seventeenth year, for she began precociously, having at her dawn a lively fancy, a womanly person, and singular attractions of colour, eyes, and style. She belonged by birth to the small aristocracy of her native land. Nature had disposed her to coquettry, which is a pastime counting among the arts of fence, and often innocent, often serviceable, though sometimes dangerous, in the centres of polished barbarism known as aristocratic societies, where nature is not absent, but on the contrary very extravagant, tropical, by reason of her idle hours for the imbibing of copious draughts of sunlight. The young lady of charming countenance and sprightly manners is too much besought to choose for her choice to be decided; the numbers beseeching prevent her from choosing instantly, after the fashion of holiday schoolboys crowding a buffet of pastry. These are not coquettish, they clutch what is handy: and little so is the starved damsel of the sequestered village, whose one object of the worldly picturesque is the passing curate; her heart is his for a nod. But to be desired ardently of trooping hosts is an incentive to taste to try for yourself. Men (the jury of householders empanelled to deliver verdicts upon the ways of women) can almost understand that. And as it happens, tasting before you have sounded the sense of your taste will frequently mislead by a step or two difficult to retrieve: the young coquette must then be cruel, as necessarily we kick the waters to escape