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diff --git a/78450-h/78450-h.htm b/78450-h/78450-h.htm new file mode 100644 index 0000000..91c6a54 --- /dev/null +++ b/78450-h/78450-h.htm @@ -0,0 +1,17721 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <title> + Literary Studies, Volume II | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +a { + text-decoration: none; +} + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4 { + text-align: center; + clear: both; +} + +.nobreak { + page-break-before: avoid; +} + +hr.chap { + margin-top: 2em; + margin-bottom: 2em; + clear: both; + width: 65%; + margin-left: 17.5%; + margin-right: 17.5%; +} + +img.w100 { + width: 100%; +} + +div.chapter { + page-break-before: always; +} + +p { + margin-top: 0.5em; + text-align: justify; + margin-bottom: 0.5em; + text-indent: 1em; +} + +table { + margin: 1em auto 1em auto; + max-width: 40em; + border-collapse: collapse; +} + +td { + padding-left: 2.25em; + padding-right: 0.25em; + vertical-align: top; + text-indent: -2em; + text-align: justify; +} + +.tdc { + text-align: center; + padding: 0.75em 0.25em 0.5em 0.25em; + text-indent: 0; +} + +.tdr { + text-align: right; +} + +.tdpg { + vertical-align: bottom; + text-align: right; +} + +blockquote { + font-size: 90%; + margin: 1.5em 10%; +} + +.center { + text-align: center; + text-indent: 0; +} + +.figcenter { + margin: auto; + text-align: center; +} + +.footnotes { + margin-top: 1em; + border: dashed 1px; +} + +.footnote { + margin-left: 10%; + margin-right: 10%; + font-size: 0.9em; +} + +.footnote .label { + position: absolute; + right: 84%; + text-align: right; +} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: none; +} + +.mid { + font-size: 125%; +} + +.larger { + font-size: 150%; +} + +.noindent { + text-indent: 0; +} + +.pagenum { + position: absolute; + right: 4%; + font-size: smaller; + text-align: right; + font-style: normal; +} + +.poetry-container { + font-size: 90%; + text-align: center; +} + +blockquote .poetry-container { + font-size: 100%; +} + +.poetry { + display: inline-block; + text-align: left; +} + +.poetry .stanza { + margin: 1em 0em 1em 0em; +} + +.poetry .verse { + padding-left: 3em; +} + +.poetry .indent0 {text-indent: -3.0em;} +.poetry .indent2 {text-indent: -2.0em;} +.poetry .indent4 {text-indent: -1.0em;} +.poetry .indent6 {text-indent: 0.0em;} +.poetry .indent8 {text-indent: 1.0em;} +.poetry .indent10 {text-indent: 2.0em;} +.poetry .indent12 {text-indent: 3.0em;} +.poetry .indent14 {text-indent: 4.0em;} +.poetry .indent18 {text-indent: 6.0em;} +.poetry .indent24 {text-indent: 9.0em;} + +.right { + text-align: right; +} + +.smaller { + font-size: 80%; +} + +.smcap { + font-variant: small-caps; + font-style: normal; +} + +.allsmcap { + font-variant: small-caps; + font-style: normal; + text-transform: lowercase; +} + +.titlepage { + text-align: center; + margin-top: 3em; + text-indent: 0; +} + +.x-ebookmaker img { + max-width: 100%; + width: auto; + height: auto; +} + +.x-ebookmaker .poetry { + display: block; + margin-left: 1.5em; +} + +.x-ebookmaker blockquote { + margin: 1.5em 5%; +} + +/* Illustration classes */ +.illowp100 {width: 100%;} + </style> + </head> +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78450 ***</div> + +<p><span class="pagenum" id="Page_i">[i]</span></p> + +<p class="titlepage larger">LITERARY STUDIES</p> + +<p class="center">VOL. II.</p> + +<p><span class="pagenum" id="Page_ii">[ii]</span></p> + +<p class="titlepage smaller">PRINTED BY<br> +SPOTTISWOODE AND CO., NEW-STREET SQUARE<br> +LONDON</p> + +<p><span class="pagenum" id="Page_iii">[iii]</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p class="titlepage larger">LITERARY STUDIES</p> + +<p class="titlepage"><span class="smaller">BY THE LATE</span><br> +<span class="mid">WALTER BAGEHOT</span><br> +<span class="smaller">M.A. AND FELLOW OF UNIVERSITY COLLEGE, LONDON</span></p> + +<p class="titlepage"><i>WITH A PREFATORY MEMOIR</i></p> + +<p class="titlepage"><span class="smaller">EDITED BY</span><br> +RICHARD HOLT HUTTON</p> + +<p class="titlepage">IN TWO VOLUMES</p> + +<p class="center mid">VOL. II.</p> + +<p class="titlepage"><i>FOURTH EDITION</i></p> + +<p class="titlepage">LONDON<br> +<span class="mid">LONGMANS, GREEN, AND CO.</span><br> +<span class="smaller">AND NEW YORK: 15 EAST 16th STREET<br> +1891</span></p> + +<p class="titlepage smaller"><i>All rights reserved</i></p> + +<p><span class="pagenum" id="Page_iv">[iv]</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_v">[v]</span></p> + +<h2 class="nobreak" id="CONTENTS">CONTENTS<br> +<span class="smaller"><span class="smaller">OF</span><br> +THE SECOND VOLUME.</span></h2> + +</div> + +<table> + <tr> + <td class="tdr smaller">ESSAY</td> + <td></td> + <td class="tdpg smaller">PAGE</td> + </tr> + <tr> + <td class="tdr">I.</td> + <td><span class="smcap">Edward Gibbon</span> (1856)</td> + <td class="tdpg"><a href="#EDWARD_GIBBON">1</a></td> + </tr> + <tr> + <td class="tdr">II.</td> + <td><span class="smcap">Bishop Butler</span> (1854)</td> + <td class="tdpg"><a href="#BISHOP_BUTLER">54</a></td> + </tr> + <tr> + <td class="tdr">III.</td> + <td><span class="smcap">Sterne and Thackeray</span> (1864)</td> + <td class="tdpg"><a href="#STERNE_AND_THACKERAY">106</a></td> + </tr> + <tr> + <td class="tdr">IV.</td> + <td><span class="smcap">The Waverley Novels</span> (1858)</td> + <td class="tdpg"><a href="#THE_WAVERLEY_NOVELS">146</a></td> + </tr> + <tr> + <td class="tdr">V.</td> + <td><span class="smcap">Charles Dickens</span> (1858)</td> + <td class="tdpg"><a href="#CHARLES_DICKENS">184</a></td> + </tr> + <tr> + <td class="tdr">VI.</td> + <td><span class="smcap">Thomas Babington Macaulay</span> (1856)</td> + <td class="tdpg"><a href="#THOMAS_BABINGTON_MACAULAY">221</a></td> + </tr> + <tr> + <td class="tdr">VII.</td> + <td><span class="smcap">Béranger</span> (1857)</td> + <td class="tdpg"><a href="#BERANGER">261</a></td> + </tr> + <tr> + <td class="tdr">VIII.</td> + <td><span class="smcap">Mr. Clough’s Poems</span> (1862)</td> + <td class="tdpg"><a href="#MR_CLOUGHS_POEMS">299</a></td> + </tr> + <tr> + <td class="tdr">IX.</td> + <td><span class="smcap">Henry Crabb Robinson</span> (1869)</td> + <td class="tdpg"><a href="#HENRY_CRABB_ROBINSON">323</a></td> + </tr> + <tr> + <td class="tdr">X.</td> + <td><span class="smcap">Wordsworth, Tennyson, and Browning; or, + Pure, Ornate, and Grotesque Art in English Poetry</span> (1864)</td> + <td class="tdpg"><a href="#WORDSWORTH_TENNYSON_AND_BROWNING">338</a></td> + </tr> + <tr> + <td class="tdc" colspan="3"><i>APPENDIX.</i></td> + </tr> + <tr> + <td class="tdr">I.</td> + <td><span class="smcap">The Ignorance of Man</span> (1862)</td> + <td class="tdpg"><a href="#APPENDIX_I">391</a></td> + </tr> + <tr> + <td class="tdr">II.</td> + <td><span class="smcap">On the Emotion of Conviction</span> (1871)</td> + <td class="tdpg"><a href="#APPENDIX_II">412</a></td> + </tr> + <tr> + <td class="tdr">III.</td> + <td><span class="smcap">The Metaphysical Basis of Toleration</span> (1874)</td> + <td class="tdpg"><a href="#APPENDIX_III">422</a></td> + </tr> + <tr> + <td class="tdr">IV.</td> + <td><span class="smcap">The Public Worship Regulation Bill</span> (1874)</td> + <td class="tdpg"><a href="#APPENDIX_IV">438</a></td> + </tr> +</table> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_1">[1]</span></p> + +<h1>LITERARY STUDIES.</h1> + +<figure class="figcenter illowp100" style="max-width: 9.375em;"> + <img class="w100" src="images/line.jpg" alt=""> +</figure> + +<h2 class="nobreak" id="EDWARD_GIBBON"><i>EDWARD +GIBBON.</i>⁠<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a><br> +<span class="smaller">(1856.)</span></h2> + +</div> + +<p>A wit said of Gibbon’s autobiography, that he did not know +the difference between himself and the Roman Empire. He +has narrated his ‘progressions from London to Buriton, and +from Buriton to London,’ in the same monotonous majestic +periods that record the fall of states and empires. The consequence +is, that a fascinating book gives but a vague idea of +its subject. It may not be without its use to attempt a description +of him in plainer though less splendid English.</p> + +<p>The diligence of their descendant accumulated many particulars +of the remote annals of the Gibbon family; but its real +founder was the grandfather of the historian, who lived in the +times of the ‘South Sea.’ He was a capital man of business +according to the custom of that age—a dealer in many kinds +of merchandise—like perhaps the ‘complete tradesman’ of +Defoe, who was to understand the price and quality of <i>all</i> +articles made within the kingdom. The preference, however, +of Edward Gibbon the grandfather was for the article ‘shares;’ +his genius, like that of Mr. Hudson, had a natural tendency +towards a commerce in the metaphysical and non-existent; and +he was fortunate in the age on which his lot was thrown. It +<span class="pagenum" id="Page_2">[2]</span>afforded many opportunities of gratifying that taste. Much +has been written on panics and manias—much more than with +the most outstretched intellect we are able to follow or conceive; +but one thing is certain, that at particular times a great +many stupid people have a great deal of stupid money. Saving +people have often only the faculty of saving; they accumulate +ably, and contemplate their accumulations with approbation; +but what to do with them they do not know. Aristotle, who +was not in trade, imagined that money is barren; and barren +it is to quiet ladies, rural clergymen, and country misers. +Several economists have plans for preventing improvident speculation; +one would abolish Peel’s act, and substitute one-pound +notes; another would retain Peel’s act, and make the +calling for one-pound notes a capital crime: but our scheme +is, not to allow any man to have a hundred pounds who cannot +prove to the satisfaction of the Lord Chancellor that he knows +what to do with a hundred pounds. The want of this easy +precaution allows the accumulation of wealth in the hands of +rectors, authors, grandmothers, who have no knowledge of +business, and no idea except that their money now produces +nothing, and ought and must be forced immediately to produce +something. ‘I wish,’ said one of this class, ‘for the largest +immediate income, and I am therefore naturally disposed to +purchase an <i>advowson</i>.’ At intervals, from causes which are +not to the present purpose, the money of these people—the +blind capital (as we call it) of the country—is particularly +large and craving; it seeks for some one to devour it, and there +is ‘plethora’—it finds some one, and there is ‘speculation’—it +is devoured, and there is ‘panic.’ The age of Mr. Gibbon was +one of these. The interest of money was very low, perhaps +under three per cent. The usual consequence followed; able +men started wonderful undertakings; the ablest of all, a +company ‘for carrying on an undertaking of great importance, +but no one to know what it was.’ Mr. Gibbon was not idle. +According to the narrative of his grandson, he already filled a +<span class="pagenum" id="Page_3">[3]</span>considerable position, was worth sixty thousand pounds, and +had great influence both in Parliament and in the City. He +applied himself to the greatest bubble of all—one so great, that +it is spoken of in many books as the cause and parent of all +contemporary bubbles—the South-Sea Company—the design of +which was to reduce the interest on the national debt, which, +oddly enough, it did reduce, and to trade exclusively to the +South Sea or Spanish America, where of course it hardly did +trade. Mr. Gibbon became a director, sold and bought, traded +and prospered; and was considered, perhaps with truth, to have +obtained much money. The bubble was essentially a fashionable +one. Public intelligence and the quickness of communication +did not then as now at once spread pecuniary information +and misinformation to secluded districts; but fine ladies, men +of fashion—the London world—ever anxious to make as much +of its money as it can, and then wholly unwise (it is not now +very wise) in discovering how the most <i>was</i> to be made of it—‘went +in’ and speculated largely. As usual, all was favourable +so long as the shares were rising; the price was at one time +very high, and the agitation very general; it was, in a word, +the railway mania in the South Sea. After a time, the shares +‘hesitated,’ declined, and fell; and there was an outcry against +everybody concerned in the matter, very like the outcry against +the οἱ περὶ Hudson in our own time. The results, however, were +very different. Whatever may be said, and, judging from the +late experience, a good deal is likely to be said, as to the advantages +of civilisation and education, it seems certain that they +tend to diminish a simple-minded energy. The Parliament of +1720 did not, like the Parliament of 1847, allow itself to be +bored and incommoded by legal minutiæ, nor did it forego the +use of plain words. A committee reported the discovery of ‘a +train of the deepest villainy and fraud <i>hell</i> ever contrived to +ruin a nation;’ the directors of the company were arrested, and +Mr. Gibbon among the rest; he was compelled to give in a list +of his effects: the general wish was that a retrospective act +<span class="pagenum" id="Page_4">[4]</span>should be immediately passed, which would impose on him +penalties something like, or even more severe than those now +enforced on Paul and Strahan. In the end, however, Mr. +Gibbon escaped with a parliamentary conversation upon his +affairs. His estate amounted to 140,000<i>l.</i>; and as this was a +great sum, there was an obvious suspicion that he was a great +criminal. The scene must have been very curious. ‘Allowances +of twenty pounds or one shilling were facetiously voted. +A vague report that a director had formerly been concerned in +another project by which some unknown persons had lost their +money, was admitted as a proof of his actual guilt. One man +was ruined because he had dropped a foolish speech that his +horses should feed upon gold; another because he was grown +so proud, that one day, at the Treasury, he had refused a civil +answer to persons far above him.’ The vanity of his descendant +is evidently a little tried by the peculiar severity with which +his grandfather was treated. Out of his 140,000<i>l.</i> it was only +proposed that he should retain 15,000<i>l.</i>; and on an amendment +even this was reduced to 10,000<i>l.</i> Yet there is some ground +for believing that the acute energy and practised pecuniary +power which had been successful in obtaining so large a fortune, +were likewise applied with science to the inferior task of retaining +some of it. The historian indeed says, ‘On these ruins,’ +the 10,000<i>l.</i> aforesaid, ‘with skill and credit of which parliament +had not been able to deprive him, my grandfather erected +the edifice of a new fortune: the labours of sixteen years were +amply rewarded; and I have reason to believe that the second +structure was not much inferior to the first.’ But this only +shows how far a family feeling may bias a sceptical judgment. +The credit of a man in Mr. Gibbon’s position could not be very +lucrative; and his skill must have been enormous to have +obtained so much at the end of his life, in such circumstances, +in so few years. Had he been an early Christian, the narrative +of his descendant would have contained an insidious hint, ‘that +pecuniary property <i>may</i> be so secreted as to defy the awkward +<span class="pagenum" id="Page_5">[5]</span>approaches of political investigation.’ That he died rich is certain, +for two generations lived solely on the property he bequeathed.</p> + +<p>The son of this great speculator, the historian’s father, was +a man to spend a fortune quietly. He is not related to have +indulged in any particular expense, and nothing is more difficult +to follow than the pecuniary fortunes of deceased families; but +one thing is certain, that the property which descended to the +historian—making every allowance for all minor and subsidiary +modes of diminution, such as daughters, settlements, legacies, +and so forth—was enormously less than 140,000<i>l.</i>; and therefore +if those figures are correct, the second generation must +have made itself very happy out of the savings of the past +generation, and without caring for the poverty of the next. +Nothing that is related of the historian’s father indicates a +strong judgment or an acute discrimination; and there are +some scarcely dubious signs of a rather weak character.</p> + +<p>Edward Gibbon, the great, was born on the 27th of April +1737. Of his mother we hear scarcely anything; and what we +do hear is not remarkably favourable. It seems that she was a +faint, inoffensive woman, of ordinary capacity, who left a very +slight trace of her influence on the character of her son, did +little and died early. The real mother, as he is careful to +explain, of his understanding and education was her sister, and +his aunt, <i>Mrs.</i> Catherine Porten, according to the speech of +that age, a maiden lady of much vigour and capacity, and for +whom her pupil really seems to have felt as much affection as +was consistent with a rather easy and cool nature. There is a +panegyric on her in the <i>Memoirs</i>; and in a long letter upon the +occasion of her death, he deposes: ‘To her care I am indebted +in earliest infancy for the preservation of my life and health.... +To her instructions I owe the first rudiments of knowledge, +the first exercise of reason, and a taste for books, which +is still the pleasure and glory of my life; and though she taught +me neither language nor science, she was certainly the most +useful preceptress I ever had. As I grew up, an intercourse of +<span class="pagenum" id="Page_6">[6]</span>thirty years endeared her to me as the faithful friend and the +agreeable companion. You have observed with what freedom +and confidence we lived,’ &c. &c. To a less sentimental mind, +which takes a more tranquil view of aunts and relatives, it is +satisfactory to find that somehow he could not write to her. ‘I +wish,’ he continues, ‘I had as much to applaud and as little to +reproach in my conduct to Mrs. Porten since I left England; +and when I reflect that my letter would have soothed and comforted +her decline, I feel’—what an ardent nephew would naturally +feel at so unprecedented an event. Leaving his maturer +years out of the question—a possible rhapsody of affectionate +eloquence—she seems to have been of the greatest use to him +in infancy. His health was very imperfect. We hear much of +rheumatism, and lameness, and weakness; and he was unable +to join in work and play with ordinary boys. He was moved +from one school to another, never staying anywhere very long, +and owing what knowledge he obtained rather to a strong retentive +understanding than to any external stimulants or instruction. +At one place he gained an acquaintance with the +Latin elements at the price of ‘many tears and some blood.’ +At last he was consigned to the instruction of an elegant clergyman, +the Rev. Philip Francis, who had obtained notoriety by a +metrical translation of Horace, the laxity of which is even yet +complained of by construing schoolboys, and who, with a somewhat +Horatian taste, went to London as often as he could, and +translated <i>invisa negotia</i> as ‘boys to beat.’</p> + +<p>In school-work, therefore, Gibbon had uncommon difficulties +and unusual deficiencies; but these were much more than +counterbalanced by a habit which often accompanies a sickly +childhood, and is the commencement of a studious life, the +habit of desultory reading. The instructiveness of this is sometimes +not comprehended. S. T. Coleridge used to say that he +felt a great superiority over those who had not read—and +fondly read—fairly tales in their childhood; he thought they +wanted a sense which he possessed, the perception, or apperception—we +<span class="pagenum" id="Page_7">[7]</span>do not know which he used to say it was—of the unity +and wholeness of the universe. As to fairy tales, this is a hard +saying; but as to desultory reading it is certainly true. Some +people have known a time in life when there was no book they +could not read. The fact of its being a book went immensely +in its favour. In early life there is an opinion that the obvious +thing to do with a horse is to ride it; with a cake, to eat it; with +sixpence, to spend it. A few boys carry this further, and think +the natural thing to do with a book is to read it. There is an +argument from design in the subject: if the book was not +meant for that purpose, for what purpose was it meant? Of +course, of any understanding of the works so perused there is +no question or idea. There is a legend of Bentham, in his +earliest childhood, climbing to the height of a huge stool and +sitting there evening after evening with two candles engaged +in the perusal of Rapin’s history. It might as well have been +any other book. The doctrine of utility had not then dawned +on its immortal teacher; <i>cui bono</i> was an idea unknown to him. +He would have been ready to read about Egypt, about Spain, +about coals in Borneo, the teak-wood in India, the current in +the river Mississipi, on natural history or human history, on +theology or morals, on the state of the dark ages or the state +of the light ages,—on Augustulus or Lord Chatham,—on the +first century or the seventeenth,—on the moon, the millennium, +or the whole duty of man. Just then, reading is an end in +itself. At that time of life you no more think of a future consequence, +of the remote, the very remote possibility of deriving +knowledge from the perusal of a book, than you expect so great +a result from spinning a peg-top. You spin the top, and you +read the book; and these scenes of life are exhausted. In such +studies, of all prose perhaps the best is history. One page is so +like another; battle No. 1 is so much on a par with battle +No. 2. Truth may be, as they say, stranger than fiction, +abstractedly; but in actual books, novels are certainly odder +and more astounding than correct history. It will be said, +<span class="pagenum" id="Page_8">[8]</span>what is the use of this? Why not leave the reading of great +books till a great age? Why plague and perplex childhood +with complex facts remote from its experience and inapprehensible +by its imagination? The reply is, that though in all +great and combined facts there is much which childhood cannot +thoroughly imagine, there is also in very many a great deal +which can only be truly apprehended for the first time at that +age. Catch an American of thirty;—tell him about the battle +of Marathon; what will he be able to comprehend of all that +you mean by it: of all that halo which early impression and +years of remembrance have cast around it? He may add up +the killed and wounded, estimate the missing, and take the +dimensions of Greece and Athens; but he will not seem to +care much. He may say, ‘Well, sir, perhaps it was a smart +thing in that small territory; but it is a long time ago, and +in my country James K. Burnup’—did that which he will at +length explain to you. Or try an experiment on yourself. +Read the account of a Circassian victory, equal in numbers, in +daring, in romance, to the old battle. Will you be able to +feel about it at all in the same way? It is impossible. You +cannot form a new set of associations; your mind is involved +in pressing facts, your memory choked by a thousand details; +the liveliness of fancy is gone with the childhood by which it +was enlivened. Schamyl will never seem as great as Leonidas, +or Miltiades; Cnokemof, or whoever the Russian is, cannot be +so imposing as Xerxes; the unpronounceable place cannot strike +on your heart like Marathon or Platæa. Moreover, there is the +further advantage which Coleridge shadowed forth in the remark +we cited. Youth has a principle of consolidation. We +begin with the whole. Small sciences are the labours of our +manhood; but the round universe is the plaything of the boy. +His fresh mind shoots out vaguely and crudely into the infinite +and eternal. Nothing is hid from the depth of it; there are +no boundaries to its vague and wandering vision. Early science, +it has been said, begins in utter nonsense; it would be truer to +<span class="pagenum" id="Page_9">[9]</span>say that it starts with boyish fancies. How absurd seem the +notions of the first Greeks! Who could believe now that air +or water was the principle, the pervading substance, the eternal +material of all things? Such affairs will never explain a thick +rock. And what a white original for a green and sky-blue +world! Yet people disputed in those ages not whether it was +either of those substances, but which of them it was. And +doubtless there was a great deal, at least in quantity, to be +said on both sides. Boys are improved; but some in our own +day have asked, ‘Mamma, I say, what did God make the world +of?’ and several, who did not venture on speech, have had an +idea of some one gray primitive thing, felt a difficulty as to +how the red came, and wondered that marble could <i>ever</i> have +been the same as moonshine. This is in truth the picture of +life. We begin with the infinite and eternal, which we shall never +apprehend; and these form a framework, a schedule, a set of +co-ordinates to which we refer all which we learn later. At first, +like the old Greek, ‘we look up to the whole sky, and are lost +in the one and the all;’ in the end we classify and enumerate, +learn each star, calculate distances, draw cramped diagrams on +the unbounded sky, write a paper on α Cygni and a treatise on +ε Draconis, map special facts upon the indefinite void, and +engrave precise details on the infinite and everlasting. So +in history; somehow the whole comes in boyhood; the +details later and in manhood. The wonderful series going +far back to the times of old patriarchs with their flocks and +herds, the keen-eyed Greek, the stately Roman, the watching +Jew, the uncouth Goth, the horrid Hun, the settled picture +of the unchanging East, the restless shifting of the rapid West, +the rise of the cold and classical civilisation, its fall, the rough +impetuous middle ages, the vague warm picture of ourselves +and home,—when did we learn these? Not yesterday nor to-day; +but long ago, in the first dawn of reason, in the original +flow of fancy. What we learn afterwards are but the accurate +littlenesses of the great topic, the dates and tedious facts. Those +<span class="pagenum" id="Page_10">[10]</span>who begin late learn only these; but the happy first feel the +mystic associations and the progress of the whole.