The Gallery of Portraits: with Memoirs. Volume 1 (of 7) — Background and Themes
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nt constitution, with all its vices and all its abuses. In the meanwhile, Frederic William, King of Prussia, who had so mainly contributed to excite the Poles to their enterprises, basely deserted them, and refused to give them any assistance. On the contrary, he stood aloof from the contest, waiting for that share of the spoil, which the haughty Empress of the north might think proper to allot to him, as the reward of his non-interference.
But though thus betrayed on all sides, the Poles were not disposed to submit without a struggle. They flew to arms, and found in the nephew of their king, the Prince Joseph Poniatowski, a general worthy to conduct so glorious a cause. Under his command Kosciusko first became known in European warfare. He distinguished himself in the battle of Zielenec, and still more in that of Dubienska, which took place on the 18th of June, 1792. Upon this latter occasion, he defended for six hours, with only four thousand men, against fifteen thousand Russians, a post which had been slightly fortified in twenty-four hours, and at last retired with inconsiderable loss.
But the contest was too unequal to last; the patriots were overwhelmed by enemies from without, and betrayed by traitors within, at the head of whom was their own sovereign. The Russians took possession of the country, and proceeded to appropriate those portions of Lithuania and Volhynia, which suited their convenience; while Prussia, the friendly Prussia, invaded another part of the kingdom.
Under these circumstances, the most distinguished officers in the Polish army retired from the service, and of this number was Kosciusko. Miserable at the fate of his unhappy country, and at the same time an object of suspicion to the ruling powers, he left his native land, and retired to Leipsic; where he received intelligence of the honour which had been conferred upon him by the Legislative Assembly of France, who had invested him with the quality of a French citizen.
But his fellow-countrymen were still anxious to make another struggle for independence; and they unanimously selected Kosciusko as their chief and generalissimo. He obeyed the call, and found the patriots eager to combat under his orders. Even the noble Joseph Poniatowski, who had previously commanded in chief, returned from France, whither he had retired, and received from the hands of Kosciusko the charge of a portion of his army.
The patriots had risen in the north of Poland, to which part Kosciusko first directed his steps. Anxious to begin his campaign with an action of vigour, he marched rapidly towards Cracow, which town he entered triumphantly on the 24th of March, 1794. He forthwith published a manifesto against the Russians; and then, at the head of only five thousand men, he marched to meet their army. He encountered, on the 4th of April, ten thousand Russians at a place called Wraclawic; and entirely defeated them, after a combat of four hours. He returned in triumph to Cracow, and shortly afterwards marched along the left bank of the Vistula to Polaniec, where he established his head quarters.
Meanwhile the inhabitants of Warsaw, animated by the recital of the heroic deeds of their countrymen, had also raised the standard of independence, and were successful in driving the Russians from the city, after a murderous conflict of three days. In Lithuania and Samogitia an equally successful revolution was effected, before the end of April; while the Polish troops stationed in Volhynia and Podolia, marched to the reinforcement of Kosciusko.
Thus far fortune seemed to smile upon the cause of Polish freedom—the scene was, however, about to change. The undaunted Kosciusko, having first organised a national council to conduct the affairs of government, again advanced against the Russians. On his march, he met a new enemy, in the person of the faithless Frederic William of Prussia; who, without having even gone through the preliminary of declaring war, had advanced into Poland, at the head of forty thousand men.
Kosciusko, with but thirteen thousand men, attacked the Prussian army on the 8th of June, at Szcekociny. The battle was long and bloody; at length, overwhelmed with numbers, he was obliged to retreat towards Warsaw. This he effected in so able a manner, that his enemies did not dare to harass him in his march; and he effectually covered the capital, and maintained his position for two months against vigorous and continued attacks. Immediately after this reverse the Polish General Zaionczeck lost the battle of Chelm, and the Governor of Cracow had the baseness to deliver the town to the Prussians, without attempting a defence.
