The Caxtons: A Family Picture — Volume 06 — Edition Insights

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Lytton, Edward Bulwer Lytton, Baron, 1803-1873 Project Gutenberg 2005 Not confirmed
English fiction -- 19th century; Families -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 11,663
Reading time 51 min
Text sections 2

The source record for The Caxtons: A Family Picture — Volume 06 — Edition Insights measures this digital text at 11,663 words, 51 min estimated reading time, and 2 detected text sections.

The text analysis averages about 19.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “English fiction -- 19th century,” connecting these edition facts with the source record’s subject description.

In Volume 06 of Bulwer-Lytton's family chronicle, the narrator Pisistratus leaves college to become secretary to the statesman Mr. Trevanion. The volume contrasts leisurely domestic evenings with the demanding pace of political work, using shifts in tempo and voice to explore ambition, duty, and the tension between contemplation and action.
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For therewith arose, not conviction, but discussion; Trevanion was logical, Beaudesert sentimental. My father held firm to the saffron bag. When James the First dedicated to the Duke of Buckingham his meditation on the Lord's Prayer, he gave a very sensible reason for selecting his Grace for that honor; "For," saith the king, "it is made upon a very short and plain prayer, and, therefore, the fitter for a courtier, for courtiers are for the most part thought neither to have lust nor leisure to say long prayers, liking best courte messe et long disner." I suppose it was for a similar reason that my father persisted in dedicating to the member of parliament and the fine gentleman "this short and plaine" morality of his,--to wit, the saffron bag. He was evidently persuaded, if he could once get them to apply that, it was all that was needful; that they had neither lust nor leisure for longer instructions. And this saffron bag,--it came down with such a whack, at every round in the argument! You would have thought my father one of the old plebeian combatants in the popular ordeal, who, forbidden to use sword and lance, fought with a sand-bag tied to a flail: a very stunning weapon it was when filled only with sand; but a bag filled with saffron, it was irresistible! Though my father had two to one against him, they could not stand such a deuce of a weapon. And after tats and pishes innumerable from Mr. Trevanion, and sundry bland grimaces from Sir Sedley Beaudesert, they fairly gave in, though they would not own they were beaten.

"Enough," said the member, "I see that you don't comprehend me; I must continue to move by my own impulse."

My father's pet book was the Colloquies of Erasmus; he was wont to say that those Colloquies furnished life with illustrations in every page. Out of the Colloquies of Erasmus he now answered the member.

"Rabirius, wanting his servant Syrus to get up," quoth my father, "cried out to him to move. 'I do move,' said Syrus. 'I see you move,' replied Rabirius, 'but you move nothing.' To return to the saffron bag--"

"Confound the saffron bag!" cried Trevanion, in a rage; and then softening his look as he drew on his gloves, he turned to my mother and said, with more politeness than was natural to, or at least customary with, him,--

"By the way, my dear Mrs. Caxton, I should tell you that Lady Ellinor comes to town to-morrow on purpose to call on you. We shall be here some little time, Austin; and though London is so empty, there are still some persons of note to whom I should like to introduce you and yours--"

"Nay," said my father; "your world and my world are not the same. Books for me, and men for you. Neither Kitty nor I can change our habits, even for friendship: she has a great piece of work to finish, and so have I. Mountains cannot stir, especially when in labor; but Mahomet can come to the mountain as often as he likes."

Mr. Trevanion insisted, and Sir Sedley Beaudesert mildly put in his own claims; both boasted acquaintance with literary men whom my father would, at all events, be pleased to meet. My father doubted whether he could meet any literary men more eloquent than Cicero, or more amusing than Aristophanes; and observed that if such did exist, he would rather meet them in their books than in a drawing-room. In fine, he--was immovable; and so also, with less argument, was Captain Roland.

Then Mr. Trevanion turned to me.

"Your son, at all events, should see something of the world."

My mother's soft eye sparkled.

"My dear friend, I thank you," said my father, touched; "and Pisistratus and I will talk it over."

Our guests had departed. All four of us gathered to the open window, and enjoyed in silence the cool air and the moonlight.

"Austin," said my mother at last, "I fear it is for my sake that you refuse going amongst your old friends: you knew I should be frightened by such fine people, and--"

"And we have been happy for more than eighteen years without them, Kitty! My poor friends are not happy, and we are. To leave well alone is a golden rule worth all in Pythagoras. The ladies of Bubastis, my dear,--a place in Egypt where the cat was worshipped,--always kept rigidly aloof from the gentlemen in Athribis, who adored the shrew-mice. Cats are domestic animals, your shrew-mice are sad gadabouts: you can't find a better model, any Kitty, than the ladies of Bubastis!"

Volume 06 opens with a sceptical retort: 'I don't know that,' said my father, challenging the notion that 'happiness is our being's end and aim.' The scene is a warm London evening, with windows open onto a quiet street near the British Museum. The narrative voice—Pisistratus, the son—lingers on the atmosphere: the balcony flowers, the passing carriages, the 'dark monastic pile' of the Museum. This unhurried, descriptive opening gives way to a portrait of Sir Sedley Beaudesert, a 'rare specimen of a race fast decaying,' described with a blend of admiration and period detail. The pace is leisurely, the tone reflective, as the family gathers with old friends.

From Domestic Stillness to Political Haste

The change in pace is not merely stylistic; it reflects a thematic pivot. The earlier scene, with its emphasis on conversation and character, belongs to the Caxton household—a world of books, reflection, and family. Trevanion's study, by contrast, is a machine of political and practical labor. The narrator's own voice adapts: where he once described Sir Sedley with leisurely detail, he now records tasks in a terse, numbered list. This structural shift underscores the tension between two modes of life: the contemplative and the active, the domestic and the public.

The Secretary's Burden: Evidence of a Demanding Routine

The narrator's comment that he works 'harder than I should have worked at college' is borne out by the evidence. The list is not a summary but a verbatim record, and its specificity—the reference to 'Lumina conjurent,' the query about 'infecit' versus 'injecerit'—grounds the volume in the texture of nineteenth-century political and intellectual life. The voice here is matter-of-fact, almost documentary, a departure from the more ornate style of the opening. This shift in register reinforces the contrast between the Caxton home, where conversation meanders, and Trevanion's house, where every minute is accounted for.

Fatherly Counsel and the Saffron Bag

The father's final question to Pisistratus—'will you promise me always to wear the saffron bag?'—is a cryptic allusion to a previous family joke, but it also signals a deeper concern: that the son may lose his individuality in the service of another. The father's voice, with its blend of affection and irony, provides a counterpoint to the relentless tempo of Trevanion's household. It reminds the reader that the narrative is framed by a family story, and that the pressures of the world are measured against the values of home.

Readers attentive to narrative tempo will find Volume 06 a study in contrasts: the opening's unhurried portraiture versus the secretary's numbered tasks. The father's sceptical 'I don't know that' echoes through the volume, questioning whether happiness or ambition is the proper end. Pay attention to how the narrator's own voice shifts—from descriptive to documentary—as he moves between these two worlds. The volume offers no resolution, only the ongoing experiment of a young man testing his place between the rock and the storm.

Reading Pisistratus trading lamplight for Trevanion’s ticking clocks, I remembered evenings in my uncle’s study, the hush before his fire dimmed. That same ache—choosing motion over stillness—came back with The Old Stone House — Background and Themes, where walls hold their silence while the world outside insists on turning. Both books let me sit a while with that tension, unnamed.

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