</p> + +<p>There is no better illustration of all this than Gibbon. Few +have begun early with a more desultory reading, and fewer still +have described it so skilfully. ‘From the ancient I leaped to +the modern world; many crude lumps of Speed, Rapin, Mezeray, +Davila, Machiavel, Father Paul, Bower, &c., I devoured like so +many novels; and I swallowed with the same voracious appetite +the descriptions of India and China, of Mexico and Peru. My +first introduction to the historic scenes which have since engaged +so many years of my life must be ascribed to an accident. +In the summer of 1751 I accompanied my father on a visit to +Mr. Hoare’s, in Wiltshire; but I was less delighted with the +beauties of Stourhead than with discovering in the library a +common book, the <i>Continuation of Echard’s Roman History</i>, +which is indeed executed with more skill and taste than the +previous work. To me the reigns of the successors of Constantine +were absolutely new; and I was immersed in the passage +of the Goths over the Danube when the summons of the dinner-bell +reluctantly dragged me from my intellectual feast. This +transient glance served rather to irritate than to appease my +curiosity; and as soon as I returned to Bath I procured the +second and third volumes of Howel’s <i>History of the World</i>, +which exhibit the Byzantine period on a larger scale. Mahomet +and his Saracens soon fixed my attention; and some instinct of +criticism directed me to the genuine sources. Simon Ockley, +an original in every sense, first opened my eyes; and I was led +from one book to another till I had ranged round the circle of +Oriental history. Before I was sixteen I had exhausted all that +could be learned in English of the Arabs and Persians, the +Tartars and Turks; and the same ardour urged me to guess at +the French of d’Herbelot, and to construe the barbarous Latin +of Pocock’s <i>Abulfaragius</i>.’ To this day the schoolboy student +of the Decline and Fall feels the traces of that schoolboy reading. +<i>Once</i>, he is conscious, the author like him felt, and solely +<span class="pagenum" id="Page_11">[11]</span>felt, the magnificent progress of the great story and the scenic +aspect of marvellous events.</p> + +<p>A more sudden effect was at hand. However exalted may +seem the praises which we have given to loose and unplanned +reading, we are not saying that it is the sole ingredient of a +good education. Besides this sort of education, which some +boys will voluntarily and naturally give themselves, there needs, +of course, another and more rigorous kind, which must be impressed +upon them from without. The terrible difficulty of +early life—the <i>use</i> of pastors and masters—really is, that they +compel boys to a distinct mastery of that which they do not +wish to learn. There is nothing to be said for a preceptor who +is not dry. Mr. Carlyle describes with bitter satire the fate of +one of his heroes who was obliged to acquire whole systems of +information in which he, the hero, saw no use, and which he +kept as far as might be in a vacant corner of his mind. And +this is the very point—dry language, tedious mathematics, a +thumbed grammar, a detested slate, form gradually an interior +separate intellect, exact in its information, rigid in its requirements, +disciplined in its exercises. The two grow together, the +early natural fancy touching the far extremities of the universe, +lightly playing with the scheme of all things; the precise, +compacted memory slowly accumulating special facts, exact +habits, clear and painful conceptions. At last, as it were in a +moment, the cloud breaks up, the division sweeps away; we +find that in fact these exercises which puzzled us, these languages +which we hated, these details which we despised, are +the instruments of true thought, are the very keys and openings, +the exclusive access to the knowledge which we loved.</p> + +<p>In this second education the childhood of Gibbon had been +very defective. He had never been placed under any rigid +training. In his first boyhood he disputed with his aunt, ‘that +were I master of Greek and Latin, I must interpret to myself +in English the thoughts of the original, and that such extemporary +versions must be inferior to the elaborate translation of +<span class="pagenum" id="Page_12">[12]</span>professed scholars: a silly sophism,’ as he remarks, ‘which +could not easily be confuted by a person ignorant of any other +language than her own.’ Ill-health, a not very wise father, an +ill-chosen succession of schools and pedagogues, prevented his +acquiring exact knowledge in the regular subjects of study. +His own description is the best—‘erudition that might have +puzzled a doctor, and ignorance of which a schoolboy should +have been ashamed.’ The amiable Mr. Francis, who was to +have repaired the deficiency, went to London, and forgot him. +With an impulse of discontent his father took a resolution, and +sent him to Oxford at sixteen.</p> + +<p>It is probable that a worse place could not have been found. +The University of Oxford was at the nadir of her history and +efficiency. The public professorial training of the middle ages +had died away, and the intramural collegiate system of the +present time had not begun. The University had ceased to be +a teaching body, and had not yet become an examining body. +‘The professors,’ says Adam Smith, who had studied there, +‘have given up almost the pretence of lecturing.’ ‘The examination,’ +said a great judge some years later, ‘was a farce in my +time. I was asked who founded University College; and I said, +though the fact is now doubted, that King Alfred founded it; +and <i>that</i> was the examination.’ The colleges, deprived of the +superintendence and watchfulness of their natural sovereign, +fell, as Gibbon remarks, into ‘port and prejudice.’ The Fellows +were a close corporation; they were chosen from every conceivable +motive—because they were respectable men, because they +were good fellows, because they were brothers of other Fellows, +because their fathers had patronage in the Church. Men so +appointed could not be expected to be very diligent in the instruction +of youth; many colleges did not even profess it; that +of All Souls has continued down to our own time to deny that +it has anything to do with it. Undoubtedly a person who came +thither accurately and rigidly drilled in technical scholarship +found many means and a few motives to pursue it. Some +<span class="pagenum" id="Page_13">[13]</span>tutorial system probably existed at most colleges. Learning +was not wholly useless in the Church. The English gentleman +has ever loved a nice and classical scholarship. But these +advantages were open only to persons who had received a very +strict training, and who were voluntarily disposed to discipline +themselves still more. To the mass of mankind the University +was a ‘graduating machine;’ the colleges, monopolist residences,—hotels +without bells.</p> + +<p>Taking the place as it stood, the lot of Gibbon may be +thought rather fortunate. He was placed at Magdalen, whose +fascinating walks, so beautiful in the later autumn, still recall +the name of Addison, the example of the merits, as Gibbon is +of the deficiencies, of Oxford. His first tutor was, in his own +opinion, ‘one of the best of the tribe.’ ‘Dr. Waldegrave was +a learned and pious man, of a mild disposition, strict morals, +and abstemious life, who seldom mingled in the politics or the +jollity of the college. But his knowledge of the world was +confined to the University; his learning was of the last, rather +than of the present age; his temper was indolent; his faculties, +which were not of the first rate, had been relaxed by the +climate; and he was satisfied, like his fellows, with the slight +and superficial discharge of an important trust. As soon as +my tutor had sounded the insufficiency of his disciple in school-learning, +he proposed that we should read every morning, from +ten to eleven, the comedies of Terence. The sum of my improvement +in the University of Oxford is confined to three or +four Latin plays; and even the study of an elegant classic, +which might have been illustrated by a comparison of ancient +and modern theatres, was reduced to a dry and literal interpretation +of the author’s text. During the first weeks I constantly +attended these lessons in my tutor’s room; but as they appeared +equally devoid of profit and pleasure, I was once tempted to try +the experiment of a formal apology. The apology was accepted +with a smile. I repeated the offence with less ceremony; the +excuse was admitted with the same indulgence: the slightest +<span class="pagenum" id="Page_14">[14]</span>motive of laziness or indisposition, the most trifling avocation +at home or abroad, was allowed as a worthy impediment; nor +did my tutor appear conscious of my absence or neglect. Had +the hour of lecture been constantly filled, a single hour was a +small portion of my academic leisure. No plan of study was +recommended for my use; no exercises were prescribed for his +inspection; and, at the most precious season of youth, whole +days and weeks were suffered to elapse without labour or amusement, +without advice or account.’ The name of his second +tutor is concealed in asterisks, and the sensitive conscience of +Dean Milman will not allow him to insert a name ‘which +<i>Gibbon</i> thought proper to suppress.’ The account, however, of +the anonymous person is sufficiently graphic. ‘Dr. —— well +remembered that he had a salary to receive, and only forgot +that he had a duty to perform. Instead of guiding the studies +and watching over the behaviour of his disciple, I was never +summoned to attend even the ceremony of a lecture; and excepting +one voluntary visit to his rooms, during the eight +months of his titular office the tutor and pupil lived in the +same college as strangers to each other.’ It added to the evils +of this neglect, that Gibbon was much younger than most of +the students; and that his temper, which was through life reserved, +was then very shy. His appearance, too, was odd; ‘a +thin little figure, with a large head, disputing and arguing with +the greatest ability.’ Of course he was a joke among undergraduates; +he consulted his tutor as to studying Arabic, and +was seen buying <i>La Bibliothèque Orientale d’Herbelot</i>, and immediately +a legend was diffused that he had turned Mahomedan. +The random cast was not so far from the mark: cut off by +peculiarities from the society of young people; deprived of +regular tuition and systematic employment; tumbling about +among crude masses of heterogeneous knowledge; alone with +the heated brain of youth,—he did what an experienced man +would expect—he framed a theory of all things. No doubt it +seemed to him the most natural thing in the world. Was he +<span class="pagenum" id="Page_15">[15]</span>to be the butt of ungenial wine-parties, or spend his lonely +hours on shreds of languages? Was he not to know the <i>truth</i>? +There were the old problems, the everlasting difficulties, the +<i>mœnia mundi</i>, the Hercules’ pillars of the human imagination—‘fate, +free-will, fore-knowledge absolute.’ Surely these +should come first; when we had learned the great landmarks, +understood the guiding-stars, we might amuse ourselves with +small points, and make a plaything of curious information. +What particular theory the mind frames when in this state is a +good deal matter of special accident. The <i>data</i> for considering +these difficulties are not within its reach. Whether man be or +be not born to solve the ‘mystery of the knowable,’ he certainly +is not born to solve it at seventeen, with the first hot rush of +the untrained mind. The selection of Gibbon was remarkable: +he became a Roman Catholic.</p> + +<p>It seems now so natural that an Oxford man should take +this step, that one can hardly understand the astonishment it +created. Lord Sheffield tells us that the Privy Council interfered; +and with good administrative judgment examined a +London bookseller—some Mr. Lewis—who had no concern in +it. In the manor-house of Buriton it would have probably +created less sensation if ‘dear Edward’ had announced his intention +of becoming a monkey. The English have ever believed +that the Papist is a kind of <i>creature</i>; and every sound +mind would prefer a beloved child to produce a tail, a hide of +hair, and a taste for nuts, in comparison with transubstantiation, +wax-candles, and a belief in the glories of Mary.</p> + +<p>What exact motives impelled Gibbon to this step cannot +now be certainly known; the autobiography casts a mist over +them; but from what appears, his conversion partly much resembled, +and partly altogether differed from, the Oxford conversions +of our own time. We hear nothing of the notes of a +church, or the sin of the Reformation; and Gibbon had not an +opportunity of even rejecting Mr. Sewell’s theory that it is ‘a +holy obligation to acquiesce in the opinions of your grandmother.’ +<span class="pagenum" id="Page_16">[16]</span>His memoirs have a halo of great names—Bossuet, +the <i>History of Protestant Variations</i>, &c. &c.—and he speaks +with becoming dignity of falling by a noble hand. He mentioned +also to Lord Sheffield, as having had a preponderating influence +over him, the works of Father Parsons, who lived in Queen +Elizabeth’s time. But in all probability these were secondary +persuasions, justifications after the event. No young man, or +scarcely any young man of seventeen, was ever converted by a +systematic treatise, especially if written in another age, wearing +an obsolete look, speaking a language which scarcely seems that +of this world. There is an unconscious reasoning: ‘The world +has had this book before it so long, and has withstood it. There +must be something wrong; it seems all right on the surface, +but a flaw there must be.’ The mass of the volumes, too, is +unfavourable. ‘All the treatises in the world,’ says the young +convert in <i>Loss and Gain</i>, ‘are not equal to giving one a view +in a moment.’ What the youthful mind requires is this short +decisive argument, this view in a moment, this flash as it were +of the understanding, which settles all, and diffuses a conclusive +light at once and for ever over the whole. It is so much the +pleasanter if the young mind can strike this view out for itself, +from materials which are forced upon it from the controversies +of the day; if it can find a certain solution of pending questions, +and show itself wiser even than the wisest of its own, the very +last age. So far as appears, this was the fortune of Gibbon. +‘It was not long,’ he says, ‘since Dr. Middleton’s <i>Free Inquiry</i> +had sounded an alarm in the theological world; much ink and +much gall had been spent in defence of the primitive miracles; +and the two dullest of their champions were crowned with +academic honours by the University of Oxford. The name of +Middleton was unpopular; and his proscription very naturally +led me to peruse his writings and those of his antagonists.’ It +is not difficult to discover in this work easy and striking arguments +which might lead an untaught mind to the communion +of Rome. As to the peculiar belief of its author, there has +<span class="pagenum" id="Page_17">[17]</span>been much controversy, with which we have not here the least +concern; but the natural conclusion to which it would lead a +simple intellect is, that all miracles are equally certain or +equally uncertain. ‘It being agreed, then,’ says the acute controversialist, +‘that in the original promise of these miraculous +gifts there is no intimation of any particular period to which +their continuance was limited, the next question is, by what +sort of evidence the precise time of their duration is to be determined? +But to this point one of the writers just referred to +excuses himself, as we have seen, from giving any answer; and +thinks it sufficient to declare in general that <i>the earliest fathers +unanimously affirm them to have continued down to their +times</i>. Yet he has not told us, as he ought to have done, to +what age he limits the character of <i>the earliest fathers</i>; whether +to the second or to the third century, or, with the generality of +our writers, means also to include the fourth. But to whatever +age he may restrain it, the difficulty at last will be to assign a +reason why we must needs stop there. In the meanwhile, by +his appealing thus to the <i>earliest fathers</i> only as unanimous on +this article, a common reader would be apt to infer that the +later fathers are more cold or diffident, or divided upon it; +whereas the reverse of this is true, and the more we descend +from those earliest fathers the more strong and explicit we find +their successors in attesting the perpetual succession and daily +exertion of the same miraculous powers in their several ages; +so that if the cause must be determined by <i>the unanimous +consent of fathers</i>, we shall find as much reason to believe that +those powers were continued even to the latest ages as to any +other, how early and primitive soever, after the days of the +apostles. But the same writer gives us two reasons why he +does not choose to say anything upon the subject of their duration; +1st, because <i>there is not light enough in history to settle +it</i>; 2ndly, because <i>the thing itself is of no concern to us</i>. As +to his first reason, I am at a loss to conceive what further light +a professed advocate of the primitive ages and fathers can possibly +<span class="pagenum" id="Page_18">[18]</span>require in this case. For as far as the Church historians +can illustrate or throw light upon anything, there is not a single +point in all history so constantly, explicitly, and unanimously +affirmed by them all, as the continual succession of these powers +through all ages, from the earliest father who first mentions +them down to the time of the Reformation. Which same succession +is still further deduced by persons of the most eminent +character for their probity, learning, and dignity in the Romish +Church, to this very day. So that the only doubt which can +remain with us is, whether the Church historians are to be +trusted or not; for if any credit be due to them in the present +case, it must reach either to all or to none; because the reason +of believing them in any one age will be found to be of equal +force in all, as far as it depends on the characters of the persons +attesting, or the nature of the things attested.’ In <i>terms</i> this +and the whole of Middleton’s argument is so shaped as to avoid +including in its scope the miracles of Scripture, which are mentioned +throughout with eulogiums and acquiescence, and so as +to make you doubt whether the author believed them or not. +This is exactly one of the pretences which the young strong +mind delights to tear down. It would argue, ‘This writer evidently +<i>means</i> that the apostolic miracles have just as much +evidence and no more than the popish or the patristic; and +how strong’—for Middleton is a master of telling statement—‘he +shows that evidence to be! I won’t give up the apostolic +miracles, I cannot; yet I must believe what has as much of +historical testimony in its favour. It is no <i>reductio ad absurdum</i> +that we must go over to the Church of Rome; it is +the most diffused of Christian creeds, the oldest of Christian +churches.’ And so the logic of the sceptic becomes, as often +since, the most efficient instrument of the all-believing and all-determining +Church.</p> + +<p>The consternation of Gibbon’s relatives seems to have been +enormous. They cast about what to do. From the experience +of Oxford, they perhaps thought that it would be useless to +<span class="pagenum" id="Page_19">[19]</span>have recourse to the Anglican clergy; this resource had failed. +So they took him to Mr. Mallet, a Deist, to see if he could do +anything; but he did nothing. Their next step was nearly as +extraordinary. They placed him at Lausanne, in the house of +M. Pavilliard, a French Protestant minister. After the easy +income, complete independence, and unlimited credit of an +English undergraduate, he was thrown into a foreign country, +deprived, as he says, by ignorance of the language, both of +‘speech and hearing,’—in the position of a schoolboy, with a +small allowance of pocket-money, and without the Epicurean +comforts on which he already set some value. He laments the +‘indispensable comfort of a servant,’ and the ‘sordid and uncleanly +table of Madame Pavilliard.’ In our own day the +watchful sagacity of Cardinal Wiseman would hardly allow a +promising convert of expectations and talents to remain unsolaced +in so pitiful a situation; we should hear soothing offers +of flight or succour, some insinuation of a popish domestic and +interesting repasts. But a hundred years ago the attention of +the Holy See was very little directed to our English youth, and +Gibbon was left to endure his position.</p> + +<p>It is curious that he made himself comfortable. Though +destitute of external comforts which he did not despise, he +found what was the greatest luxury to his disposition, steady +study and regular tuition. His tutor was, of course, to convert +him if he could; but as they had no language in common, +there was the preliminary occupation of teaching French. +During five years both tutor and pupil steadily exerted themselves +to repair the defects of a neglected and ill-grounded +education. We hear of the perusal of Terence, Virgil, Horace, +and Tacitus. Cicero was translated into French, and translated +back again into Latin. In both languages the pupil’s +progress was sound and good. From letters of his which still +exist, it is clear that he then acquired the exact and steady +knowledge of Latin of which he afterwards made so much use. +His circumstances compelled him to master French. If his +<span class="pagenum" id="Page_20">[20]</span>own letters are to be trusted, he would be an example of his +own doctrine, that no one is thoroughly master of more than +one language at a time; they read like the letters of a Frenchman +trying and failing to write English. But perhaps there +was a desire to magnify his continental progress, and towards +the end of the time some wish to make his friends fear he was +forgetting his own language.</p> + +<p>Meantime the work of conversion was not forgotten. In +some letters which are extant, M. Pavilliard celebrates the +triumph of his logic. ‘<i>J’ai renversé</i>,’ says the pastor, ‘<i>l’infaillibilité +de l’Eglise; j’ai prouvé que jamais Saint Pierre +n’a été chef des apôtres; que quand il l’aurait été, le pape +n’est point son successeur; qu’il est douteux que Saint Pierre +ait jamais été à Rome; mais supposé qu’il y ait été, il n’a +pas été évêque de cette ville; que la transubstantiation est une +invention humaine, et peu ancienne dans l’Eglise</i>,’ &c., and +so on through the usual list of Protestant arguments. He +magnifies a little Gibbon’s strength of conviction, as it makes +the success of his own logic seem more splendid; but states +two curious things: first, that Gibbon at least <i>pretended</i> to +believe in the Pretender, and what is more amazing still—all +but incredible—that he fasted. Such was the youth of the +Epicurean historian!