My Unknown Chum: "Aguecheek"

In Short

My Unknown Chum: "Aguecheek" is a collection of mid-nineteenth-century travel sketches and reflective essays written by Charles Bullard Fairbanks. Crossing the Atlantic to explore the streets of London, the churches of Rome, the dining rooms of Paris, and the gables of Rouen, the author captures the cadence of old-world life before turning his lens back home. Through witty observation and quiet devotion, he contrasts European antiquity and traditional Catholic culture with American utilitarianism, arguing that true human progress rests in spiritual depth, moral clarity, and an appreciation for history rather than in mere material advancement.

The Story

The narrative opens with an Atlantic crossing that deposits the author in London, where he immediately finds delight in the continuity of English public life and literature. Walking the pavements of the Strand and idling in local taverns, he connects the physical geography of the city with the enduring legacy of English wits, poets, and statesmen. From England, he journeys into continental Europe, passing through Milan—where he defends the presence of Austrian military order against what he views as destructive revolutionary anarchy—and on to the tranquil, sacred atmosphere of Rome.

In Rome, the author finds an antidote to the restless efficiency of American life. He bypasses the bustling tour groups to linger in small parish churches, admiring the silent devotions of ordinary citizens and the serene, timeless presence of the Campagna. Rome represents a spiritual and artistic refuge, where the grandeur of ancient basilicas and the quiet sanctity of local altars offer a peace unavailable in the fast-paced Western world. Continuing through Marseilles, Lyons, and Savoy, he observes the rapid modernization brought about by Napoleon III, whom he views with immense admiration as a steadfast ruler who balances public order, economic stability, and reverence for the Church.

Arriving in Paris, the author eschews fashionable extravagance to frequent the modest cremerie of Madame Busque, a cozy sanctuary where students, artists, and laborers share simple meals like pumpkin pie and omelets on equal terms. Exploring the Louvre, he reflects on the relics of French history and sharply criticizes the hypocrisy of travelers who mock religious shrines while revering the personal artifacts of secular conquerors like Napoleon I.

Returning to England by way of Boulogne, the author transitions from travelogue to personal essays. He turns his attention to the "sermons in stones" found in urban architecture, mourning the demolition of Boston's historical Theatre Alley and recalling the literary charm of ancient city corners. He reflects on personal loss, recalling a patient, suffering artist friend in Florence and a cherished family in Hampstead whose young daughter, Josey, grows into graceful womanhood after her mother's death.

In his final essays, the author mounts a trenchant critique of nineteenth-century materialism. He lampoons the rigid social hypocrisy of "Mrs. Grundy," laments the decline of the American theater since the glory days of Kean and Cooper, and rejects the notion that steam engines, telegraphs, and financial shrewdness constitute genuine civilization. True progress, he concludes, is not measured by technical speed or commercial expansion, but by the moral elevation of the heart and humanity's alignment with divine truth.

How It Unfolds

The voyage begins The author sets sail across the Atlantic and arrives in London, immersing himself in its literary haunts and historic landmarks. He finds harmony in the city's living continuity, celebrating its taverns, ancient minsters, and classical streets.

Entering the Italian sanctuaries Traveling south through Milan to Rome, the author shuns political radicalism and seeks quiet reflection inside small parish churches. He praises the restful lifestyle of Roman artists and the deep, silent faith of the local people.

Dining in Paris In the back room of Madame Busque's Parisian cremerie, the author enjoys simple meals among an egalitarian crowd of workers, artists, and scholars. He uses this unpretending setting to contrast genuine community with the shallow grandeur of fashionable resorts.

Reflecting on progress Turning from travel to essayist musings, the author reflects on forgotten city alleys, lost friendships, and the passage of time. He concludes by attacking the mid-nineteenth-century obsession with technology, arguing that moral refinement outweighs mechanical invention.

The People

• The Author ("Aguecheek") wants to observe the world with clarity, quiet humor, and spiritual depth, seeking refuge from modern commercialism in history, art, and religion. He is tested by the restless, utilitarian drive of his era and the loss of cherished places and friends, ultimately solidifying his belief in moral progress over material wealth.
• Napoleon III is presented as an ideal sovereign who seeks to balance absolute order with national prosperity. Standing against revolutionary chaos, he wins the author's praise by building public works, protecting the Church, and caring for the basic domestic needs of his poorest subjects.
• Madame Busque wants only to provide a warm, unpretending dining room for her diverse clientele in Paris. Despite threats to redecorate her cremerie, she maintains a cozy home for artists, laborers, and expatriates, serving as a symbol of democratic warmth and simple hospitality.
• Poor S. C. is a talented young American painter in Florence who desires to create art and share good humor with his friends despite suffering from a excruciating physical illness. He conceals his intense agony behind laughter and wit, dying young after demonstrating heroic patience.
• Josey begins as a young girl in Hampstead taking Latin and French lessons from the author, bringing him preserves during a bout of illness. Over years of separation and family tragedy, she grows into a strong, accomplished, and bright young woman who embodies steady grace.

In Its Own Voice

"London is ever the same."

Context: The author observes the unchanging rhythm of omnibuses, policemen, and historic gates upon returning to the English capital.

"True progress is something superior to your puffing engines and clicking telegraphs, and independent of them."

Context: In his closing essay, the author argues against measuring human advancement by mechanical inventions alone.

"Not all the mirrors and magnificence of the resorts of fashion can equal the quiet cosiness of Madame Busque's back room."

Context: The author describes his return to a beloved, unpretending Paris eatery where people of all social classes gather.

What It's Really About

Beneath its observations of European sights and nostalgic memories, the book is a defense of spiritual tradition against the rush of nineteenth-century industrialization. The author continuously weighs the lasting value of faith, quiet domesticity, and artistic reverence against the transient noise of political revolution and commercial greed. By contrasting the prayerful silence of Roman churches and the cozy democracy of a Parisian eatery with the utilitarian efficiency of American cities, he argues that society loses its soul when it sacrifices beauty and reverence for speed, telegraph wires, and economic profit.

Why Read It Today

My Unknown Chum: "Aguecheek" appeals to readers who appreciate classic travel literature, antiquarian charm, and thoughtful cultural commentary. Reading it feels like sitting beside a well-read, slightly opinionated companion who views the world with warm curiosity and unapologetic convictions. The prose moves with an unhurried, conversational elegance that makes 1850s Europe feel vivid and immediate, offering a quiet counterpoint to the rush of modern life.

Modern readers should be prepared for period attitudes that reflect the author's strict conservative and religious outlook. He openly defends monarchical rule, rejects republican movements, and expresses skepticism toward nineteenth-century democratic movements in Europe. Furthermore, his unyielding distaste for modern technology and his dense allusions to classical mythology, Latin poetry, and mid-nineteenth-century politics require a patient reader. Yet for those willing to engage with his traditionalist perspective, the book offers a remarkably rich, elegant, and deeply human journey across an old world on the brink of transformation.

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