The Gallery of Portraits: with Memoirs opens not with a preface or a portrait but with a dense list of committee members—the Lord Chancellor, Lord John Russell, and dozens of other names from 1830s British public life. This front matter immediately signals that the volume is a product of the Society for the Diffusion of Useful Knowledge, a reforming body that aimed to educate the middle and working classes. The first memoir, on Molière, then demonstrates the Society's approach: it offers a brisk critical assessment of the playwright's place in French literature, a brief personal history, and a pointed remark about his unhappy marriage. The tone is evaluative and occasionally tart, as when the author notes that Molière's enemies said he 'possessed the advantage of painting from the life' in his marital scenes.
The Committee as Context
The opening pages list over fifty committee members, including scientists, politicians, and clergymen. This is not mere decoration: it establishes the volume as a collaborative, institutional project rather than a single author's work. The Society for the Diffusion of Useful Knowledge, active from the 1820s to the 1840s, produced cheap, authoritative books for a broad audience. The presence of figures like James Mill and Zachary Macaulay indicates a Benthamite, reformist bent. Readers encountering this list for the first time should note that the memoirs that follow are shaped by the Society's mission: they are meant to instruct, not merely to entertain. The committee's oversight likely encouraged a factual, morally instructive tone, as seen in the Fox memoir's frank discussion of gambling.
Molière: Criticism and Biography Intertwined
The Molière entry blends literary judgment with personal anecdote. It praises Molière as 'the legislator of conventional proprieties' and credits his comedies with attacking courtly affectation and medical quackery. Yet it also dwells on his unhappy marriage, noting that he 'was very jealous, and the young lady was an accomplished coquette.' The author uses this biographical detail to suggest that Molière's marital scenes were drawn from experience—a claim that adds a layer of irony to the comic writer's life. This mixture of critical analysis and personal revelation is characteristic of the volume. Readers should watch for how each memoir balances public achievement with private character, often using the latter to explain or qualify the former.
Charles James Fox: A Candid Portrait
The Fox memoir is notably frank about its subject's flaws. It describes his 'propensity to gaming' as 'the bane of two-thirds of his life' and states that the article is 'not designed to be a mere panegyric.' This directness aligns with the Society's educational goals: it presents a historical figure as a moral example, both positive and negative. The memoir also notes that Fox 'resolutely conquered' his gambling habit after his friends intervened, offering a redemptive arc. The author's willingness to criticize a major political figure suggests that the volume aims for balanced, useful knowledge rather than hagiography. Readers can expect similar candor in other entries, where achievements are weighed against personal failings.
Structure and Selection in the Gallery
The volume contains twenty-six memoirs, but the excerpts provided show only a few. The selection of figures—a French playwright and a British politician—hints at the range: the gallery likely includes artists, scientists, and writers from various periods and nations. Each memoir follows a similar pattern: an opening biographical sketch, a discussion of the subject's work or career, and a concluding assessment. The author often cites sources, as in the Molière entry's reference to 'Joly, Petitot, and Auger.' This scholarly apparatus, combined with the committee's authority, gives the volume a trustworthy, encyclopedic feel. First-time readers should approach each memoir as a self-contained essay, but they may also notice recurring themes, such as the tension between public success and private virtue.
As you read through the Gallery, pay attention to the author's voice: it is often judgmental, sometimes wry, and always intent on extracting a moral or practical lesson. The memoirs are not neutral summaries but arguments about why these lives matter. The committee list at the start is a reminder that this is knowledge curated for a purpose—to improve the reader. Whether discussing Molière's comedies or Fox's gambling, the text invites you to consider how character shapes achievement, and how biography can serve as a guide to living well.
That rainy afternoon, I kept circling back to Molière's sharp edges in the gallery, how a life could be told through select wounds rather than every scar. Later, restless, I stumbled onto The Autobiography of Parley Parker Pratt One of the Twelve Apostles of the Church of Jesus Christ of Latter-Day Saints, Embracing His Life, Ministry, and Travels — Reading Companion. Different century, different conviction entirely, yet the same patient art of choosing which moments define a soul.
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