</p> + +<p>It is probable, however, that the skill of the Swiss pastor +was not the really operating cause of the event. Perhaps experience +shows that the converts which Rome has made, with +the threat of unbelief and the weapons of the sceptic, have +rarely been permanent or advantageous to her. It is at best +but a dangerous logic to drive men to the edge and precipice of +scepticism, in the hope that they will recoil in horror to the +very interior of credulity. Possibly men may show their courage—they +may vanquish the <i>argumentum ad terrorem</i>—they may +not find scepticism so terrible. This last was Gibbon’s case. +A more insidious adversary than the Swiss theology was at hand +to sap his Roman Catholic belief. Pavilliard had a fair French +<span class="pagenum" id="Page_21">[21]</span>library—not ill stored in the recent publications of that age—of +which he allowed his pupil the continual use. It was as impossible +to open any of them and not come in contact with +infidelity, as to come to England and not to see a green field. +Scepticism is not so much a part of the French literature of +that day as its animating spirit—its essence, its vitality. You +can no more cut it out and separate it, than you can extract +from Wordsworth his conception of nature, or from Swift his +common sense. And it is of the subtlest kind. It has little +in common with the rough disputation of the English deist, +or the perplexing learning of the German theologian, but +works with a tool more insinuating than either. It is, in truth, +but the spirit of the world, which does not argue, but assumes; +which does not so much elaborate as hints; which does not +examine, but suggests. With the traditions of the Church it +contrasts traditions of its own; its technicalities are <i>bon sens</i>, +<i>l’usage du monde</i>, <i>le fanatisme</i>, <i>l’enthousiasme</i>; to high hopes, +noble sacrifices, awful lives, it opposes quiet ease, skilful comfort, +placid sense, polished indifference. Old as transubstantiation +may be, it is not older than Horace and Lucian. Lord +Byron, in the well-known lines, has coupled the names of the +two literary exiles on the Leman Lake. The page of Voltaire +could not but remind Gibbon that the scepticism from which +he had revolted was compatible with literary eminence and +European fame—gave a piquancy to ordinary writing—was the +very expression of caustic caution and gentlemanly calm.</p> + +<p>The grave and erudite habits of Gibbon soon developed +themselves. Independently of these abstruse theological disputations, +he spent many hours daily—rising early and reading +carefully—on classical and secular learning. He was not, however, +wholly thus engrossed. There was in the neighbourhood +of Lausanne a certain Mademoiselle Curchod, to whom he +devoted some of his time. She seems to have been a morbidly +rational lady; at least she had a grave taste. Gibbon could not +have been a very enlivening lover; he was decidedly plain, and +<span class="pagenum" id="Page_22">[22]</span>his predominating taste was for solid learning. But this was +not all; she formed an attachment to M. Necker, afterwards the +most slow of premiers, whose financial treatises can hardly have +been agreeable even to a Genevese beauty. This was, however, +at a later time. So far as appears, Gibbon was her first love. +How extreme her feelings were one does not know. Those of +Gibbon can scarcely be supposed to have done him any harm. +However, there was an intimacy, a flirtation, an engagement—when, +as usual, it appeared that neither had any money. That +the young lady should procure any seems to have been out of +the question; and Gibbon, supposing that he might, wrote to +his father. The reply was unfavourable. Gibbon’s mother was +dead; Mr. Gibbon senior was married again; and even in other +circumstances would have been scarcely ready to encourage a +romantic engagement to a lady with nothing. She spoke no +English, too, and marriage with a person speaking only French +is still regarded as a most unnatural event; forbidden, not +indeed by the literal law of the Church, but by those higher +instinctive principles of our nature, to which the bluntest own +obedience. No father could be expected to violate at once +pecuniary duties and patriotic principles. Mr. Gibbon senior +forbade the match. The young lady does not seem to have +been quite ready to relinquish all hope; but she had shown a +grave taste, and fixed her affections on a sound and cold mind. +‘I sighed,’ narrates the historian, ‘as a lover; but I obeyed as +a son.’ ‘I have seen,’ says M. Suard, ‘the letter in which +Gibbon communicated to Mademoiselle Curchod the opposition +of his father to their marriage. The first pages are tender and +melancholy, as might be expected from an unhappy lover; the +latter become by degrees calm and reasonable; and the letter +concludes with these words: <i>C’est pourquoi, mademoiselle, j’ai +l’honneur d’être votre très-humble et très-obéissant serviteur, +Edward Gibbon</i>.’ Her father died soon afterwards, and she +retired to Geneva, where, by teaching young ladies, she earned +a hard subsistence for herself and her mother; but the tranquil +<span class="pagenum" id="Page_23">[23]</span>disposition of her admirer preserved him from any romantic +display of sympathy and fidelity. He continued to study various +readings in Cicero, as well as the passage of Hannibal over the +Alps; and with those affectionate resources set sentiment at defiance. +Yet thirty years later the lady, then the wife of the +most conspicuous man in Europe, was able to suggest useful +reflections to an aged bachelor, slightly dreaming of a superannuated +marriage: ‘<i>Gardez-vous, monsieur, de former un de +ces liens tardifs: le mariage qui rend heureux dans l’âge +mûr, c’est celui qui fut contracté dans la jeunesse. Alors +seulement la réunion est parfaite, les goûts se communiquent, +les sentimens se répandent, les idées deviennent communes, les +facultés intellectuelles se modèlent mutuellement. Toute la vie +est double, et toute la vie est une prolongation de la jeunesse; +car les impressions de l’âme commandent aux yeux, et la +beauté qui n’est plus conserve encore son empire; mais pour +vous, monsieur, dans toute la vigueur de la pensée, lorsque +toute l’existence est décidée, l’on ne pourroit sans un miracle +trouver une femme digne de vous; et une association d’un genre +imparfait rappelle toujours la statue d’Horace, qui joint à une +belle tête le corps d’un stupide poisson. Vous êtes marié avec +la gloire.</i>’ She was then a cultivated French lady, giving an +account of the reception of the Decline and Fall at Paris, and +expressing rather peculiar ideas on the style of Tacitus. The +world had come round to her side, and she explains to her old +lover rather well her happiness with M. Necker.</p> + +<p>After living nearly five years at Lausanne, Gibbon returned +to England. Continental residence has made a great alteration +in many Englishmen; but few have undergone so complete a +metamorphosis as Edward Gibbon. He left his own country a +hot-brained and ill taught youth, willing to sacrifice friends and +expectations for a superstitious and half-known creed; he returned +a cold and accomplished man, master of many accurate +ideas, little likely to hazard any coin for any faith: already, it +is probable, inclined in secret to a cautious scepticism; placing +<span class="pagenum" id="Page_24">[24]</span>thereby, as it were, upon a system the frigid prudence and +unventuring incredulity congenial to his character. His change +of character changed his position among his relatives. His +father, he says, met him as a friend; and they continued thenceforth +on a footing of ‘easy intimacy.’ Especially after the little +affair of Mademoiselle Curchod, and the ‘very sensible view he +took in that instance of the matrimonial relation,’ there can be +but little question that Gibbon was justly regarded as a most +safe young man, singularly prone to large books, and a little too +fond of French phrases and French ideas; but yet with a great +feeling of common sense, and a wise preference of permanent +money to transitory sentiment. His father allowed him a +moderate, and but a moderate income, which he husbanded with +great care, and only voluntarily expended in the purchase and +acquisition of serious volumes. He lived an externally idle but +really studious life, varied by tours in France and Italy; the +toils of which, though not in description very formidable, a +trifle tried a sedentary habit and somewhat corpulent body. +The only English avocation which he engaged in was, oddly +enough, war. It does not appear the most likely in this pacific +country, nor does he seem exactly the man for <i>la grande guerre</i>; +but so it was; and the fact is an example of a really Anglican +invention. The English have discovered pacific war. We may +not be able to kill people as well as the French, or fit out and +feed distant armaments as neatly as they do; but we are unrivalled +at a quiet armament here at home which never kills +anybody, and never wants to be sent anywhere. A ‘constitutional +militia’ is a beautiful example of the mild efficacy of +civilisation, which can convert even the ‘great manslaying profession’ +(as Carlyle calls it) into a quiet and dining association. +Into this force Gibbon was admitted; and immediately, contrary +to his anticipations, and very much against his will, was +called out for permanent duty. The hero of the <i>corps</i> was a +certain dining Sir Thomas, who used at the end of each new +bottle to announce with increasing joy how much soberer he had +<span class="pagenum" id="Page_25">[25]</span>become. What his fellow-officers thought of Gibbon’s French +predilections and large volumes it is not difficult to conjecture; +and he complains bitterly of the interruption to his studies. +However, his easy composed nature soon made itself at home; +his polished tact partially concealed from the ‘mess’ his recondite +pursuits, and he contrived to make the Hampshire armament +of classical utility. ‘I read,’ he says, ‘the Analysis of +Cæsar’s Campaign in Africa. Every motion of that great general +is laid open with a critical sagacity. A complete military history +of his campaigns would do almost as much honour to +M. Guichardt as to Cæsar. This finished the <i>Mémoires</i>, which +gave me a much clearer notion of ancient tactics than I ever +had before. Indeed, my own military knowledge was of some +service to me, as I am well acquainted with the modern discipline +and exercise of a battalion. So that though much inferior +to M. Folard and M. Guichardt, who had seen service, I am a +much better judge than Salmasius, Casaubon, or Lipsius; mere +scholars, who perhaps had never seen a battalion under arms.’</p> + +<p>The real occupation of Gibbon, as this quotation might +suggest, was his reading; and this was of a peculiar sort. +There are many kinds of readers, and each has a sort of perusal +suitable to his kind. There is the voracious reader, like Dr. +Johnson, who extracts with grasping appetite the large features, +the mere essence of a trembling publication, and rejects the +rest with contempt and disregard. There is the subtle reader, +who pursues with fine attention the most imperceptible and +delicate ramifications of an interesting topic, marks slight +traits, notes changing manners, has a keen eye for the character +of his author, is minutely attentive to every prejudice and +awake to every passion, watches syllables and waits on words, +is alive to the light air of nice associations which float about +every subject—the motes in the bright sunbeam—the delicate +gradations of the passing shadows. There is the stupid reader, +who prefers dull books—is generally to be known by his disregard +of small books and English books, but likes masses in +<span class="pagenum" id="Page_26">[26]</span>modern Latin, <i>Grævius de torpor e mirabili</i>; <i>Horrificus de +gravitate sapientiæ</i>. But Gibbon was not of any of these +classes. He was what common people would call a matter-of-fact, +and philosophers now-a-days a <i>positive</i> reader. No disciple +of M. Comte could attend more strictly to precise and provable +phenomena. His favourite points are those which can be +weighed and measured. Like the dull reader, he had perhaps +a preference for huge books in unknown tongues; but, on the +other hand, he wished those books to contain real and accurate +information. He liked the firm earth of positive knowledge. +His fancy was not flexible enough for exquisite refinement, his +imagination too slow for light and wandering literature; but +he felt no love of dullness in itself, and had a prompt acumen +for serious eloquence. This was his kind of reflection. ‘The +author of the Adventurer, No. 127 (Mr. Joseph Warton, concealed +under the signature of Z), concludes his ingenious parallel +of the ancients and moderns by the following remark: “That +age will never again return, when a Pericles, after walking with +Plato in a portico built by Phidias and painted by Apelles, +might repair to hear a pleading of Demosthenes or a tragedy +of Sophocles.” It will never return, because it never existed. +Pericles (who died in the fourth year of the <span class="allsmcap">LXXXIX</span>th Olympiad. +ant. Ch. 429, Dio. Sic. l. xii. 46) was confessedly the patron of +Phidias, and the contemporary of Sophocles; but he could enjoy +no very great pleasure in the conversation of Plato, who was +born in the same year that he himself died (Diogenes Laertius +in Platone v. Stanley’s History of Philosophy, p. 154). The +error is still more extraordinary with regard to Apelles and +Demosthenes, since both the painter and the orator survived +Alexander the Great, whose death is above a century posterior +to that of Pericles (in 323). And indeed, though Athens was +the seat of every liberal art from the days of Themistocles to +those of Demetrius Phalereus, yet no particular era will afford +Mr. Warton the complete synchronism he seems to wish for; +as tragedy was deprived of her famous triumvirate before the +<span class="pagenum" id="Page_27">[27]</span>arts of philosophy and eloquence had attained the perfection +which they soon after received from the hands of Plato, Aristotle, +and Demosthenes.’</p> + +<p>And wonderful is it for what Mr. Hallam calls ‘the languid +students of our present age’ to turn over the journal of his daily +studies. It is true, it seems to have been revised by himself; +and so great a narrator would group effectively facts with which +he was so familiar; but allowing any discount (if we may use +so mean a word) for the skilful art of the impressive historian, +there will yet remain in the <i>Extraits de mon Journal</i> a wonderful +monument of learned industry. You may open them +anywhere. ‘<i>Dissertation on the Medal of Smyrna</i>, by M. de +Boze: replete with erudition and taste; containing curious researches +on the pre-eminence of the cities of Asia.—<i>Researches +on the Polypus</i>, by Mr. Trembley. A new world: throwing +light on physics, but darkening metaphysics.—Vegetius’s <i>Institutions</i>. +This writer on tactics has good general notions; but +his particular account of the Roman discipline is deformed by +confusion and anachronisms.’ Or, ‘I this day began a very considerable +task, which was, to read Cluverius’ <i>Italia Antiqua</i> in +two volumes folio, Leyden 1624, Elzevirs;’ and it appears he +did read it as well as begin it, which is the point where most +enterprising men would have failed. From the time of his +residence at Lausanne his Latin scholarship had been sound +and good, and his studies were directed to the illustration of +the best Roman authors; but it is curious to find on August 16, +1761, after his return to England, and when he was twenty-four +years old, the following extract: ‘I have at last finished +the Iliad. As I undertook it to improve myself in the Greek +language, which I had totally neglected for some years past, +and to which I never applied myself with a proper attention, I +must give a reason why I began with Homer, and that contrary +to Le Clerc’s advice. I had two: 1st, As Homer is the most +ancient Greek author (excepting perhaps Hesiod) who is now +extant; and as he was not only the poet, but the lawgiver, the +<span class="pagenum" id="Page_28">[28]</span>theologian, the historian, and the philosopher of the ancients, +every succeeding writer is full of quotations from, or allusions +to his writings, which it would be difficult to understand without +a previous knowledge of them. In this situation, was it not +natural to follow the ancients themselves, who always began +their studies by the perusal of Homer? 2ndly. No writer ever +treated such a variety of subjects. As every part of civil, military, +or economical life is introduced into his poems, and as the +simplicity of his age allowed him to call everything by its +proper name, almost the whole compass of the Greek tongue +is comprised in Homer. I have so far met with the success I +hoped for, that I have acquired a great facility in reading the +language, and treasured up a very great stock of words. What +I have rather neglected is, the grammatical construction of +them, and especially the many various inflexions of the verbs. +In order to acquire that dry but necessary branch of knowledge, +I propose bestowing some time every morning on the perusal of +the <i>Greek Grammar of Port Royal</i>, as one of the best extant. +I believe that I read nearly one-half of Homer like a mere +schoolboy, not enough master of the words to elevate myself +to the poetry. The remainder I read with a good deal of care +and criticism, and made many observations on them. Some I +have inserted here; for the rest I shall find a proper place. +Upon the whole, I think that Homer’s few faults (for some he +certainly has) are lost in the variety of his beauties. I expected +to have finished him long before. The delay was owing partly +to the circumstances of my way of life and avocations, and +partly to my own fault; for while every one looks on me as a +prodigy of application, I know myself how strong a propensity +I have to indolence.’ Posterity will confirm the contemporary +theory that he was a ‘prodigy’ of steady study. Those who +know what the Greek language is, how much of the Decline +and Fall depends on Greek authorities, how few errors the keen +criticism of divines and scholars has been able to detect in his +employment of them, will best appreciate the patient every-day +<span class="pagenum" id="Page_29">[29]</span>labour which could alone repair the early neglect of so difficult +an attainment.</p> + +<p>It is odd how little Gibbon wrote, at least for the public, in +early life. More than twenty-two years elapsed from his first +return from Lausanne to the appearance of the first volume of +his great work, and in that long interval his only important +publication, if it can indeed be so called, was a French essay, +<i>Sur l’Etude de la Littérature</i>, which contains some sensible +remarks, and shows much regular reading; but which is on the +whole a ‘conceivable treatise,’ and would be wholly forgotten +if it had been written by any one else. It was little read in +England, and must have been a serious difficulty to his friends +in the militia; but the Parisians read it, or said they had read +it, which is more in their way, and the fame of being a French +author was a great aid to him in foreign society. It flattered, +indeed, the French <i>literati</i> more than any one can now fancy. +The French had then the idea that it was uncivilised to speak +any other language, and the notion of <i>writing</i> any other seemed +quite a <i>bêtise</i>. By a miserable misfortune you might not know +French, but at least you could conceal it assiduously; white +paper any how might go unsoiled; posterity at least should not +hear of such ignorance. The Parisian was to be the universal +tongue. And it did not seem absurd, especially to those only +slightly acquainted with foreign countries, that this might in +part be so. Political eminence had given their language a +diplomatic supremacy. No German literature existed as yet; +Italy had ceased to produce important books. There was only +England left to dispute the literary omnipotence; and such an +attempt as Gibbon’s was a peculiarly acceptable flattery, for it +implied that her most cultivated men were beginning to abandon +their own tongue, and to write like other nations in the cosmopolitan +<i>lingua franca</i>. A few far-seeing observers, however, +already contemplated the train of events which at the present +day give such a preponderating influence to our own writers, +and make it an arduous matter even to explain the conceivableness +<span class="pagenum" id="Page_30">[30]</span>of the French ambition. Of all men living then or since, +David Hume was the most likely from prejudice and habit to +take an unfavourable view of English literary influence; he had +more literary fame than he deserved in France, and less in +England; he had much of the French neatness, he had but +little of the English nature; yet his cold and discriminating +intellect at once emancipated him from the sophistries which +imposed on those less watchful. He wrote to Gibbon, ‘I have +only one objection, derived from the language in which it is +written. Why do you compose in French, and carry faggots +into the wood, as Horace says with regard to Romans who +wrote in Greek? I grant that you have a like motive to those +Romans, and adopt a language much more generally diffused +than your native tongue; but have you not remarked the fate +of those two ancient languages in the following ages? The +Latin, though then less celebrated and confined to more narrow +limits, has in some measure outlived the Greek, and is now +more generally understood by men of letters. Let the French, +therefore, triumph in the present diffusion of their tongue. +Our solid and increasing establishments in America, where we +need less dread the inundation of barbarians, promise a superior +stability and duration to the English language.’ The cool +sceptic was correct. The great breeding people have gone out +and multiplied; colonies in every clime attest our success; +French is the <i>patois</i> of Europe; English is the language of +the world.</p> + +<p>Gibbon took the advice of his sagacious friend, and prepared +himself for the composition of his great work in English. His +studies were destined, however, to undergo an interruption. +‘Yesterday morning,’ he wrote to a friend, ‘about half an hour +after seven, as I was destroying an army of barbarians, I heard +a double rap at the door, and my friend Mr. Eliot was soon introduced. +After some idle conversation, he told me that if I +was desirous of being in parliament, he had an independent seat +very much at my service.’ The borough was Liskeard; and the +<span class="pagenum" id="Page_31">[31]</span>epithet independent is, of course, ironical, Mr. Eliot being himself +the constituency of that place. The offer was accepted, and +one of the most learned of members of parliament took his seat.</p> + +<p>The political life of Gibbon is briefly described. He was a +supporter of Lord North. That well-known statesman was, in +the most exact sense, a representative man,—although representative +of the class of persons most out of favour with the +transcendental thinkers who invented this name. Germans +deny it, but in every country common opinions are very common. +Everywhere, there exists the comfortable mass; quiet, sagacious, +short-sighted,—such as the Jews whom Rabshakeh tempted by +their vine and their fig-tree; such as the English with their snug +dining-room and after dinner nap, domestic happiness and Bullo +coal; sensible, solid men, without stretching irritable reason, +but with a placid, supine instinct; without originality and without +folly; judicious in their dealings, respected in the world; +wanting little, sacrificing nothing; good-tempered people in +a word, ‘caring for nothing until they are themselves hurt.’ +Lord North was one of this class. You could hardly make him +angry. ‘No doubt,’ he said, tapping his fat sides, ‘I am that +odious thing, a minister; and I believe other people wish they +were so too.’ Profound people look deeply for the maxims of +his policy; and it being on the surface, of course they fail to +find it. He did not what the mind, but what the <i>body</i> of the +community wanted to have done; he appealed to the real people, +the large English commonplace herd. His abilities were great; +and with them he did what people with no abilities wished to do, +and could not do. Lord Brougham has published the King’s +Letters to him, showing that which partial extracts had made +known before, that Lord North was quite opposed to the war he +was carrying on; was convinced it could not succeed; hardly, +in fact, wished it might. Why did he carry it on? <i>Vox +populi</i>, the voice of well-dressed men commanded it to be +done; and he cheerfully sacrificed American people, who were +nothing to him, to English, who were something, and a king, +<span class="pagenum" id="Page_32">[32]</span>who was much. Gibbon was the very man to support such a +ruler. His historical writings have given him a posthumous +eminence; but in his own time he was doubtless thought a +sensible safe man, of ordinary thoughts and intelligible actions. +To do him justice, he did not pretend to be a hero. ‘You +know,’ he wrote to his friend Deyverdun, ‘<i>que je suis entré au +parlement sans patriotisme, sans ambition, et que toutes mes +vues se bornoient à la place commode et honnête d’un</i> lord of +trade.’ ‘Wise in his generation’ was written on his brow. He +quietly and gently supported the policy of his time.</p> + +<p>Even, however, amid the fatigue of parliamentary attendance,—the +fatigue, in fact, of attending a nocturnal and +oratorical club, where you met the best people, who could not +speak, as well as a few of the worst, who <i>would</i>,—Gibbon’s +history made much progress. The first volume, a quarto, one-sixth +of the whole, was published in the spring of 1776, and at +once raised his fame to a high point. Ladies actually read it—read +about Bœtica and Tarraconensis, the Roman legions and +the tribunitian powers. Grave scholars wrote dreary commendations. +‘The first impression,’ he writes, ‘was exhausted in a +few days; a second and a third edition were scarcely adequate +to the demand; and my bookseller’s property was twice invaded +by the pirates of Dublin. My book was on every table’—tables +must have been rather few in that age—‘and almost on every +toilette; the historian was crowned by the taste or fashion of +the day; nor was the general voice disturbed by the barking of +any profound critic.’ The noise penetrated deep into the unlearned +classes. Mr. Sheridan, who never read anything ‘on +principle,’ said that the crimes of Warren Hastings surpassed +anything to be found in the ‘correct sentences of Tacitus or the +<i>luminous</i> page of Gibbon.’ Some one seems to have been +struck with the jet of learning, and questioned the great wit. +‘I said,’ he replied, ‘<i>vo</i>luminous.’</p> + +<p>History, it is said, is of no use; at least a great critic, who +is understood to have in the press a very elaborate work in that +<span class="pagenum" id="Page_33">[33]</span>kind, not long since seemed to allege that writings of this sort +did not establish a theory of the universe, and were therefore of +no avail. But whatever may be the use of this sort of composition +in itself and abstractedly, it is certainly of great use +relatively and to literary men. Consider the position of a man +of that species. He sits beside a library-fire, with nice white +paper, a good pen, a capital style, every means of saying everything, +but nothing to say; of course he is an able man; of +course he has an active intellect, beside wonderful culture; but +still one cannot always have original ideas. Every day cannot +be an era; a train of new speculation very often will not be +found; and how dull it is to make it your business to write, to +stay by yourself in a room to write, and then to have nothing to +say! It is dreary work mending seven pens, and waiting for a +theory to ‘turn up.’ What a gain if something would happen! +then one could describe it. Something has happened, and that +something is history. On this account, since a sedate Greek +discovered this plan for a grave immortality, a series of accomplished +men have seldom been found wanting to derive a +literary capital from their active and barbarous kindred. Perhaps +when a Visigoth broke a head, he thought that that was +all. Not so; he was making history; Gibbon has written it +down.</p> + +<p>The manner of writing history is as characteristic of the +narrator as the actions are of the persons who are related to +have performed them; often much more so. It may be generally +defined as a view of one age taken by another; a picture of +a series of men and women painted by one of another series. +Of course, this definition seems to exclude contemporary history; +but if we look into the matter carefully, is there such a thing? +What are all the best and most noted works that claim the title—memoirs, +scraps, materials—composed by men of like passions +with the people they speak of, involved it may be in the same +events describing them with the partiality and narrowness of +eager actors; or even worse, by men far apart in a monkish +<span class="pagenum" id="Page_34">[34]</span>solitude, familiar with the lettuces of the convent-garden, but +hearing only faint dim murmurs of the great transactions which +they slowly jot down in the barren chronicle; these are not to be +named in the same short breath, or included in the same narrow +word, with the equable, poised, philosophic narrative of the retrospective +historian. In the great histories there are two topics +of interest—the man as a type of the age in which he lives,—the +events and manners of the age he is describing; very often +almost all the interest is the contrast of the two.</p> + +<p>You should do everything, said Lord Chesterfield, in minuet +time. It was in that time that Gibbon wrote his history, and +such was the manner of the age. You fancy him in a suit of +flowered velvet, with a bag and sword, wisely smiling, composedly +rounding his periods. You seem to see the grave bows, +the formal politeness, the finished deference. You perceive the +minuetic action accompanying the words: ‘Give,’ it would say, +‘Augustus a chair: Zenobia, the humblest of your slaves: +Odoacer, permit me to correct the defect in your attire.’ As +the slap-dash sentences of a rushing critic express the hasty impatience +of modern manners; so the deliberate emphasis, the slow +acumen, the steady argument, the impressive narration bring +before us what is now a tradition, the picture of the correct +eighteenth-century gentleman, who never failed in a measured +politeness, partly because it was due in propriety towards others, +and partly because from his own dignity it was due most obviously +to himself.</p> + +<p>And not only is this true of style, but it may be extended to +other things also. There is no one of the many literary works +produced in the eighteenth century more thoroughly characteristic +of it than Gibbon’s history. The special characteristic of +that age is its clinging to the definite and palpable; it had a +taste beyond everything for what is called solid information. +In literature the period may be defined as that in which +authors had ceased to write for students, and had not begun to +write for women. In the present day, no one can take up any +<span class="pagenum" id="Page_35">[35]</span>book intended for general circulation, without clearly seeing +that the writer supposes most of his readers will be ladies or +young men; and that in proportion to his judgment, he is attending +to their taste. Two or three hundred years ago books +were written for professed and systematic students,—the class +the fellows of colleges were designed to be,—who used to go on +studying them all their lives. Between these there was a time +in which the more marked class of literary consumers were +strong-headed, practical men. Education had not become so +general, or so feminine, as to make the present style—what is +called the ‘brilliant style’—at all necessary; but there was +enough culture to make the demand of common diffused persons +more effectual than that of special and secluded scholars. A +book-buying public had arisen of sensible men, who would not +endure the awful folio style in which the schoolmen wrote. +From peculiar causes, too, the business of that age was perhaps +more free from the hurry and distraction which disable so many +of our practical men now from reading. You accordingly see in +the books of the last century what is called a masculine tone; a +firm, strong, perspicuous narration of matter of fact, a plain +argument, a contempt for everything which distinct definite +people cannot entirely and thoroughly comprehend. There is +no more solid book in the world than Gibbon’s history. Only +consider the chronology. It begins before the year one and +goes down to the year 1453, and is a schedule or series of schedules +of important events during that time. Scarcely any fact +deeply affecting European civilisation is wholly passed over, and +the great majority of facts are elaborately recounted. Laws, +dynasties, churches, barbarians, appear and disappear. Everything +changes; the old world—the classical civilisation of form +and definition—passes away, a new world of free spirit and +inward growth emerges; between the two lies a mixed weltering +interval of trouble and confusion, when everybody hates everybody, +and the historical student leads a life of skirmishes, is +oppressed with broils and feuds. All through this long period +<span class="pagenum" id="Page_36">[36]</span>Gibbon’s history goes with steady consistent pace; like a Roman +legion through a troubled country—<i>hœret pede pes</i>; up hill +and down hill, through marsh and thicket, through Goth or +Parthian—the firm defined array passes forward—a type of +order, and an emblem of civilisation. Whatever may be the +defects of Gibbon’s history, none can deny him a proud precision +and a style in marching order.</p> + +<p>Another characteristic of the eighteenth century is its taste +for dignified pageantry. What an existence was that of Versailles! +How gravely admirable to see the <i>grand monarque</i> +shaved, and dressed, and powdered; to look on and watch a +great man carefully amusing himself with dreary trifles. Or do +we not even now possess an invention of that age—the great +eighteenth-century footman, still in the costume of his era, with +dignity and powder, vast calves and noble mien? What a world +it must have been when all men looked like that! Go and +gaze with rapture at the footboard of a carriage, and say, Who +would not obey a premier with such an air? Grave, tranquil, +decorous pageantry is a part, as it were, of the essence of the +last age. There is nothing more characteristic of Gibbon. A +kind of pomp pervades him. He is never out of livery. He +ever selects for narration those themes which look most like a +levee: grave chamberlains seem to stand throughout; life is a +vast ceremony, the historian at once the dignitary and the +scribe.</p> + +<p>The very language of Gibbon shows these qualities. Its +majestic march has been the admiration—its rather pompous +cadence the sport of all perusers. It has the greatest merit of +an historical style: it is always going on; you feel no doubt of +its continuing in motion. Many narrators of the reflective +class, Sir Archibald Alison for example, fail in this: your constant +feeling is, ‘Ah! he has pulled up; he is going to be profound; +he never will go on again.’ Gibbon’s reflections connect +the events; they are not sermons between them. But, notwithstanding, +the manner of the Decline and Fall is the last which +<span class="pagenum" id="Page_37">[37]</span>should be recommended for strict imitation. It is not a style +in which you can tell the truth. A monotonous writer is suited +only to monotonous matter. Truth is of various kinds—grave, +solemn, dignified, petty, low, ordinary; and an historian who has +to tell the truth must be able to tell what is vulgar as well as +what is great, what is little as well as what is amazing. Gibbon +is at fault here. He <i>cannot</i> mention Asia <i>Minor</i>. The petty +order of sublunary matters; the common gross existence of +ordinary people; the necessary littlenesses of necessary life, are +little suited to his sublime narrative. Men on the <i>Times</i> feel +this acutely; it is most difficult at first to say many things in +the huge imperial manner. And after all you cannot tell everything. +‘How, sir,’ asked a reviewer of Sydney Smith’s life, ‘do +you say a “good fellow” in print?’ ‘Mr. ——,’ replied the +editor, ‘you should not say it at all.’ Gibbon was aware of this +rule; he omits what does not suit him; and the consequence is, +that though he has selected the most various of historical topics, +he scarcely gives you an idea of variety. The ages change, but +the varnish of the narration is the same.</p> + +<p>It is not unconnected with this fault that Gibbon gives us +but an indifferent description of individual character. People +seem a good deal alike. The cautious scepticism of his cold +intellect, which disinclined him to every extreme, depreciates +great virtues and extenuates great vices; and we are left with +a tame neutral character, capable of nothing extraordinary,—hateful, +as the saying is, ‘both to God and to the enemies of +God.’</p> + +<p>A great point in favour of Gibbon is the existence of his +history. Some great historians seem likely to fail here. A +good judge was asked which he preferred, Macaulay’s <i>History +of England</i> or Lord Mahon’s. ‘Why,’ he replied, ‘you observe +Lord Mahon has written his history; and by what I see Macaulay’s +will be written not only for, but <i>among</i> posterity.’ +Practical people have little idea of the practical ability required +to write a large book, and especially a large history. Long +<span class="pagenum" id="Page_38">[38]</span>before you get to the pen, there is an immensity of pure +business; heaps of material are strewn everywhere; but they +lie in disorder, unread, uncatalogued, unknown. It seems a +dreary waste of life to be analysing, indexing, extracting works +and passages, in which one per cent. of the contents are interesting, +and not half of that percentage will after all appear in +the flowing narrative. As an accountant takes up a bankrupt’s +books filled with confused statements of ephemeral events, the +disorderly record of unprofitable speculations, and charges this +to that head, and that to this,—estimates earnings, specifies +expenses, demonstrates failures; so the great narrator, going +over the scattered annalists of extinct ages, groups and divides, +notes and combines, until from a crude mass of darkened fragments +there emerges a clear narrative, a concise account of the +result and upshot of the whole. In this art Gibbon was a +master. The laborious research of German scholarship, the +keen eye of theological zeal, a steady criticism of eighty years, +have found few faults of detail. The account has been worked +right, the proper authorities consulted, an accurate judgment +formed, the most telling incidents selected. Perhaps experience +shows that there is something English in this talent. The +Germans are more elaborate in single monographs; but they +seem to want the business-ability to work out a complicated +narrative, to combine a long whole. The French are neat +enough, and their style is very quick; but then it is difficult to +believe their facts; the account on its face seems too plain, and +no true Parisian ever was an antiquary. The great classical +histories published in this country in our own time show that +the talent is by no means extinct; and they likewise show, what +is also evident, that this kind of composition is easier with +respect to ancient than with respect to modern times. The +barbarians burned the books; and though all the historians +abuse them for it, it is quite evident that in their hearts they +are greatly rejoiced. If the books had existed, they would +have had to read them. Macaulay has to peruse every book +<span class="pagenum" id="Page_39">[39]</span>printed with long ſs; and it is no use after all; somebody will +find some stupid MS., an old account-book of an ‘ingenious +gentleman,’ and with five entries therein destroy a whole hypothesis. +But Gibbon was exempt from this; he could count the +books the efficient Goths bequeathed; and when he had mastered +them he might pause. Still, it was no light matter, as +any one who looks at the books—awful folios in the grave +Bodleian—will most certainly credit and believe. And he did +it all himself; he never showed his book to any friend, or asked +any one to help him in the accumulating work, not even in the +correction of the press. ‘Not a sheet,’ he says, ‘has been seen +by any human eyes, excepting those of the author and printer; +the faults and the merits are exclusively my own.’ And he +wrote most of it with one pen, which must certainly have grown +erudite towards the end.</p> + +<p>The nature of his authorities clearly shows what the nature +of Gibbon’s work is. History may be roughly divided into universal +and particular; the first being the narrative of events +affecting the whole human race, at least the main historical +nations, the narrative of whose fortunes is the story of civilisation; +and the latter being the relation of events relating to one +or a few particular nations only. Universal history, it is evident, +comprises great areas of space and long periods of time; +you cannot have a series of events visibly operating on all great +nations without time for their gradual operation, and without +tracking them in succession through the various regions of their +power. There is no instantaneous transmission in historical +causation; a long interval is required for universal effects. It +follows, that universal history necessarily partakes of the character +of a summary. You cannot recount the cumbrous annals +of long epochs without condensation, selection, and omission; +the narrative, when shortened within the needful limits, becomes +concise and general. What it gains in time, according to the +mechanical phrase, it loses in power. The particular history, +confined within narrow limits, can show us the whole contents +<span class="pagenum" id="Page_40">[40]</span>of these limits, explain its features of human interest, recount +in graphic detail all its interesting transactions, touch the +human heart with the power of passion, instruct the mind with +patient instances of accurate wisdom. The universal is confined +to a dry enumeration of superficial transactions; no action can +have all its details; the canvas is so crowded that no figure +has room to display itself effectively. From the nature of the +subject, Gibbons history is of the latter class; the sweep of the +narrative is so wide; the decline and fall of the Roman Empire +being in some sense the most universal event which has ever +happened,—being, that is, the historical incident which has +most affected all civilised men, and the very existence and form +of civilisation itself,—it is evident that we must look rather for +a comprehensive generality than a telling minuteness of delineation. +The history of a thousand years does not admit the pictorial +detail which a Scott or a Macaulay can accumulate on +the history of a hundred. Gibbon has done his best to avoid +the dryness natural to such an attempt. He inserts as much +detail as his limits will permit; selects for more full description +striking people and striking transactions; brings together at a +single view all that relates to single topics; above all, by a +regular advance of narration, never ceases to imply the regular +progress of events and the steady course of time. None can +deny the magnitude of such an effort. After all, however, these +are merits of what is technically termed composition, and are +analogous to those excellences in painting or sculpture that +are more respected by artists than appreciated by the public at +large. The fame of Gibbon is highest among writers; those +especially who have studied for years particular periods included +in his theme (and how many those are; for in the East and +West he has set his mark on all that is great for ten centuries!) +acutely feel and admiringly observe how difficult it would be +to say so much, and leave so little untouched; to compress so +many telling points; to present in so few words so apt and +embracing a narrative of the whole. But the mere unsophisticated +<span class="pagenum" id="Page_41">[41]</span>reader scarcely appreciates this; he is rather awed than +delighted; or rather, perhaps, he appreciates it for a little while, +then is tired by the roll and glare; then, on any chance—the +creaking of an organ, or the stirring of a mouse,—in time of +temptation he falls away. It has been said, the way to answer +all objections to Milton is to take down the book and read him; +the way to reverence Gibbon is not to read him at all, but look +at him, from outside, in the bookcase, and think how much +there is within; what a course of events, what a muster-roll of +names, what a steady solemn sound! You will not like to +take the book down; but you will think how much you could +be delighted if you would.</p> + +<p>It may be well, though it can be only in the most cursory +manner, to examine the respective treatment of the various elements +in this vast whole. The history of the Decline and Fall +may be roughly and imperfectly divided into the picture of the +Roman Empire—the narrative of barbarian incursions—the +story of Constantinople: and some few words may be hastily +said on each.</p> + +<p>The picture—for so, from its apparent stability when contrasted +with the fluctuating character of the later period, we +may call it—which Gibbon has drawn of the united empire has +immense merit. The organisation of the imperial system is +admirably dwelt on; the manner in which the old republican +institutions were apparently retained, but really altered, is compendiously +explained; the mode in which the imperial will was +transmitted to and carried out in remote provinces is distinctly +displayed. But though the mechanism is admirably delineated, +the dynamical principle, the original impulse, is not made clear. +You never feel you are reading about the Romans. Yet no one +denies their character to be most marked. Poets and orators +have striven for the expression of it.</p> + +<p>Macaulay has been similarly criticised; it has been said, +that notwithstanding his great dramatic power, and wonderful +felicity in the selection of events on which to exert it, +<span class="pagenum" id="Page_42">[42]</span>he yet never makes us feel that we are reading about Englishmen. +The coarse clay of our English nature <i>cannot</i> be represented +in so fine a style. In the same way, and to a much +greater extent (for this is perhaps an unthankful criticism, if +we compare Macaulay’s description of any body with that of +any other historian), Gibbon is chargeable with neither expressing +nor feeling the essence of the people concerning whom he +is writing. There was, in truth, in the Roman people a warlike +fanaticism, a puritanical essence, an interior, latent, restrained, +enthusiastic religion, which was utterly alien to the cold scepticism +of the narrator. Of course he was conscious of it. He +indistinctly felt that at least there was something he did not +like; but he could not realise or sympathise with it without a +change of heart and nature. The old Pagan has a sympathy +with the religion of enthusiasm far above the reach of the +modern Epicurean.</p> + +<p>It may indeed be said, on behalf of Gibbon, that the old +Roman character was in its decay, and that only such slight +traces of it were remaining in the age of Augustus and the +Antonines that it is no particular defect in him to leave it +unnoticed. Yet, though the intensity of its nobler peculiarities +was on the wane, many a vestige would perhaps have been +apparent to so learned an eye, if his temperament and disposition +had been prone to seize upon and search for them. Nor +is there any adequate appreciation of the compensating element, +of the force which really held society together, of the fresh air +of the Illyrian hills, of that army which, evermore recruited +from northern and rugged populations, doubtless brought into +the very centre of a degraded society the healthy simplicity of +a vital, if barbarous religion.</p> + +<p>It is no wonder that such a mind should have looked with +displeasure on primitive Christianity. The whole of his treatment +of that topic has been discussed by many pens, and three +generations of ecclesiastical scholars have illustrated it with +their emendations. Yet, if we turn over this, the latest and +<span class="pagenum" id="Page_43">[43]</span>most elaborate edition, containing all the important criticisms +of Milman and of Guizot, we shall be surprised to find how few +instances of definite exact error such a scrutiny has been able +to find out. As Paley, with his strong sagacity, at once remarked, +the subtle error rather lies hid in the sinuous folds +than is directly apparent on the surface of the polished style. +Who, said the shrewd archdeacon, can refute a sneer? And yet +even this is scarcely the exact truth. The objection of Gibbon +is, in fact, an objection rather to religion than to Christianity; +as has been said, he did not appreciate, and could not describe, +the most inward form of pagan piety; he objected to Christianity +because it was the intensest of religions. We do not +mean by this to charge Gibbon with any denial, any overt +distinct disbelief in the existence of a supernatural Being. +This would be very unjust; his cold composed mind had nothing +in common with the Jacobinical outbreak of the next generation. +He was no doubt a theist after the fashion of natural +theology; nor was he devoid of more than scientific feeling. +All constituted authorities struck him with emotion, all ancient +ones with awe. If the Roman Empire had descended to his +time, how much he would have reverenced it! He had doubtless +a great respect for the ‘First Cause;’ it had many titles to +approbation; ‘it was not conspicuous,’ he would have said, ‘but +it was potent.’ A sensitive decorum revolted from the jar of +atheistic disputation. We have already described him more +than enough. A sensible middle-aged man in political life; a +bachelor, not himself gay, but living with gay men; equable +and secular; cautious in his habits, tolerant in his creed, as +Porson said, ‘never failing in natural feeling, except when +women were to be ravished and Christians to be martyred.’ His +writings are in character. The essence of the far-famed fifteenth +and sixteenth chapters is, in truth, but a description of unworldly +events in the tone of this world, of awful facts in +unmoved voice, of truths of the heart in the language of the +eyes. The wary sceptic has not even committed himself to +<span class="pagenum" id="Page_44">[44]</span>definite doubts. These celebrated chapters were in the first +manuscript much longer, and were gradually reduced to their +present size by excision and compression. Who can doubt that +in their first form they were a clear, or comparatively clear, expression +of exact opinions on the Christian history, and that it +was by a subsequent and elaborate process that they were reduced +to their present and insidious obscurity? The toil has +been effectual. ‘Divest,’ says Dean Milman of the introduction +to the fifteenth chapter, ‘this whole passage of the latent +sarcasm betrayed by the whole of the subsequent dissertation, +and it might commence a Christian history, written in the most +Christian spirit of candour.’</p> + +<p>It is not for us here to go into any disquisition as to the +comparative influence of the five earthly causes, to whose +secondary operation the specious historian ascribes the progress +of Christianity. Weariness and disinclination forbid. There +can be no question that the polity of the Church, and the zeal +of the converts, and other such things, did most materially +conduce to the progress of the Gospel. But few will now attribute +to these much of the effect. The real cause is the heaving +of the mind after the truth. Troubled with the perplexities of +time, weary with the vexation of ages, the spiritual faculty of +man turns to the truth as the child turns to its mother. The +thirst of the soul was to be satisfied, the deep torture of the +spirit to have rest. There was an appeal to those</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘High instincts, before which our mortal nature</div> + <div class="verse indent0">Did tremble like a guilty thing surprised.’</div> + </div> + </div> +</div> + +<p class="noindent">The mind of man has an appetite for the truth.</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Hence, in a season of calm weather,</div> + <div class="verse indent2">Though inland far we be,</div> + <div class="verse indent0">Our souls have sight of that immortal sea</div> + <div class="verse indent2">Which brought us hither,—</div> + <div class="verse indent2">Can in a moment travel thither,</div> + <div class="verse indent0">And see the children sport upon the shore,</div> + <div class="verse indent0">And hear the mighty waters rolling evermore.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_45">[45]</span></p> + +<p class="noindent">All this was not exactly in Gibbon’s way, and he does not seem +to have been able to conceive that it was in any one else’s. Why +his chapters had given offence he could hardly make out. It +actually seems that he hardly thought that other people believed +more than he did. ‘We may be well assured,’ says he, of a +sceptic of antiquity, ‘that a writer conversant with the world +would never have ventured to expose the gods of his country to +public ridicule, had they not been already the objects of secret +contempt among the polished and enlightened orders of society.’ +‘Had I,’ he says of himself, ‘believed that the majority of +English readers were so fondly attached even to the name and +shadow of Christianity, had I foreseen that the pious, the timid, +and the prudent would feel, or would affect to feel, with such +exquisite sensibility,—I might perhaps have softened the two +invidious chapters, which would create many enemies and conciliate +few friends.’ The state of belief at that time is a very +large subject; but it is probable that in the cultivated cosmopolitan +classes the continental scepticism was very rife; that +among the hard-headed classes the rough spirit of English +Deism had made progress. Though the mass of the people +doubtless believed much as they now believe, yet the entire upper +class was lazy and corrupt, and there is truth in the picture of +the modern divine: ‘The thermometer of the Church of England +sunk to its lowest point in the first thirty years of the +reign of George III.... In their preaching, nineteen clergymen +out of twenty carefully abstained from dwelling upon +Christian doctrines. Such topics exposed the preacher to the +charge of fanaticism. Even the calm and sober Crabbe, who +certainly never erred from excess of zeal, was stigmatised in +those days as a methodist, because he introduced into his +sermons the notion of future reward and punishment. An +orthodox clergyman (they said) should be content to show his +people the worldly advantage of good conduct, and to leave +heaven and hell to the ranters. Nor can we wonder that such +should have been the notions of country parsons, when, even by +<span class="pagenum" id="Page_46">[46]</span>those who passed for the supreme arbiters of orthodoxy and taste, +the vapid rhetoric of Blair was thought the highest standard of +Christian exhortation.’ It is among the excuses for Gibbon +that he lived in such a world.</p> + +<p>There are slight palliations also in the notions then prevalent +of the primitive Church. There was the Anglican theory, that +it was a <i>via media</i>, the most correct of periods, that its belief is +to be the standard, its institutions the model, its practice the +test of subsequent ages. There was the notion, not formally +drawn out, but diffused through and implied in a hundred books +of evidence,—a notion in opposition to every probability, and +utterly at variance with the New Testament,—that the first +converts were sober, hard-headed, cultivated inquirers,—Watsons, +Paleys, Priestleys, on a small scale; weighing evidence, +analysing facts, suggesting doubts, dwelling on distinctions, cold +in their dispositions, moderate in their morals,—cautious in +their creed. We now know that these were not they of whom +the world was not worthy. It is ascertained that the times of +the first Church were times of excitement; that great ideas +falling on a mingled world were distorted by an untrained +intellect, even in the moment in which they were received by a +yearning heart; that strange confused beliefs, Millennarianism, +Gnosticism, Ebionitism, were accepted, not merely by outlying +obscure heretics, but in a measure, half-and-half, one notion +more by one man, another more by his neighbour, confusedly +and mixedly by the mass of Christians; that the appeal was not +to the questioning, thinking understanding, but to unheeding, +all-venturing emotion; to that lower class ‘from whom faiths +ascend,’ and not to the cultivated and exquisite class by whom +they are criticised; that fervid men never embraced a more exclusive +creed. You can say nothing favourable of the first +Christians, except that they <i>were</i> Christians. We find no +‘form nor comeliness’ in them; no intellectual accomplishments, +no caution in action, no discretion in understanding. There is +no admirable quality except that, with whatever distortion, or +<span class="pagenum" id="Page_47">[47]</span>confusion, or singularity, they at once accepted the great clear +outline of belief in which to this day we live, move, and have +our being. The offence of Gibbon is his disinclination to this +simple essence; his excuse, the historical errors then prevalent +as to the primitive Christians, the real defects so natural in +their position, the false merits ascribed to them by writers +who from one reason or another desired to treat them as ‘an +authority.’</p> + +<p>On the whole, therefore, it may be said of the first, and in +some sense the most important part of Gibbon’s work, that +though he has given an elaborate outline of the framework of +society, and described its detail with pomp and accuracy, yet +that he has not comprehended or delineated its nobler essence, +Pagan or Christian. Nor perhaps was it to be expected that he +should, for he inadequately comprehended the dangers of the +time; he thought it the happiest period the world has ever +known; he would not have comprehended the remark, ‘To see +the old world in its worst estate we turn to the age of the +satirist and of Tacitus, when all the different streams of evil +coming from east, west, north, south, the vices of barbarism and +the vices of civilisation, remnants of ancient cults and the latest +refinements of luxury and impurity, met and mingled on the +banks of the Tiber. What could have been the state of society +when Tiberius, Caligula, Nero, Domitian, Heliogabalus, were +the rulers of the world? To a good man we should imagine +that death itself would be more tolerable than the sight of such +things coming upon the earth.’ So deep an ethical sensibility +was not to be expected in the first century; nor is it strange +when, after seventeen hundred years, we do not find it in their +historian.</p> + +<p>Space has failed us, and we must be unmeaningly brief. +The second head of Gibbon’s history—the narrative of the barbarian +invasions—has been recently criticised, on the ground +that he scarcely enough explains the gradual but unceasing and +inevitable manner in which the outer barbarians were affected +<span class="pagenum" id="Page_48">[48]</span>by and assimilated to the civilisation of Rome. Mr. Congreve +has well observed, that the impression which Gibbon’s narrative +is insensibly calculated to convey is, that there was little or no +change in the state of the Germanic tribes between the time of +Tacitus and the final invasion of the empire—a conclusion which +is obviously incredible. To the general reader there will perhaps +seem some indistinctness in this part of the work, nor is a free, +confused barbarism a congenial subject for an imposing and +orderly pencil. He succeeds better in the delineation of the +riding monarchies, if we may so term them,—of the equestrian +courts of Attila or Timour, in which the great scale, the concentrated +power, the very enormity of the barbarism, give, so to +speak, a shape to unshapeliness; impart, that is, a horrid dignity +to horse-flesh and mare’s milk, an imposing oneness to the vast +materials of a crude barbarity. It is needless to say that no one +would search Gibbon for an explanation of the reasons or +feelings by which the northern tribes were induced to accept +Christianity.</p> + +<p>It is on the story of Constantinople that the popularity of +Gibbon rests. The vast extent of the topic; the many splendid +episodes it contains; its epic unity from the moment of the far-seeing +selection of the city by Constantine to its last fall; its +position as a link between Europe and Asia; its continuous +history; the knowledge that through all that time it was, as +now, a diadem by the water-side, a lure to be snatched by the +wistful barbarian, a marvel to the West, a prize for the North +and for the East;—these, and such as these ideas, are congenial +topics to a style of pomp and grandeur. The East seems to +require to be treated with a magnificence unsuitable to a colder +soil. The nature of the events, too, is suitable to Gibbon’s +cursory, imposing manner. It is the history of a form of civilisation, +but without the power thereof; a show of splendour and +vigour, but without bold life or interior reality. What an opportunity +for an historian who loved the imposing pageantry +and disliked the purer essence of existence! There were here +<span class="pagenum" id="Page_49">[49]</span>neither bluff barbarians nor simple saints; there was nothing +admitting of particular accumulated detail; we do not wish to +know the interior of the stage; the imposing movements are all +which should be seized. Some of the features, too, are curious +in relation to those of the historian’s life: the clear accounts +of the theological controversies, followed out with an appreciative +minuteness so rare in a sceptic, are not disconnected with +his early conversion to the scholastic Church; the brilliancy +of the narrative reminds us of his enthusiasm for Arabic and +the East; the minute description of a licentious epoch evinces +the habit of a mind which, not being bold enough for the +practice of license, took a pleasure in following its theory. There +is no subject which combines so much of unity with so much of +variety.</p> + +<p>It is evident, therefore, where Gibbon’s rank as an historian +must finally stand. He cannot be numbered among the great +painters of human nature, for he has no sympathy with the +heart and passions of our race; he has no place among the felicitous +describers of detailed life, for his subject was too vast for +minute painting, and his style too uniform for a shifting scene. +But he is entitled to a high—perhaps to a first place—among +the orderly narrators of great events; the composed expositors +of universal history; the tranquil artists who have endeavoured +to diffuse a cold polish over the warm passions and desultory +fortunes of mankind.</p> + +<p>The life of Gibbon after the publication of his great work +was not very complicated. During its composition he had +withdrawn from Parliament and London to the studious retirement +of Lausanne. Much eloquence has been expended on this +voluntary exile, and it has been ascribed to the best and most +profound motives. It is indeed certain that he liked a lettered +solitude, preferred easy continental society, was not quite insensible +to the charm of scenery, had a pleasure in returning to the +haunts of his youth. Prosaic and pure history, however, must +explain that he went abroad to <i>save</i>. Lord North had gone +<span class="pagenum" id="Page_50">[50]</span>out of power. Mr. Burke, the Cobden of that era, had procured +the abolition of the Lords of Trade; the private income +of Gibbon was not equal to his notion of a bachelor London +life. The same sum was, however, a fortune at Lausanne. Most +things, he acknowledged, were as dear; but then he had not to +buy so many things. Eight hundred a year placed him high +in the social scale of the place. The inhabitants were gratified +that a man of European reputation had selected their out-of-the-way +town for the shrine of his fame; he lived pleasantly and +easily among easy, pleasant people; a gentle hum of local admiration +gradually arose, which yet lingers on the lips of erudite +<i>laquais de place</i>. He still retains a fame unaccorded to any +other historian; they speak of the ‘hôtel Gibbon:’ there never +was even an <i>estaminet</i> Tacitus, or a <i>café</i> Thucydides.</p> + +<p>This agreeable scene, like many other agreeable scenes, was +broken by a great thunderclap. The French revolution has +disgusted many people; but perhaps it has never disgusted +any one more than Gibbon. He had swept and garnished +everything about him. Externally he had made a neat little +hermitage in a gentle, social place; internally he had polished +up a still theory of life, sufficient for the guidance of a cold and +polished man. Everything seemed to be tranquil with him; +the rigid must admit his decorum; the lax would not accuse +him of rigour; he was of the world, and an elegant society +naturally loved its own. On a sudden the hermitage was disturbed. +No place was too calm for that excitement; scarcely +any too distant for that uproar. The French war was a war of +opinion, entering households, disturbing villages, dividing quiet +friends. The Swiss took some of the infection. There was a not +unnatural discord between the people of the Pays de Vaud and +their masters the people of Berne. The letters of Gibbon are +filled with invectives on the ‘Gallic barbarians’ and panegyrics +on Mr. Burke; military details, too, begin to abound—the +peace of his retirement was at an end. It was an additional +aggravation that the Parisians should do such things. It would +<span class="pagenum" id="Page_51">[51]</span>not have seemed unnatural that northern barbarians—English, +or other uncivilised nations—should break forth in rough riot +or cruel license; but that the people of the most civilised of all +capitals, speaking the sole dialect of polished life, enlightened +with all the enlightenment then known, should be guilty of +excesses unparalleled, unwitnessed, unheard of, was a vexing +trial to one who had admired them for many years. The +internal creed and belief of Gibbon was as much attacked by all +this as were his external circumstances. He had spent his time, +his life, his energy, in putting a polished gloss on human +tumult, a sneering gloss on human piety; on a sudden human +passion broke forth—the cold and polished world seemed to meet +its end; the thin superficies of civilisation was torn asunder; +the fountains of the great deep seemed opened; impiety to +meet its end; the foundations of the earth were out of course.</p> + +<p>We now, after long familiarity and in much ignorance, can +hardly read the history of those years without horror: what an +effect must they have produced on those whose minds were +fresh, and who knew the people killed! ‘Never,’ Gibbon wrote +to an English nobleman, ‘did a revolution affect to such a +degree the private existence of such numbers of the first people +of a great country. Your examples of misery I could easily +match with similar examples in this country and neighbourhood, +and our sympathy is the deeper, as we do not possess, like you, +the means of alleviating in some measure the misfortunes of the +fugitives.’ It violently affected his views of English politics. +He before had a tendency, in consideration of his cosmopolitan +cultivation, to treat them as local littlenesses, parish squabbles; +but now his interest was keen and eager. ‘But,’ he says, ‘in +this rage against slavery, in the numerous petitions against the +slave-trade, was there no leaven of new democratical principles? +no wild ideas of the rights and natural equality of man? It +is these I fear. Some articles in newspapers, some pamphlets of +the year, the Jockey Club, have fallen into my hands. I do +not infer much from such publications; yet I have never known +<span class="pagenum" id="Page_52">[52]</span>them of so black and malignant a cast. I shuddered at Grey’s +motion; disliked the half-support of Fox, admired the firmness +of Pitt’s declaration, and excused the usual intemperance +of Burke. Surely such men as ——, ——, ——, have talents +for mischief. I see a club of reform which contains some respectable +names. Inform me of the professions, the principles, +the plans, the resources of these reformers. Will they heat the +minds of the people? Does the French democracy gain no +ground? Will the bulk of your party stand firm to their own +interest and that of their country? Will you not take some +active measures to declare your sound opinions, and separate +yourselves from your rotten members? If you allow them to +perplex Government, if you trifle with this solemn business, if +you do not resist the spirit of innovation in the first attempt, if +you admit the smallest and most specious change in our parliamentary +system, you are lost. You will be driven from one +step to another; from principles just in theory to consequences +most pernicious in practice; and your first concession will be +productive of every subsequent mischief, for which you will be +answerable to your country and to posterity. Do not suffer +yourselves to be lulled into a false security; remember the proud +fabric of the French monarchy. Not four years ago it stood +founded, as it might seem, on the rock of time, force, and +opinion; supported by the triple aristocracy of the Church, the +nobility, and the parliaments. They are crumbled into dust; +they are vanished from the earth. If this tremendous warning +has no effect on the men of property in England; if it does not +open every eye, and raise every arm,—you will deserve your +fate. If I am too precipitate, enlighten; if I am too desponding, +encourage me. My pen has run into this argument; for, +as much a foreigner as you think me, on this momentous subject +I feel myself an Englishman.’</p> + +<p>The truth clearly is, that he had arrived at the conclusion +that he was the sort of person a populace kill. People wonder +a great deal why very many of the victims of the French revolution +<span class="pagenum" id="Page_53">[53]</span>were particularly selected; the Marquis de Custine, +especially, cannot divine why they executed <i>his</i> father. The +historians cannot show that they committed any particular +crimes; the marquises and marchionesses seem very inoffensive. +The fact evidently is, that they were killed for being polite. +The world felt itself unworthy of them. There were so many +bows, such regular smiles, such calm superior condescension,—could +a mob be asked to endure it? Have we not all known a +precise, formal, patronising old gentleman—bland, imposing, +something like Gibbon? Have we not suffered from his dignified +attentions? If <i>we</i> had been on the Committee of Public +Safety, can we doubt what would have been the fate of that +man? Just so wrath and envy destroyed in France an upper-class +world.</p> + +<p>After his return to England, Gibbon did not do much or +live long. He completed his <i>Memoirs</i>, the most imposing of +domestic narratives, the model of dignified detail. As we said +before, if the Roman empire <i>had</i> written about itself, this was +how it would have done so. He planned some other works, but +executed none; judiciously observing that building castles in +the air was more agreeable than building them on the ground. +His career was, however, drawing to an end. Earthly dignity +had its limits, even the dignity of an historian. He had long +been stout; and now symptoms of dropsy began to appear. +After a short interval, he died on the 16th of January 1794. +We have sketched his character, and have no more to say. +After all, what is our criticism worth? It only fulfils his aspiration, +‘that a hundred years hence I may still continue to be +abused.’</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_54">[54]</span></p> + +<h2 class="nobreak" id="BISHOP_BUTLER"><i>BISHOP +BUTLER.</i>⁠<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a><br> +<span class="smaller">(1854.)</span></h2> + +</div> + +<p>About the close of the last century, some one discovered the +wife of a country rector in the act of destroying, for culinary +purposes, the last remnants of a box of sermons, which seemed +to have been written by Joseph Butler. The lady was reproved, +but the exculpatory rejoinder was, ‘Why, the box was full once, +and I thought they were my husband’s.’ Nevertheless, when +we first saw the above announcement of unpublished remains, +we hoped her exemplary diligence had not been wholly successful, +and that some important writings of Butler had been discovered. +In this we have been disappointed. The remains in +question are slight and rather trivial; the longest is an additional +letter addressed to Dr. Clarke; and in all the rest there +is scarcely anything very characteristic, except the remark, +‘What a wonderful incongruity it is for a man to see the doubtfulness +in which things are involved, and yet be impatient out +of action, or vehement in it. Say a man is a sceptic, and add +what was said of Brutus, <i>quicquid vult valde vult</i>, and you +say there is the greatest contrariety between his understanding +and temper that can be expressed in words:’—an observation +which might be borne in mind by some English writers who +panegyrise Julius Cæsar, and the many French ones who panegyrise +Napoleon.