Devereux — Volume 03 — Text and Context
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WHEREIN THE HISTORY MAKES GREAT PROGRESS AND IS MARKED BY ONE IMPORTANT EVENT IN HUMAN LIFE.
SPINOZA is said to have loved, above all other amusements, to put flies into a spider's web; and the struggles of the imprisoned insects were wont to bear, in the eyes of this grave philosopher, so facetious and hilarious an appearance, that he would stand and laugh thereat until the tears "coursed one another down his innocent nose." Now it so happened that Spinoza, despite the general (and, in my most meek opinion, the just) condemnation of his theoretical tenets,* was, in character and in nature, according to the voices of all who knew him, an exceedingly kind, humane, and benevolent biped; and it doth, therefore, seem a little strange unto us grave, sober members of the unphilosophical Many, that the struggles and terrors of these little winged creatures should strike the good subtleist in a point of view so irresistibly ludicrous and delightful. But, for my part, I believe that that most imaginative and wild speculator beheld in the entangled flies nothing more than a living simile--an animated illustration--of his own beloved vision of Necessity; and that he is no more to be considered cruel for the complacency with which he gazed upon those agonized types of his system than is Lucan for dwelling with a poet's pleasure upon the many ingenious ways with which that Grand Inquisitor of Verse has contrived to vary the simple operation of dying. To the bard, the butchered soldier was only an epic ornament; to the philosopher, the murdered fly was only a metaphysical illustration. For, without being a fatalist, or a disciple of Baruch de Spinoza, I must confess that I cannot conceive a greater resemblance to our human and earthly state than the penal predicament of the devoted flies. Suddenly do we find ourselves plunged into that Vast Web,--the World; and even as the insect, when he first undergoeth a similar accident of necessity, standeth amazed and still, and only by little and little awakeneth to a full sense of his situation; so also at the first abashed and confounded, we remain on the mesh we are urged upon, ignorant, as yet, of the toils around us, and the sly, dark, immitigable foe that lieth in yonder nook, already feasting her imagination upon our destruction. Presently we revive, we stir, we flutter; and Fate, that foe--the old arch-spider, that hath no moderation in her maw--now fixeth one of her many eyes upon us, and giveth us a partial glimpse of her laidly and grim aspect. We pause in mute terror; we gaze upon the ugly spectre, so imperfectly beheld; the net ceases to tremble, and the wily enemy draws gently back into her nook. Now we begin to breathe again; we sound the strange footing on which we tread; we move tenderly along it, and again the grisly monster advances on us; again we pause; the foe retires not, but remains still, and surveyeth us; we see every step is accompanied with danger; we look round and above in despair; suddenly we feel within us a new impulse and a new power! we feel a vague sympathy with /that/ unknown region which spreads beyond this great net,--/that limitless beyond/ hath a mystic affinity with a part of our own frame; we unconsciously extend our wings (for the soul to us is as the wings to the fly!); we attempt to rise,--to soar above this perilous snare, from which we are unable to crawl. The old spider watcheth us in self-hugging quiet, and, looking up to our native air, we think,--now shall we escape thee. Out on it! We rise not a hair's breadth: we have the /wings/, it is true, but the /feet/ are fettered. We strive desperately again: the whole web vibrates with the effort; it will break beneath our strength. Not a jot of it! we cease; we are more entangled than ever! wings, feet, frame, the foul slime is over all! where shall we turn? every line of the web leads to the one den,--we know not,--we care not,--we grow blind, confused, lost. The eyes of our hideous foe gloat upon us; she whetteth her insatiate maw; she leapeth towards us; she fixeth her fangs upon us; and so endeth my parallel!
* One ought, however, to be very cautious before one condemns a philosopher. The master's opinions are generally pure: it is the conclusions and corollaries of his disciples that "draw the honey forth that drives men mad." Schlegel seems to have studied Spinoza /de fonte/, and vindicates him very earnestly from the charges brought against him,--atheism, etc.--ED.
