Probably all think it so but those who possess—or fancy they possess—it. To hear them speak, you would believe that their hearts would be cold if that elixir did not flow about them; that their eyes would be dim if that flame did not refine their vision; that they would be lonely if this strange companion abandoned them. You would suppose that it imparted some glad hope to spring, some fine charm to summer, some tranquil joy to autumn, some consolation to winter, which you do not feel. An illusion, of course; but the fanatics cling to their dream, and would not give it for gold.

As Mr. Yorke did not possess poetic imagination himself, he considered it a most superfluous quality in others. Painters and musicians he could tolerate and even encourage, because he could relish the results of their art; he could see the charm of a fine picture, and feel the pleasure of good music; but a quiet poet— whatever force struggled, whatever fire glowed, in his breast—if he could not have played the man in the counting-house, or the tradesman in the Piece Hall, might have lived despised and died scorned under the eyes of Hiram Yorke.

And as there are many Hiram Yorkes in the world, it is well that the true poet, quiet externally though he may be, has often a truculent spirit under his placidity, and is full of shrewdness in his meekness, and can measure the whole stature of those who look down on him, and correctly ascertain the weight and value of the pursuits they disdain him for not having followed. It is happy that he can have his own bliss, his own society with his great friend and goddess, Nature, quite independent of those who find little pleasure in him, and in whom he finds no pleasure at all. It is just, that while the world and circumstances often turn a dark, cold side to him—and properly, too, because he first turns a dark, cold, careless side to them—he should be able to maintain a festal brightness and cherishing glow in his bosom, which makes all bright and genial for him, while strangers, perhaps, deem his existence a Polar winter never gladdened by a sun. The true poet is not one whit to be pitied; and he is apt to laugh in his sleeve when any misguided sympathizer whines over his wrongs. Even when utilitarians sit in judgment on him, and pronounce him and his art useless, he hears the sentence with such a hard derision, such a broad, deep, comprehensive, and merciless contempt of the unhappy Pharisees who pronounce it, that he is rather to be chidden than condoled with. These, however, are not Mr. Yorke’s reflections, and it is with Mr. Yorke we have at present to do.

I have told you some of his faults, reader; as to his good points, he was one of the most honourable and capable men in Yorkshire; even those who disliked him were forced to respect him. He was much beloved by the poor, because he was thoroughly kind and very fatherly to them. To his workmen he was considerate and cordial; when he dismissed them from an occupation he would try to set them on to something else; or, if that was impossible, help them to remove with their families to a district where work might possibly be had. It must also be remarked that if, as sometimes chanced, any individual amongst his ‘hands’ showed signs of insubordination, Yorke—who, like many who abhor being controlled, knew how to control with vigour— had the secret of crushing rebellion in the germ, of eradicating it like a bad weed, so that it never spread or developed within the sphere of his authority. Such being the happy state of his own affairs, he felt himself at liberty to speak with the utmost severity of those who were differently situated; to ascribe whatever was unpleasant in their position entirely to their own fault, to sever himself from the masters, and advocate freely the cause of the operatives.

Mr. Yorke’s family was the first and oldest in the district; and he, though not the wealthiest, was one of the most influential men. His education had been good; in his youth, before the French Revolution, he had travelled on the Continent; he was an adept in the French and Italian languages. During a two years’ sojourn in Italy, he had collected many good paintings and tasteful rarities, with which his residence was now adorned. His manners, when he liked, were those of a finished gentleman of the old school; his conversation, when he was disposed to please, was singularly interesting and original; and if he usually expressed himself in the Yorkshire dialect, it was because he chose to do so, preferring his native Doric to a more refined vocabulary. ‘A Yorkshire burr,’ he affirmed, ‘was as much better than a Cockney’s lisp as a bull’s bellow than a ratton’s squeak.’