</p> + +<p>The life of Butler is one of those in which the events are +<span class="pagenum" id="Page_55">[55]</span>few, the transitions simple, and the final result strange. He +was the son of a dissenting shopkeeper in Berkshire, was always +of a meditative disposition and reading habit—grew to manhood—was +destined to the Dissenting ministry—began to +question the principles of Dissent—entered at Oriel College—made +valuable acquaintances there—rose in the Church by +means of them—obtained, first the chaplaincy of the Rolls, then +a decent living—then the rectory of Stanhope, the ‘golden’ +rectory, one of the best in the English Church—was recommended +by his old friends to Queen Caroline—talked philosophy +to her—pleased her (this being her favourite topic)—was +made Bishop of Bristol, and thence translated to the richest of +Anglican dignities—the prince-bishopric of Durham, and there +died.</p> + +<p>These are the single steps, and there is none of them which +is remote from our ordinary observation. We should not be +surprised to see any of them every day. But when we look on +the life as a whole, when we see its nature, when we observe +the son of a dissenting tradesman, a person of simple and pious +disposition, of retiring habits, and scrupulous and investigating +mind—in a word, the least worldly of ecclesiastics—attain to +the most secular of ecclesiastical dignities, be a prince as well +as a bishop, become the great magnate of the North of England, +and dispense revenues to be envied by many a foreign potentate, +we perceive the singularity of such a man with such beginnings +attaining such a fortune. No man would guess from Butler’s +writings that he ever had the disposal of five pounds: it is odd +to think what he did with the mining property and landed +property, the royalties and rectories, coal dues and curacies, +that he must have heard of from morning till evening.</p> + +<p>It is certainly most strange that such a man should ever +have been made a bishop. In general we observe that those +become most eminent in the sheepfold, who partake most eminently +of the qualities of the wolf. Nor is this surprising. The +Church is (as the Article defines it) a congregation of men, +<span class="pagenum" id="Page_56">[56]</span>faithful indeed, but faithful in various degrees. In every corporation +or combination of men, no matter for what purpose +collected, there are certain secular qualities which attain eminence +as surely as oil rises above water. Attorneys are for the +world, and the world is for attorneys. Activity, vigour, sharp-sightedness, +tact, boldness, watchfulness, and such qualities as +these, raise a man in the Church as certainly as in the State; +so long as there is wealth and preferment in the one, they will +be attained a good deal as wealth and office are in the other. +The <i>prowling</i> faculties will have their way. Those who hunger +and thirst after riches will have riches, and those who hunger +not, will not. Still to this there are exceptions, and Butler’s +case is one of them. We might really fancy the world had +determined to give for once an encouraging instance of its +sensibility to rectitude, of the real and great influence of real +and great virtue.</p> + +<p>The period at which Butler’s elevation occurred certainly +does not diminish the oddness of the phenomenon. We are +not indeed of those, mostly disciples of Carlyle or Newman, +who speak with untempered contempt of the eighteenth century. +Rather, if we might trust our own feelings, we view it with +appreciating regard. It was the age of substantial comfort. +The grave and placid historian (we speak of Mr. Hallam), going +learnedly over the generations of men, is disposed to think that +there never was so much happiness before or since. Employment +was plentiful; industry remunerative. The advantages +of material civilisation were enjoyed, and its penalties scarcely +foreseen. The troubles of the seventeenth century had died +out; those of the nineteenth had not begun. Cares were few; +the stir and conflict in which we live had barely commenced. +It was not an age to trouble itself with prospective tasks; it +had no feverish excitement, nor over-intellectual introspection; +it lived on the fat of the land; <i>quieta non movere</i>, was its +motto. Like most comfortable people, those of that time possessed +a sleepy, supine sagacity, they had no fine imaginings, +<span class="pagenum" id="Page_57">[57]</span>no exquisite fancies; but a coarse sense of what was common, a +‘large roundabout common sense’ (these are Locke’s words), +which was their guide in what concerned them. Some may not +think this romantic enough to be attractive, and yet it has a +beauty of its own. They did not ‘look before or after,’ nor +‘pine for what was not;’ they enjoyed what was; a solid homeliness +was their mark. Exactly as we like to see a large lazy +animal lying in the placid shade, without anxiety for the future +and chewing the cud of the past, we like to look back at the +age of our great-grandfathers, so solid in its habits and placid +in the lapse of years. Nevertheless—and this is what is to our +purpose—we must own at once that the very merits of that age +are of the earth, earthy; there was no talk then of ‘obstinate +questionings,’ or ‘incommunicable dream;’ heroism, enthusiasm, +the sense of the supernatural, deep feeling, seem in a manner +foreign to the very idea of it. This is the point of view in +which the Tractarian movement was described as ‘tending +towards the realisation of something better and nobler than +satisfied the last century.’ For the clergy, the time was indeed +evil. The popular view of the profession seems accurately +expressed in a well-known book of memoirs. ‘But if this was +your opinion, how came you not to let your friend Sherlock,’ +the well-known bishop, ‘into the secret? Why did you not tell +him that half the pack, and those you most depended on, were +drawn off, and the game escaped and safe, instead of leaving +his lordship there to bark and yelp by himself, and make the +silly figure he has done?’ ‘Oh,’ said Lord Carteret, ‘he talks +like a parson, and consequently is so used to talk to people who +do not mind him, that I left him to find it out at his leisure, +and shall have him again for all this, whenever I want him.’</p> + +<p>The fact of Butler’s success is to be accounted for, as we +have said, by his personal excellence. Mr. Talbot liked him, +<i>Bishop</i> Talbot liked him, the Queen liked him, the King liked +him. He says himself in these Remains, ‘Good men surely are +not treated in this world as they deserve, yet ’tis seldom, very +<span class="pagenum" id="Page_58">[58]</span>seldom, their goodness makes them disliked, even in cases +where it may seem to be so; but ’tis some behaviour or other +which, however excusable, perhaps infinitely overbalanced by +their virtues, yet is offensive, possibly wrong, however such, it +may be, as would pass off very well in a man of the world.’ +And he must have been alive to the fact in practice. He had +every excuse for making virtue detestable. He was educated +a Baptist, and brought up at a dissenting academy. He was +born in the vulgarest years of English Puritanism, when it had +fallen from its first estate, when it had least influence with the +higher classes, when the revival which dates from John Wesley +had not begun, and the very memory of gentlemen such as +Hutchinson or Hampden had passed away. A certain instinctive +refinement, a ‘niceness’ and gentleness of nature, preserved +him not only from the coarser consequences of his position, but +even from that angularity of mind which is not often escaped +by those early trained to object to what is established.</p> + +<p>Of his character the principal point may be described in +the words which Arnold so often uses to denote the end and +aim of his education, ‘moral thoughtfulness.’ A certain considerateness +is, as it were, diffused over all his sentences. To +most men conscience is an occasional, almost an external voice; +to Butler it was a daily companion, a close anxiety. In a recent +novel this disposition is skilfully delineated and delicately contrasted +with its opposite. We may quote the passage, though +it is encumbered with some detail. ‘But what was a real +trouble to Charles,’ this is the person whose character is in +question, ‘it got clearer and clearer to his apprehension, that +his intimacy with Sheffield was not quite what it had been. +They had indeed passed the vacation together, and saw of each +other more than ever; but their sympathies with each other +were not as strong, they had not the same likings and dislikings; +in short, they had not such congenial minds, as when +they were freshmen. There was not so much heart in their +conversations, and they more easily endured to miss each other’s +<span class="pagenum" id="Page_59">[59]</span>company. They were both reading for honours, reading hard; +but Sheffield’s whole heart was in his work, and religion was +but a secondary matter with him. He had no doubts, difficulties, +anxieties, sorrows, which much affected him. It was +not the certainty of faith which made a sunshine in his soul, +and dried up the mists of human weakness; rather he had no +perceptible need within him of that vision of the unseen, which +is the Christian’s life. He was unblemished in his character, +exemplary in his conduct, but he was content with what the +perishable world gave him. Charles’s characteristic, perhaps +more than anything else, was an habitual sense of the Divine +Presence—a sense which, of course, did not insure uninterrupted +conformity of thought and deed to itself, but still there it was: +the pillar of the cloud before him and guiding him. He felt +himself to be God’s creature, and responsible to Him; God’s +possession, not his own.’ Again the same character is brought +home to us, in a part of Walton’s delineation of Hooker, which, +indeed, except perhaps for the great quickness attributed to his +intellect, might as a whole stand well enough for a description +of Butler: ‘His complexion (if we may guess by him at the +age of forty) was sanguine, with a mixture of choler; and yet +his motion was slow even in his youth, and so was his speech, +never expressing an earnestness in either of them, but an humble +gravity suited to the aged. And it is observed (so far as inquiry +is able to look back at this distance of time) that at his +being a schoolboy he was an early questionist, quietly inquisitive +why this was granted and that denied; this being mixed +with a remarkable modesty and a sweet serene quietness of +nature.... It is observable that he was never known to be +... extreme in any of his desires; never heard to repine or +dispute with Providence, but, by a quiet gentle submission and +resignation of his will to the wisdom of the Creator, bore the +burden of the day with patience; ... and by this, and a +grave behaviour, which is a divine charm, he begot an early +reverence for his person even from those that, at other times +<span class="pagenum" id="Page_60">[60]</span>and in other companies, took a liberty to cast off that strictness +of behaviour and discourse that is required in a collegiate life.’ +Something of this is a result of disposition; yet on the whole +it seems mainly the effect of the ‘moral thoughtfulness’ which +has been mentioned.</p> + +<p>The very name of this quality reminds us of a difficulty. +We cannot but doubt, with the experience of this age, how far +this can be made, or ought to be made, the abiding sentiment +of all men; how far such teaching as that of Arnold’s tends to +introduce a too stiff and anxious habit of mind; how far the +perpetual presence of a purpose will interfere with the simple +happiness of life, and how far also it can be forced on the ‘lilies +of the field;’ how far the care of anxious minds and active +thoughts is to be obtruded on the young, on the cheerful, on +the natural. Other questions, too, might be asked, if the inculcation +of this temper and habit as a daily, universal obligation, +a perpetual and general necessity for all characters, would +not, or might not, impair the sanguine energy and masculine +activity which are necessary for social action; whether it does +not, in matter of fact, even now, ‘burn and brand’ into excitable +fancies a few stern truths more deeply than a feeble +reason will bear or the equilibrium of the world demands? But +whatever be the issue of such questions, on which there is +perhaps now no decided or established opinion, there can be +no question of the charm of such a character in those to whom +it is natural. We may admire what we cannot share; reverence +what we do not imitate. As those who cannot comprehend +a strain of soothing music, look with interest on those who +can; as those who cannot feel the gentle glow of a quiet landscape, +yet stand aside and seem inferior to those who do; so in +character the buoyant and the bold, the harsh and the practical, +may, at least for the moment, moralise and look upwards, reverence +and do homage, when they come to a close experience of +what is gentler and simpler, more anxious and more thoughtful, +kinder and more religious, than themselves. At any rate, so +<span class="pagenum" id="Page_61">[61]</span>thought the contemporaries of Butler. They did, as a Frenchman +would say, ‘their possible’ for a good man; at least they +made him a bishop.</p> + +<p>We gather, however, that their kindness was scarcely successful. +Butler was very prosperous; but it does not appear +that he was at all happy. In the midst of the princely establishment +of his rich episcopate, so anxious a nature found +time to be rather melancholy. The responsibilities of so +cumbrous a position were but little pleasant to an apprehensive +disposition; wealth and honour were finery and foolishness to +a quiet and shrinking man. A small room in a tranquil college, +daily walks and thoughtful talk, a little income and a few +friends—these, and these only, suit a still and meditative mind. +Such, however, were denied him. He is said to have taken +much pleasure in discussion and interchange of mind; but his +life was passed in courts and country parsonages—the one too +noisy, the last too still, to think or reason. Nor were there +many people, whom we know of, that were congenial to him in +that age. Scarcely any name of a friend of his has come down +to us; one, indeed, there is—that of Bishop Secker, afterwards +Archbishop of Canterbury, the author of a treatise on the +Catechism, a serious work still used for the purposes of tuition, +with which, indeed, the name of the writer is now with some +so associated by early habit that it is difficult to fancy even +Butler on equal social terms with him; the notion of talking +to him seems like being asked to converse familiarly with the +Catechism itself.</p> + +<p>A not unremarkable circumstance, however, shows that +Secker, though he was educated at the same academy, could +not have been on any terms of extreme intimacy with Butler. +Some time after Butler’s death, there was a rumour that he +had died a Papist. There is no doubt, in fact, that Butler’s +opinions, being formed on principles of evidence and reasoning +too strict to be extremely popular, were not likely to be agreeable +to those about him, and when an Englishman sees anything +<span class="pagenum" id="Page_62">[62]</span>in religion which he does not like, he always, <i>primâ +facie</i>, imputes it to the Pope. Besides this general and strong +argument, there were two particular ones—first, that he had +erected a cross in the episcopal chapel at Bristol; secondly, +that he was of a melancholy and somewhat of an ascetic turn; +reasons which, though doubtless of force in their day and generation, +are not likely to be of avail with us, who know so much +more about crosses and fasting than they did then. We might +have expected that Secker, as Butler’s old friend and schoolfellow, +would have been able from his personal knowledge to +throw a good deal of light upon the question. He was only, +however, able to advance ‘<i>presumptive</i> arguments that Bishop +Butler did not die a Papist,’ which were no doubt valuable; +but yet give no great idea of the intimacy between the writer +and the person about whom he was writing. Such arguments +may easily be found, and have always convinced every one that +there was no truth in this rumour. The only reason for which +we wish that Secker had been able to say he had heard Butler +talk on the subject, and that he was no Papist, is, that we +should then have known to whom Butler talked. There is nothing +in Butler’s writings at all showing any leaning to the +peculiar tenets of Roman Catholicism, and there is much which +shows a strong opinion against them; and it was far too extreme +a doctrine to be at all agreeable to his very English, moderate, +and shrinking mind.</p> + +<p>Calumny, however, is commonly instructive. It must be +granted, that though there is no trace or tendency in the +writings of Butler to the peculiar superstitions advocated by the +Pope, there is a strong and prevailing tinge of what may be +called the principle of superstition, that is, the religion of fear. +Some may doubt, especially at the present day, whether there +be any true religion of that kind at all; yet it seems, as Butler +would have said, but a proper feeling ‘in such creatures as we +are, in such a world as the present one.’</p> + +<p>We may reflect that there are two kinds of religion, which +<span class="pagenum" id="Page_63">[63]</span>may for some purposes be called, the one the natural, and the +other the supernatural. The former seems to take its rise from +mere contemplation of external beauty. We look on the world, +and we see that it is good. The Greek of former time, reclining +softly in his own bright land, ‘looked up to the whole sky +and declared that the One was God.’ From the blue air and +the fair cloud, the green earth and the white sea, a presence +streams upon us. It modulates—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent8">‘With murmurs of the air,</div> + <div class="verse indent0">And motions of the forests and the sea,</div> + <div class="verse indent0">And voice of living beings and woven hymns</div> + <div class="verse indent0">Of night and day, and the deep heart of man.’</div> + </div> + </div> +</div> + +<p>But the true home of the idea is in the starlight sky; we +instinctively mingle it with an admiration of infinite space, a +cold purity is around us, and the clear and steel-like words of +the poet justly reflect the doctrine of the clear and steel-like +heaven:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">The magic car moved on.</div> + <div class="verse indent0">Earth’s distant orb appeared</div> + <div class="verse indent0">The smallest light that twinkles in the heaven;</div> + <div class="verse indent0">Whilst round the chariot’s way</div> + <div class="verse indent0">Innumerable systems rolled,</div> + <div class="verse indent0">And countless spheres diffused</div> + <div class="verse indent0">An ever-varying glory.</div> + <div class="verse indent2">It was a sight of wonder: some</div> + <div class="verse indent0">Were hornèd like the crescent moon;</div> + <div class="verse indent0">Some shed a mild and silver beam</div> + <div class="verse indent0">Like Hesperus across the western sea;</div> + <div class="verse indent0">Some dashed athwart with trains of flame,</div> + <div class="verse indent0">Like worlds to death and ruin driven;</div> + <div class="verse indent0">Some shone like suns, and, as the chariot passed,</div> + <div class="verse indent0">Eclipsed all other light.</div> + <div class="verse indent2">Spirit of nature! here!</div> + <div class="verse indent0">In this interminable wilderness</div> + <div class="verse indent0">Of worlds, at whose immensity</div> + <div class="verse indent0">Even soaring fancy staggers,</div> + <div class="verse indent0">Here is thy fitting temple.</div> +<span class="pagenum" id="Page_64">[64]</span> <div class="verse indent2">Yet not the lightest leaf</div> + <div class="verse indent0">That quivers to the passing breeze</div> + <div class="verse indent0">Is less instinct with thee:</div> + <div class="verse indent0">Yet not——’</div> + </div> + </div> +</div> + +<p>And so on; and so it will be as long as there are poets to +look upon the sky, or a sky to be looked at by them. The truth +is, that there is a certain expressiveness (if we may so speak) in +nature which persons of imagination naturally feel more acutely +than others, and which cannot easily be in its full degree brought +home to others, except in quotations of their writings, from +which ‘smiling of the world,’ as it has been called, more than +from any other outward appearance, we infer the existence of +an immaterial and animating spirit. This expressiveness perhaps +produces its effect on the mind, by a principle analogous +to, perhaps in a severe analysis identical with, the interpretative +faculty by which we acquire a cognizance of the existence of +other human minds. There appear to be certain natural signs +and tokens from which we (like other animals) instinctively +infer, or rather—for there is no conscious reasoning—in which +we silently see life and thought and mind. In this way we +interpret the detail of natural expression—the smile, the glance +of the eye, the common interjections, the universal tokens of +our simplest emotions; those signs and marks and expressions +which we make in our earliest infancy without teaching and by +instinct, we appear also, by instinct and without learning, to +read off, interpret, and comprehend, when used to us by others. +The comprehension of this language is perhaps as much an +instinct as the using of it. There is no occasion, however, for +acute metaphysics; whatever was the origin of this faculty, +such a power of interpreting material phenomena, such a faculty +of seeing life, undoubtedly there is;—however we come by the +power, we can distinguish living from dead creatures. At any +rate, if, like other living creatures, we take a natural cognizance +of the simple expressions of life and mind, and without tuition +comprehend the language and meaning of natural signs, in like +<span class="pagenum" id="Page_65">[65]</span>manner, though less clearly and forcibly, because our attention +is so much less forcibly directed to them, do we interpret the significance +of the beauty and the sublimity of outward nature. +‘In the mountains’ do we ‘feel our faith.’ We seem to know +there is something behind. There is a perception of something—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent10">‘Far more deeply interfused,</div> + <div class="verse indent0">Whose dwelling is the light of setting suns,</div> + <div class="verse indent0">And the round ocean and the living air,</div> + <div class="verse indent0">And the blue sky, and in the mind of man—</div> + <div class="verse indent0">A motion and a spirit that impels</div> + <div class="verse indent0">All thinking things, all objects of all thought,</div> + <div class="verse indent0">And rolls through all things.’</div> + </div> + </div> +</div> + +<p>The Greek mythology is one entire and unmixed embodiment +of this religion of nature, as we may term it, this poetic +interpretation of the spirit that speaks to us in the signs and +symbols within us. Nor can any sensitive or imaginative +mind scrutinise itself without being distinctly conscious of its +teaching.</p> + +<p>Now of the poetic religion there is nothing in Butler. No +one could tell from his writings that the universe was beautiful. +If the world were a Durham mine or an exact square, if no part +of it were more expressive than a gravel-pit or a chalk-quarry, +the teaching of Butler would be as true as it is now. A young +poet, not a very wise one, once said, ‘he did not like the Bible, +there was nothing about flowers in it.’ He might have said so +of Butler with great truth; a most ugly and stupid world one +would fancy <i>his</i> books were written in. But in return and by +way of compensation for this, there is a religion of another +sort, a religion the source of which is within the mind, as the +other’s was found to be in the world without; the religion to +which we just now alluded as the religion (by an odd yet +expressive way of speaking) of <i>superstition</i>. The source of +this, as most persons are practically aware, is in the conscience. +The moral principle (whatever may be said to the contrary by +complacent thinkers) is really and to most men a principle of +<span class="pagenum" id="Page_66">[66]</span>fear. The delights of a good conscience may be reserved for +better things, but few men who know themselves will say that +they have often felt them by vivid and actual experience. A +sensation of shame, of reproach, of remorse, of sin (to use the +word we instinctively shrink from because it expresses the +meaning), is what the moral principle really and practically +thrusts on most men. Conscience is the condemnation of +ourselves. We expect a penalty. As the Greek proverb +teaches, ‘where there is shame there is fear;’ where there is +the deep and intimate anxiety of guilt—the feeling which has +driven murderers, and other than murderers, forth to wastes, +and rocks, and stones, and tempests—we see, as it were, in a +single complex and indivisible sensation, the pain and sense of +guilt, and the painful anticipation of its punishment. How to +be free from this, is the question. How to get loose from this—how +to be rid of the secret tie which binds the strong man and +cramps his pride, and makes him angry at the beauty of the +universe—which will not let him go forth like a great animal, +like the king of the forest, in the glory of his might, but +restrains him with an inner fear and a secret foreboding, that +if he do but exalt himself he shall be abased; if he do but +set forth his own dignity, he will offend One who will deprive +him of it. This, as has often been pointed out, is the source +of the bloody rites of heathendom. You are going to battle, +you are going out in the bright sun with dancing plumes and +glittering spear; your shield shines, and your feathers wave, +and your limbs are glad with the consciousness of strength, and +your mind is warm with glory and renown,—with coming +glory and unobtained renown,—for who are you, to hope for +these—who are you, to go forth proudly against the pride of +the sun, with your secret sin and your haunting shame, and +your real fear? First lie down, and abase yourself—strike your +back with hard stripes—cut deep with a sharp knife as if you +would eradicate the consciousness—cry aloud—put ashes on +your head—bruise yourself with stones, then perhaps God may +<span class="pagenum" id="Page_67">[67]</span>pardon you; or, better still—so runs the incoherent feeling—give +Him something—your ox, your ass, whole hecatombs, if you are +rich enough; anything, it is but a chance—you do not know +what will please Him—at any rate, what you love best yourself—that +is, most likely, your first-born son; then, after such +gifts and such humiliation, He may be appeased, He may let +you off—He may without anger let you go forth Achilles-like +in the glory of your shield—He may <i>not</i> send you home as He +would else, the victim of rout and treachery, with broken arms +and foul limbs, in weariness and humiliation.</p> + +<p>Of course, it is not this kind of fanaticism that we impute +to a prelate of the English Church: human sacrifices are not +respectable, and Achilles was not rector of Stanhope. But +though the costume and circumstances of life change, the +human heart does not; its feelings remain. The same anxiety, +the same consciousness of personal sin, which led in barbarous +times to what has been described, show themselves in civilised +life as well. In this quieter period, their great manifestation +is scrupulosity, a care about the ritual of life, an attention to +meats and drinks, and cups and washings. Being so unworthy +as we are, feeling what we feel, abased as we are abased, who +shall say that these are beneath us? In ardent imaginative +youth they may seem so, but let a few years come, let them +dull the will or contract the heart, or stain the mind—then +the consequent feeling will be, as all experience shows, not +that a ritual is too mean, too low, too degrading for human +nature, but that it is a mercy we have to do no more—that we +have only to wash in Jordan—that we have not even to go out +into the unknown distance to seek for Abana and Pharpar, +rivers of Damascus. We have no right to judge, we cannot +decide, we must do what is laid down for us,—we fail daily +even in this,—we must never cease for a moment in our scrupulous +anxiety to omit by no tittle and to exceed by no iota. +An accomplished divine of the present day has written a dissertation +to show that this sort of piety is that expressed by the +<span class="pagenum" id="Page_68">[68]</span>Greek word εὐλάβεια, ‘piety contemplated on the side on which +it is a fear of God,’ and which he derives from εὐλαμβάνεσθαι, +‘the image underlying the word being that of the careful +taking hold, the cautious handling of some precious yet delicate +vessel, which with ruder or less anxious handling might be +broken,’ and he subsequently adds, ‘The only three places in the +New Testament in which εὐλαβὴς occurs are these:—Luke ii. 25, +Acts ii. 5, viii. 2. We have uniformly rendered it “devout,” +nor could this translation be bettered. It will be observed +that on all these occasions it is used to express Jewish, and, as +one might say, Old Testament piety. On the first it is applied +to Simeon (δίκαιος καὶ εὐλαβὴς); on the second to those +Jews who came from distant parts to keep the commanded +feasts at Jerusalem; and on the third there can scarcely be a +doubt that the ἄνδρες εὐλαβεῖς who carry Stephen to his +burial are not, as might at first sight appear, <i>Christian</i> +brethren, but devout Jews, who showed by this courageous act +of theirs, as by their great lamentation over the slaughtered +saints, that they abhorred this deed of blood, that they separated +themselves in spirit from it, and thus, if it might be, from all +the judgments which it would bring down on the city of those +murderers. Whether it was also further given them to believe +on the Crucified who had such witnesses as Stephen, we are not +told; we may well presume that it was.... If we keep in +mind that in that mingled fear and love which together constitute +the piety of man toward God, the Old Testament placed +its emphasis on the fear, the New places it on the love (though +there was love in the fear of God’s saints then, as there must +be fear in their love now), it will at once be evident how fitly +εὐλαβὴς was chosen to set forth their piety under the old +covenant, who, like Zacharias and Elizabeth, were righteous +before God, walking in all the commandments and ordinances +of the Lord blameless, and leaving nothing willingly undone +which pertained to the circle of their prescribed duties. For +this sense of accurately and scrupulously performing that which +<span class="pagenum" id="Page_69">[69]</span>is prescribed with the consciousness of the danger of slipping +into a negligent performance of God’s service, and of the need +therefore of anxiously watching against the adding to or +diminishing from, or in any other way altering, that which is +commanded, lies ever in the words εὐλαβὴς, εὐλάβεια, when +used in their religious signification. Plutarch, in more than +one instructive passage, exalts the εὐλάβεια of the old Romans +in divine matters, as contrasted with the comparative carelessness +of the Greeks. Thus, in his “Coriolanus,” after other +instances in proof, he goes on to say, “Of late times also they +did renew and begin a sacrifice thirty times one after another, +because they thought still there fell out one fault or another in +the same; so holy and devout were they to the gods” (τοιαύτη +μὲν εὐλάβεια πρὸς τὸ Θεῖον Ῥωμαῖων). Elsewhere he portrays +Æmilius Paulus as eminent for his εὐλάβεια. The passage is +long, and I will only quote a portion of it, availing myself +again of old Sir Thomas North’s translation, which, though +somewhat loose, is in essentials correct:—“When he did anything +belonging to his office of priesthood, he did it with great +experience, judgment, and diligence; leaving all other thoughts, +and without omitting any ancient ceremony or adding any +new; contending oftentimes with his companions in things +which seemed light and of small moment; declaring to them +that, though we do presume the gods are easy to be pacified +and that they readily pardon all faults and scapes committed +by negligence, yet if it were no more but for respect of the +Commonwealth’s sake, they should not slightly or carelessly +dissemble or pass over faults committed in those matters.”’⁠<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a>⁠</p> + +<p>This is the view suggested by what Butler has happily +called the ‘presages of conscience’ by the ‘natural fear and +apprehension’ of punishment, ‘which restrains from crimes and +is a declaration of nature against them.’ The great difficulty +of religious philosophy is, to explain how we know that these +<span class="pagenum" id="Page_70">[70]</span>two Beings are the same—from what course and principle of +reasoning it is that we acquire our knowledge that the <i>curiosus +Deus</i>, the watchful Deity, who is ever in our secret hearts, who +seeks us out in the fairest scenes, who is apt to terrify our +hearts, whose very eyes seem to shine through nature, is the +same Being that animates the universe with its beauty and its +light, smoothes the heaviness from our brow and the weight +from our hearts, pervades the floating cloud and buoyant +air,—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘And from the breezes, whether low or loud,</div> + <div class="verse indent0">And from the rain of every passing cloud,</div> + <div class="verse indent0">And from the singing of the summer birds,</div> + <div class="verse indent0">And from all sounds, all silence,’</div> + </div> + </div> +</div> + +<p class="noindent">—gives hints of joy and hope. This seems the natural dualism—the +singular contrast of the God of imagination and the God +of conscience, the God of beauty and the God of fear. How do +we know that the Being who refreshes is the same as He who +imposes the toil, that the God of anxiety is the same as the +God of help, that the intensely personal Deity of the inward +heart is the same as the almost neutral spirit of external nature, +which seems a thing more than a person, a light and impalpable +vapour just beautifying the universe, and no more?</p> + +<p>If we are to offer a suggestion, as we have stated a difficulty, +we should hold that the only way of obviating or explaining +the contrast, which is so perplexing to susceptible minds, is by +recurring to the same primary assumption which is required to +satisfy our belief in God’s infinity, omnipotence, or veracity. We +cannot <i>prove</i> in any way that God is infinite any more than +that space is infinite; nor that God is omnipotent, since we do +not know what powers there are in nature—that He is perfectly +true, for we have had no experience or communication with +Him, in which His veracity could be tested. We assume these +propositions, and treat them, moreover, not as hypothetical +assumptions or provisional theories to be discarded if new facts +should be discovered, and to be rejected if more elaborate +<span class="pagenum" id="Page_71">[71]</span>research should require it, but as positive and clear certainties, +on which we must ever act, and to which we must reduce and +square all new information that may be brought home to us. +In these respects we assume that God is perfect, and it is only +necessary for the solution of our difficulty to assume that He is +perfect in all. We have in both cases the same amount and +description of evidence, the same inward consciousness, the same +speaking and urging voice, requiring us to believe. In every +step of religious argument we require the assumption, the belief, +the faith if the word is better, in an absolutely <i>perfect</i> +Being—in and by whom we are, who is omnipotent as well +as most holy, who moves on the face of the whole world and +ruleth all things by the word of His power. If we grant this, +the difficulty of the opposition between what we have called +the natural and the supernatural religion is removed; and +without granting it, that difficulty is perhaps insuperable. It +follows from the very idea and definition of an infinitely-perfect +Being, that He is within us, as well as without us—ruling +the clouds of the air, and the fishes of the sea, as well as the +fears and thoughts of man—smiling through the smile of +nature, as well as warning with the pain of conscience, ‘Sine +qualitate bonum; sine quantitate magnum; sine indigentiâ +creatorem; sine situ præsidentem; sine habitu omnia continentem; +sine loco ubique totum; sine tempore sempiternum; +sine ullâ sui mutatione mutabilia facientem, nihilque patientem.’ +If we assume this, life is simple; without this all +is dark.</p> + +<p>The religion of the imagination is, in its consequences upon +the character, free and poetical. No one need trouble himself +to set about its defence. Its agreeability sufficiently defends +it and its congeniality to a refined and literary age. The religion +of the conscience will seem to many of the present day +selfish and morbid. And doubtless it may become so if it be +allowed to eat into the fibre of the character, and to supersede +the manliness by which it should be supported. The whole +<span class="pagenum" id="Page_72">[72]</span>of religion, of course, is not of this sort, and it is one which +only very imperfect beings can have a share in. But so long +as men are very imperfect, the sense of great imperfection +should cleave to them, and while the consciousness of sin is +on the mind, the consequent apprehension of deserved punishment +seems in its proper degree to be a reasonable service. +However, any more of this discussion is scarcely to our purpose. +No attentive reader of Butler’s writings will hesitate +to say that he, at all events, was an example of the ‘anxious +and scrupulous worshipper, who makes a conscience of changing +anything, of omitting anything, being in all things fearful to +offend,’⁠<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> and most likely it was from this habit and characteristic +of his mind, that he obtained the unenviable reputation +of living and dying a Papist.</p> + +<p>Of Butler’s personal habits nothing in the way of detail +has descended to us. He was never married, and there is no +evidence of his ever having spoken to any lady save Queen +Caroline. We hear, however, for certain that he was commonly +present at her Majesty’s philosophical parties, at which all questions, +religious and moral, speculative and practical, were discussed +with a freedom that would astonish the present generation. +Less intellectual unbelief existed probably at that time than +there is now, but there was an infinitely freer expression of what +did exist. The French Revolution frightened the English +people. The awful calamities and horrors of that period were +thought to be, as in part they were, the results and consequences +of the irreligious opinions which just before prevailed. Scepticism +became what in the days of Lord Hervey it was not, an +ungentlemanly state of mind. At no meeting of the higher +classes, certainly at none where ladies are present, is there a +tenth part of the plain questioning and <i>bonâ fide</i> discussion of +primary Christian topics, that there was at the select suppers of +Queen Caroline. The effect of these may be seen in many +<span class="pagenum" id="Page_73">[73]</span>passages, and even in the whole tendency, of Butler’s writings. +No great Christian writer, perhaps, is so exclusively occupied +with elementary topics and philosophical reasonings. His mind +is ever directed towards the first principles of belief, and doubtless +this was because, more than any other, he lived with men +who plainly and clearly denied them. His frequent allusion to +the difficulties of such discussions are likewise suggestive of a +familiar personal experience. The whole list of directions which +he gives the clergy of Durham on religious argument shows a +daily familiarity with sceptical men. ‘It is come,’ he says, ‘I +know not how, to be taken for granted by many persons that +Christianity is not so much as a subject of inquiry, but that it +is now at length discovered to be false. And accordingly they +treat it as if this were an agreed point among all people of +discernment, and nothing remained but to set it up as a principal +subject of ridicule, as it were by way of reprisals for its +having so long interrupted the pleasures of the world.’ No one +would so describe the tone of talk now, nor would there be an +equal reason for remembering Butler’s general caution against +rashly entering the lists with the questioners. Among gentlemen +a clergyman has scarcely the chance. ‘Then, again, the general +evidence of religion is complex and various. It consists of a +long series of things: one preparatory to and confirming another +from the beginning of the world till the present time, and it is +easy to see how impossible it must be in a cursory conversation to +unite all this into one argument, and represent it as it ought; +and, could it be done, how utterly indisposed would people be to +attend to it. I say, in cursory conversation; whereas unconnected +objections are thrown out in few words, and are easily +apprehended without more attention than is usual in common +talk, so that, notwithstanding we have the best cause in the +world, and though a man were very capable of defending it, yet +I know not why he should be forward to undertake it upon so +great a disadvantage and to so little good effect, as it must be +amid the gaiety and carelessness of common conversation.’ It is +<span class="pagenum" id="Page_74">[74]</span>not likely from these remarks that Butler had much pleasure at +the Queen’s talking parties.</p> + +<p>What his pleasures were, indeed, does not very distinctly +appear. In reading we doubt if he took any keen interest. +A voracious reader is apt, when he comes to write, to exhibit +his reading in casual references and careless innuendoes, which +run out insensibly from the fulness of his literary memory. +But of this in Butler there is nothing. His writings contain +little save a bare and often not a very plain statement of the +necessary argument; you cannot perhaps find a purely literary +allusion in his writings; none, at all events, which shows he +had any favourite books, whose topics were ever present to his +mind, and whose well-known words might be a constant resource +in moments of weariness and melancholy. There is, +too, a philippic in the well-known ‘Preface’ against vague and +thoughtless reading, which seems as if he felt the evil consequences +more than the agreeableness of that sin. Some +men find a compensation in the excitement of writing, for all +other evils and exclusions; but it is probable that, if Butler +hated anything, he hated his pen. Composition is pleasant +work for men of ready words, fine ears, and thick-coming +illustrations. Wit and eloquence please the writer as much as +the reader. There is even some pleasantness in feeling that +you have given a precise statement of a strong argument. +But Butler, so far from having the pleasures of eloquence, had +not even the comfort of perspicuity. He never could feel that +he had made an argument tell by his way of wording it; it +tells in his writings, if it tells at all, by its own native and inherent +force. In some places the mode of statement is even +stupid; it seems selected to occasion a difficulty. You often +see that writers,—Gibbon, for instance,—believe that their +words are good to eat, as well as to read; they had plainly a +pleasure in rolling them about in the mouth like sugar-plums, +and gradually smoothing off any knots or excrescences; but +there is nothing of this in Butler.</p> + +<p><span class="pagenum" id="Page_75">[75]</span></p> + +<p>The circumstance of so great a thinker being such a poor +writer is not only curious in itself, but indicates the class of +thinkers to which Butler belongs. Philosophers may be +divided into seers on the one hand, and into gropers on the +other. Plato, to use a contrast which is often used for other +purposes, is the type of the first. On all subjects he seems to +have before him a landscape of thought, with clear outline, +and pure air, keen rocks and shining leaves, an Attic sky and +crystal-flowing river, each detail of which was as present, as +distinct, as familiar to his mind as the view from the Acropolis, +or the road to Decelea. As were his conceptions so is his +style. What Protagoras said and Socrates replied, what +Thrasymachus and Polemo, what Gorgias and Callicles, all +comes out in distinct sequence and accurate expression; each +feature is engraved on the paper; an exact beauty is in every +line. What a contrast is the style of Aristotle! He sees +nothing—he is like a man groping in the dark about a room +which he knows. He hesitates and suggests; proposes first one +formula and then another; rejects both, gives a multitude of +reasons, and ends at last with an expression which he admits +to be incorrect and an apologetic ‘let it make no difference.’ +There are whole passages in his writings—the discussion about +Solon and happiness in the ‘Ethics,’ is an instance—in which +he appears like a schoolboy who knows the answer to a sum, +but cannot get the figures to come to it.</p> + +<p>This awkward and hesitating manner is likewise that of +Butler. He seems to have an obscure feeling, an undefined +perception, of what the truth is; but his manipulation of +words and images is not apt enough to bring it out. Like the +miser in the story, he has a shilling <i>about</i> him somewhere, if +people will only give him time and solitude to make research +for it. As a person hunting for a word or name he has forgotten, +he knows what it is, <i>only</i> he cannot say it. The fault +is one characteristic of a strong and sound mind wanting in +imagination. The visual faculty is deficient. The soundness +<span class="pagenum" id="Page_76">[76]</span>of such men’s understanding ensures a correct report of what +comes before them, and its strength is shown in vigorous observations +upon it; but they are unable to bring those remarks +out, the delineative power is wanting, they have no picture of +the particulars in their minds; no instance or illustration +occurs to them. Popular, in the large sense of the term, such +writers can never be. Influential they may often become. +The learned have time for difficulties; the critical mind is +pleased with crooked constructions; the detective intellect likes +the research for lurking and half-hidden truth. In this way +portions of Aristotle have been noted these thousand years, as +Chinese puzzles; and without detracting for a moment from +Butler’s real merit, it may be allowed that some of his influence, +especially that which he enjoys in the English universities, is +partially due to that obscurity of style, which renders his +writings such apt exercises for the critical intellect, which +makes the truth when found seem more valuable from the +difficulty of finding it, and gives scope for an able lecturer to +elucidate, annotate, and expound.</p> + +<p>The fame of Butler rests mainly on two remarkable courses +of reasoning, one of which is contained in the well-known +Sermons, the second in the ‘Analogy.’ Both seem to be in a +great measure suggested by the circumstances and topics of the +time. There was a certain naturalness in Butler’s mind, which +took him straight to the questions on which men differed around +him. Generally, it is safer to prove what no one denies, and +easier to explain difficulties which no one has ever felt. A quiet +reputation is best obtained in the literary <i>quæstiunculæ</i> of +important subjects. But a simple and straightforward man +studies great topics because he feels a want of the knowledge +which they contain; and if he has ascertained an apparent +solution of any difficulty, he is anxious to impart it to others. +He goes straight to the real doubts and fundamental discrepancies; +to those on which it is easy to excite odium, and +difficult to give satisfaction; he leaves to others the amusing +<span class="pagenum" id="Page_77">[77]</span>skirmishing and superficial literature accessory to such studies. +Thus there is nothing light in Butler; all is grave, serious, and +essential; nothing else would be characteristic of him.</p> + +<p>The Sermons of Butler are primarily intended as an answer +to that recurring topic of ethical discussion, the Utilitarian +Philosophy. He is occasionally spoken of by enthusiastic disciples +as having uprooted this for ever. But this is hardly so. +The selfish system still lives and flourishes. Nor must any +writer on the fundamental differences of human opinion propose +to himself such an aim. The source of the great heresies of +belief lies in their congeniality to certain types of character +frequent in the world, and liable to be reproduced by inevitable +and recurring circumstances. We do not mean that the variations +of creeds are the native and essential variances of the +minds which believe them, for this would render truth a matter +of personal character, and make general discussion impossible. +We believe that all minds are originally so constituted as to be +able to acquire right opinions on all subjects of the first importance +to them; but, nevertheless, that the native bent of +their character instinctively inclines them to particular views; +that one man is naturally prone to one error, and another to its +opposite; that this is increased by circumstances, and becomes +for practical purposes invincible, unless it be met on the part +of every man by early and vigorous resistance. The Epicurean +philosophy is an example of these recurring and primary errors, +inasmuch as it is congenial to clear, vigorous, and hasty minds, +which have no great depth of feeling, and no searching introspection +of thought, which prefer a ready solution to an accurate, +an easy to an elaborate, a simple to a profound. Draw a +slight worldliness—and the events of life will draw it—over +such a mind, and you have the best Epicurean. There is a use, +however, in discussing topics like these. Nothing would be +more perverse than to abstain from proving certain truths, +because some men were naturally prone to the opposite errors; +rather, on the contrary, should we din them into the ears, and +<span class="pagenum" id="Page_78">[78]</span>thrust them upon the attention, of mankind; go out into the +highways and hedges, and leave as few as possible for invincible +ignorance to mislead or to excuse. It is much in every generation +to state the ancient truth in the manner which that +generation requires; to state the old answer to the old difficulty; +to transmit, if not discover; convince, if not invent; to +translate into the language of the living, the truths first discovered +by the dead. This defence, though suggested by the +subject, is not, however, required by Butler. He may claim +the higher praise of having explained his subject in a manner +essentially more satisfactory than his predecessors.