The third volume of Devereux opens with an extended simile comparing human life to flies caught in a spider's web, a figure attributed to Spinoza. This philosophical conceit sets the tone for a narrative that moves between abstract reflection and concrete action. The narrator uses the web to explore themes of necessity and free will, framing the protagonist's subsequent encounters as struggles against an invisible fate. The volume's structure alternates between inward meditation and outward dialogue, creating a rhythm that mirrors the fly's alternating stillness and fluttering.
The Spider's Web as Structural Motif
The opening chapter's elaborate spider-web metaphor is not merely decorative; it establishes a pattern of observation and entrapment that recurs throughout the volume. The narrator describes the fly's initial stillness, then gradual awakening to danger, and the spider's patient retreat—a sequence that prefigures the hero's own movements between action and pause. This image reappears in subtler forms: the hero's conversations with the old philosopher and with Isora each involve a testing of the ground, a wary advance, and a retreat into reflection. The web becomes a structural principle, organizing scenes around moments of tension and release.
Dialogue as a Mirror of Inner Conflict
The volume's central dialogue—between the hero and the son of Oliver Cromwell—is a carefully staged philosophical exchange. The host's question, "Was the fate of the great Protector fairer than that of the despised and forgotten Richard Cromwell?" forces the hero to confront the gap between ambition and happiness. The conversation moves from Plato to the aphorism about governing passions, then to a revelation of identity. This scene exemplifies how Lytton uses dialogue to externalize the hero's internal debate: the host's reclusive wisdom counters the hero's restless curiosity, and the paper left for later reading extends the argument beyond the immediate encounter.
Movement Between Solitude and Society
The volume's scenes are linked by a pattern of withdrawal and return. The hero journeys to a remote philosopher's home, then departs impatiently to rejoin Isora. The philosopher's retreat is described as a place of "self-gratulation" and wisdom, yet the hero cannot linger; he is drawn back to human connection. This oscillation between solitude and society is mirrored in the prose: long, reflective paragraphs give way to brisk, action-driven sentences. The hero's final reflection—that "we make the toil the meed"—suggests a growing awareness that the journey itself, not the goal, consumes his attention.
Recurring Images of Light and Time
Lytton punctuates the narrative with precise temporal and visual details. The hero arrives at Isora's door "when the sun, like a noble heart, began to show his greatest countenance in his lowest estate"—a phrase that echoes the volume's concern with hidden worth and belated recognition. The philosopher's paper is to be opened "at least two miles hence," imposing a measured delay that mirrors the fly's gradual awakening. These recurring images of light at its lowest point and of distance as a condition for understanding reinforce the volume's meditation on timing and perspective.
The Role of the Unseen Listener
Throughout the volume, the hero's thoughts are often presented as direct address to the reader or as silent commentary on others' words. When the philosopher speaks of happiness, the hero thinks but does not say that "the wisest men seldom have the loftiest genius." This gap between spoken and unspoken creates a layered narrative voice, where the reader is privy to the hero's private judgments. The device of the sealed paper—read after a prescribed interval—extends this pattern: the hero receives knowledge meant for a later self, and the reader shares that delayed revelation.
Readers attentive to the volume's recurring images—the web, the delayed opening of a paper, the sun at its lowest—will find a narrative that rewards careful observation of its own structure. The philosophical digressions are not interruptions but integral to the movement between scenes. Treat each dialogue as both a plot event and a mirror of the hero's evolving thought, and note how the prose rhythm shifts between expansive reflection and terse action.
There’s something about Lytton’s spider-web, how fate tightens around his characters even in quiet moments, that lingers. It reminded me of the same ache in The Devil Doctor — Text and Context, where solitude feels less like escape and more like waiting. Funny how old books still hold that thread, pulled taut across decades, and I’m still unraveling it.
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Elijah Walker
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