</p> + +<p>We are not concerned to follow Butler into the entire range +of this ancient and well-discussed topic. We are only called +on to make, and we shall only make, two or three remarks on +the position which he occupies with respect to it. His grand +merit is the simple but important one of having given a less +complex and more graphic description of the facts of human +consciousness than any one had done before. Before his time +the Utilitarians had the advantage of appearing to be the only +people who talked about real life and human transactions. The +doctrines avowed by their opponents were cloudy, lofty, and +impalpable. Platonic philosophy in its simple form is utterly +inexplicable to the English mind. A plain man will not soon +succeed in making anything of an archetypal idea. If an +ordinary sensible Englishman takes up even such a book as +Cudworth’s ‘Immutable Morality,’ it is nearly inevitable that +he should put it down as mystical fancy. True as a considerable +portion of the conclusions of that treatise are or may +be, nevertheless the truth is commonly so put as to puzzle an +Englishman, and the error so as particularly to offend him. +We may open at random. ‘Wherefore,’ says Cudworth, ‘the +result of all that we have hitherto said is this, that the intelligible +natures and essences of things are neither arbitrary nor +fantastical, that is, neither alterable by any will or opinion; +and therefore everything is necessarily and immutably to science +<span class="pagenum" id="Page_79">[79]</span>and knowledge what it is, whether absolutely, or relatively to +all minds and intellects in the world. So that if moral good +and evil, just and unjust, signify any reality, either absolute or +relative, in the things so denominated, as they must have some +certain natures, which are the actions or souls of men, they are +neither alterable by will or opinion. Upon which ground that +wise philosopher, Plato, in his “Minos,” determined that Νόμος, +a law, is not δόγμα πόλεως, any arbitrary decree of a city or +supreme governors; because there may be unjust decrees, which, +therefore, are no laws, but the <i>invention of that which</i> <span class="allsmcap">IS</span>, or +what is absolutely or immutably just in its own nature; though +it be very true also that the arbitrary constitutions of those that +have the lawful authority of commanding when they are not +materially unjust, are laws also in a secondary sense, by virtue +of that natural and immutable justice or law that requires political +order to be observed. But I have not taken all this pains +only to confute scepticism or fantasticism, or merely to defend +or corroborate our argument for the immutable nature of the +just and unjust; but also for some other weighty purposes that +are very much conducing to the business we have in hand. And +first of all, that the soul is not a mere <i>tabula rasa</i>, a naked and +passive thing, which has no innate furniture or activity of its +own, nor anything at all in it but what was impressed on it +from without; for, if it were so, then there could not possibly +be any such thing as moral good and evil, just and unjust, forasmuch +as these differences do not arise merely from outward +objects or from the impresses which they make upon us by sense, +there being no such thing in them, in which sense it is truly +affirmed by the author of the “Leviathan” (p. 24), “That there +is no common rule of good and evil to be taken from the nature +of the objects themselves,” that is, either considered absolutely +in themselves, or relatively to external sense only, but according +to some other interior analogy which things have to a certain +inward determination in the soul itself from whence the foundation +of all this difference must needs arise, as I shall show +<span class="pagenum" id="Page_80">[80]</span>afterwards; not that the anticipations of morality spring merely +from intellectual forms and notional ideas of the mind, or from +certain rules or propositions printed on the “soul as on a book,” +but from some other more inward and vital principle in intellectual +beings, as such, whereby they have a natural determination +in them to do certain things, and to avoid others, which +could not be, if they were mere naked, passive things.’</p> + +<p>It is instructive to compare Butler’s way of stating a doctrine +substantially similar:—</p> + +<blockquote> + +<p>‘Mankind has various instincts and principles of action, as brute +creatures have; some leading most directly and immediately to the +good of the community, and some most directly to private good.</p> + +<p>‘Man has several which brutes have not; particularly reflection +or conscience, an approbation of some principles or actions, and disapprobation +of others.</p> + +<p>‘Brutes obey their instincts or principles of action, according to +certain rules; suppose the constitution of their body, and the objects +around them.</p> + +<p>‘The generality of mankind also obey their instincts and principles, +all of them; those propensions we call good, as well as the bad, according +to the same rules, namely, the constitution of their body, and +the external circumstances which they are in.</p> + +<p>‘Brutes, in acting according to the rules before mentioned, their +bodily constitution and circumstances, act suitably to their whole +nature.</p> + +<p>‘Mankind also, in acting thus, would act suitably to their whole +nature, if no more were to be said of man’s nature than what has been +now said; if that, as it is a true, were also a complete, adequate account +of our nature.</p> + +<p>‘But that is not a complete account of man’s nature. Somewhat +further must be brought in to give us an adequate notion of it, namely, +that one of those principles of action, conscience, or reflection, compared +with the rest, as they all stand together in the nature of man, +plainly bears upon it marks of authority over all the rest, and claims +the absolute direction of them all, to allow or forbid their gratification; +a disapprobation of reflection being in itself a principle manifestly +superior to a mere propension. And the conclusion is, that to allow +no more to this superior principle or part of our nature, than to other +parts; to let it govern and guide only occasionally in common with +<span class="pagenum" id="Page_81">[81]</span>the rest, as its turn happens to come, from the temper and circumstances +one happens to be in,—this is not to act conformably to the +constitution of man. Neither can any human creature be said to act +conformably to his constitution of nature, unless he allows to that +superior principle the absolute authority which is due to it. And this +conclusion is abundantly confirmed from hence, that one may determine +what course of action the economy of man’s nature requires, +without so much as knowing in what degrees of <i>strength</i> the several +principles prevail, or which of them have actually the greatest +influence.</p> + +<p>‘The practical reason of insisting so much upon this natural +authority of the principle of reflection or conscience is, that it seems +in a great measure overlooked by many, who are by no means the +worst sort of men. It is thought sufficient to abstain from gross +wickedness, and to be humane and kind to such as happen to come +in their way. Whereas, in reality, the very constitution of our nature +requires that we bring our whole conduct before this superior faculty; +wait its determination; enforce upon ourselves its authority; and make +it the business of our lives, as it is absolutely the whole business of +a moral agent, to conform ourselves to it. This is the true meaning +of that ancient precept, <i>Reverence thyself</i>.’</p> + +</blockquote> + +<p>We do not mean that Cudworth’s style is not as good, or +better, than the style of Butler; but that the language and +illustrations of the latter belong to the same world as that we +live in, have a relation to practice, and recall sentiments we +remember to have felt and sensations which are familiar to us, +while those of Cudworth, on the contrary, seem difficult, and +are strange in the ears of the common people.</p> + +<p>We do not need to go more deeply into the discussion of +Butler’s doctrine, for it is familiar to our readers. If there +is any incorrectness in the delineation which he has given of +conscience, it is in the passages in which he speaks, or seems +to speak, of it more as an animating or suggesting, than as +a criticising or regulative faculty. The error of this representation +has been repeatedly pointed out and illustrated in +these pages.⁠<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> It is probable, indeed, that Butler’s attention +<span class="pagenum" id="Page_82">[82]</span>had scarcely been directed with sufficient precision to this portion +of the subject. It follows easily, from his favourite +principles, that when two impulses—say benevolence and self-love—contend +for mastery in the mind, and conscience pronounces +that one is a higher and better motive of action +than the other, the office of conscience is judicial, and not +impulsive. Conscience gives its opinion, and the will obeys or +disobeys at its pleasure; the impelling spring of action is the +selected impulse on which the will finally decides to act. At the +same time, it must be admitted that there are cases when, for +practical purposes, conscience is an impelling and goading +faculty. We mean when it is opposed by indolence. There is +a heavy lassitude of the will, which is certainly spurred, sometimes +effectually, and sometimes in vain, by our conscience. +Possibly the correct language may be, that in such cases the +desire of ease is opposed by the desire of doing our duty; and +that in this case also the office of conscience is simply to say, +that the latter is higher than the former. To us it seems, +however, if we may trust our consciousness on points of such +exact nicety, that it is more graphically true to speak of the +sluggishness of the will being goaded and stimulated by the +activity of conscience. There is a native inertness in the voluntary +faculty which will not come forth unless great occasion is +shown it. At any rate, something like this was perhaps the +meaning of Butler, and he, no doubt, would have included in +the term conscience the desire to do our duty as such, and +because it is such.</p> + +<p>Butler has been claimed by Mr. Austin, in his ‘Province of +Jurisprudence’ (and sometimes since by other writers), as a +supporter of the compound Utilitarian scheme, as it has been +called, which regards the promotion of general happiness as the +single inherent characteristic of virtuous actions, and considers +the conscience as a special instinct for directing men in determining +what actions are for the general interest and what are +not. This theory is, of course, distinct from the common +<span class="pagenum" id="Page_83">[83]</span>Epicurean scheme, which either denies, like Bentham, the fact +of a conscience <i>in limine</i>, or, like Mill, professes to explain it +away as an effect of illusion and association. The ‘Composite +theory,’ on the other hand, distinctly admits the existence and +obligatory authority of conscience, but regards it as a ready, +expeditious, and, so to say, telegraphic mode of arriving at +results which could otherwise be reached only by toilsome and +dubious discussions of general utility. In our judgment, however, +the writings of Butler hardly warrant an authoritative +ascription to him of this philosophy. He doubtless held that +the promotion of general happiness, taking all time and all the +world into a complete account, is <i>one</i> characteristic and ascertainable +property of virtue; but there is nothing to show that +he thought it was the only one. On the contrary, we think we +could show, with some plausibility, from several passages, that, +in his judgment, virtuous actions had besides several essential +and appropriate qualities. He was, at all events, the last man +to deny that they might have; and his whole reasoning on the +subject of moral probation seems to imply that, inasmuch as +such a state is, according to every appearance, not at all the +readiest or surest means of promoting satisfaction and enjoyment, +it cannot have been selected for the cultivation of either +satisfaction or enjoyment. It is one thing to hold that, the +nature of man being what it is, a virtuous life is the happiest +as well as best; and another, that such a life is the best because +it is the happiest, and that the nature of man was created in the +manner it is in order to produce such happiness. The first is, +of course, the doctrine of Butler; the second there does not seem +any certain ground for imputing to him.</p> + +<p>The religious side of morals is rather indicated and implied, +than elaborated or worked out by Butler. Yet, as we formerly +said, a constant reference to the ‘presages of conscience’ pervades +his writings. Although he has nowhere drawn out the +course of reasoning fully, or step by step, it is certain that he +relied on the moral evidence for a moral Providence; not, +<span class="pagenum" id="Page_84">[84]</span>indeed, with foolhardy assurance, but with the cautious confidence +which was habitual to him. The ideas which are implied +in the term justice—the connection between virtue and +reward—sin and punishment—a sacred law and holy Ruler, were +plainly the trains of reflection most commonly present to his +mind.</p> + +<p>Persons who give credence to an intuitive conscience are +so often taunted with the variations and mutability of human +nature, that it is worth noticing how complete is the coincidence, +in essential points of feeling, between minds so different +as Butler, Kant, and Plato. We can scarcely imagine among +thoughtful men a greater diversity of times and characters. +The great Athenian in his flowing robes daily conversing in +captious Athens—the quiet rector wandering in Durham coalfields—the +smoking professor in ungainly Königsberg, would, if +the contrast were not too great for art, form a trio worthy of a +picture. The whole series of truths and reasonings which we +have called the supernatural religion, or that of conscience, is, +however, as familiar to one as to the other, and is the most +important, if not the most conspicuous, feature in the doctrinal +teaching of all three. The very great differences of nomenclature +and statement, the entire contrast in the style of expression, +do but heighten the wonder of the essential and interior +correspondence. The doctrine has certainly shown its capability +of co-existing with several forms of civilisation; and at least +the simplest explanation of its diffusion is by supposing that it +has a real warrant in the nature and consciousness of man.</p> + +<p>Such is the doctrine of the Sermons; the argument of the +‘Analogy’ is of a different and more complicated kind; and, +from its refinement, requires to be stated with care and precaution. +As the Sermons are in a great measure a reply to the +caricaturists of Locke, the ‘Analogy’ is, in reality, designed +as a confutation of Shaftesbury and Bolingbroke. It was the +object of those writers, as of others since, to disprove the authority +of the Christian and Jewish revelation, by showing that +<span class="pagenum" id="Page_85">[85]</span>they enjoined on man conduct forbidden by the law of nature, +and likewise imputed to the Deity actions of an evil tendency +and degrading character. These writers are commonly, and +perhaps best, met by a clear denial of the fact; by showing in +detail, that Christianity is really open to no such objections, +contains no such precepts, and imputes no such actions: the +reply of Butler is much more refined and peculiar.</p> + +<p>The argument has been thus expounded, and its supposed +bearing explained by Professor Rogers in the notice of Butler,—the +title of which we have ventured to affix to this Article:—</p> + +<blockquote> + +<p>‘Further; we cannot but think that the conclusiveness of Butler’s +work as against its true object, “The Deist,” has often been underrated +by many even of its genuine admirers. Thus, Dr. Chalmers, for +instance, who gives such glowing proofs of his admiration of the work, +and expatiates in a congenial spirit on its merits, affirms that “those +overrate the power of analogy who look to it for any very distinct or +positive contribution to the Christian argument. To repel objections, +in fact, is the great service which analogy has rendered to the cause of +Revelation, and it is the <i>only service</i> which we seek for at its hands.” +This, abstractedly, is true; but, <i>in fact</i>, considering the <i>position</i> of +the bulk of the objectors, that they have been invincibly persuaded +of the truth of theism, and that their objections to Christianity have +been exclusively or chiefly of the kind dealt with in the “Analogy,” +the work is much more than an <i>argumentum ad hominem</i>—it is not +simply of negative value. To such <i>objectors</i> it logically establishes +the truth of Christianity, or it forces them to recede from theism, +which the bulk will not do. If a man says, “I am invincibly persuaded +of the truth of proposition A, but I cannot receive proposition +B, because objections α, β, γ are opposed to it; if these were removed, +my objections would cease;” then, if you can show that α, β, γ equally +apply to the proposition A, his reception of which, he says, is based +on invincible evidence, you do really compel such a man to believe +that not only B <i>may</i> be true, but that it <i>is</i> true, unless he be willing +(which few in the parallel case are) to abandon proposition A as well +as B. This is precisely the condition in which the majority of Deists +have ever been, if we may judge from their writings. It is usually +the <i>à priori</i> assumption, that certain facts in the history of the Bible, +or some portions of its doctrine, are unworthy of the Deity, and incompatible +with his character or administration, that has chiefly excited +<span class="pagenum" id="Page_86">[86]</span>the incredulity of the Deist; far more than any dissatisfaction +with the positive evidence which substantiates the Divine origin of +Christianity. Neutralise these objections by showing that they are +<i>equally</i> applicable to what he declares he cannot relinquish—the +doctrines of theism; and you show him, if he has a particle of logical +sagacity, not only that Christianity may be true, but that it is so; +and his only escape is by relapsing into atheism, or resting his opposition +on other objections of a very feeble character in comparison, and +which, probably, few would ever have been contented with alone; for, +<i>apart</i> from those objections which Butler repels, the historical evidence +for Christianity—the evidence on behalf of the integrity of its records +and the honesty and sincerity of its founders—showing that they +could not have constructed such a system if they <i>would</i>, and <i>would +not</i>, supposing them impostors, if they <i>could</i>—is stronger than that +for any fact in history.</p> + +<p>‘In consequence of this position of the argument, Butler’s book, to +large classes of objectors, though practically an <i>argumentum ad hominem</i>, +not only proves Christianity <i>may</i> be true, but in all logical +fairness proves it <i>is</i> so. This he himself, with his usual judgment, +points out. He says: “And objections which are equally applicable +to both natural and revealed religion are, properly speaking, answered +by its being shown that they are so, <i>provided the former be admitted +to be true</i>.”’</p> + +</blockquote> + +<p>No one can deny the ingenuity of this line of reasoning, but +we can only account for the great assent which it has received, +by supposing that the goodness of the cause for which it is +commonly brought forward has not unnaturally led to an undue +approbation of the argument itself. From the amount of authority +in its favour we feel some diffidence, but otherwise we +should have said, without hesitation, that it was open to several +objections.</p> + +<p>In the first place, so far from its being probable that Revelation +would have contained the same difficulties as Nature, we +should have expected that it would explain those difficulties. +The very term Supernatural Revelation implies that previously +and by nature man is, to a great extent, in ignorance; that +particularly he is unaware of some fact, or series of facts, which +God deems it fit that he should know. The instinctive presumption +<span class="pagenum" id="Page_87">[87]</span>certainly is, that those facts would be most important +to us. No doubt it is possible that, for incomprehensible +reasons, a special revelation should be made of facts purely indifferent, +of the date when London was founded, or the precise +circumstances of the invasion by William the Conqueror. But +this is in the highest degree improbable. What seems likely +(and the whole argument is essentially one of likelihood), +according to our mind, is that the Revelation which God would +vouchsafe to us would be one affecting our daily life and welfare, +would communicate truths either on the one hand conducing to +our temporal happiness in the present world, or removing the +many doubts and difficulties which surround the general plan +of Providence, the entire universe, and our particular destiny. +These are the two classes of truths on which we seem to require +help, and it is in the first instance more probable that assistance +would be given us on those points on which it is most required.</p> + +<p>The argument of Butler, of course, relates to our religious +difficulties. And, it seems impossible to deny that this is the +exact class of difficulty which it is most likely a revelation, if +given, would explain. No one who reasons on this subject is +likely to doubt that the natural faculties of man are more +clearly adequate to our daily and temporal happiness, than to +the explanation of the perplexities which have confounded men +since the beginning of speculation—of which the mere statement +is so vast—which relate to the scheme of the universe and +the plan of God. This is the one principle on which the most +extreme sceptics, and the most thorough advocates of revelation, +meet and agree. The sceptic says, ‘Man is not born to +resolve the mystery of the universe; but he must nevertheless +attempt it, that he may keep within the limits of the knowable:’ +which really means that he is to fold his hands and be quiet; +to abstain from all religious inquiry; to confine himself to this +life, and be industrious and practical within its limits. The +advocate of revelation is for ever denying the competency of +man’s faculties to explain, or puzzle out, what in the large sense +<span class="pagenum" id="Page_88">[88]</span>most concerns him. There are difficulties celestial, and difficulties +terrestrial; but it is certainly more likely that God +would interfere miraculously to explain the first than to remove +the second.</p> + +<p>Let us look at the argument more at length. The supposition +and idea of a ‘miraculous revelation’ rest on the ignorance +of man. The scene of nature is stretched out before him; it +has rich imagery, and varied colours, and infinite extent; its +powers move with a vast sweep; its results are executed with +exact precision; it gladdens the eyes, and enriches the imagination; +it tells us something of God—something important, yet +not enough. For example, difficulties abound; poverty and sin, +pain and sorrow, fear and anger, press on us with a heavy weight. +On every side our knowledge is confined, and our means of enlarging +it small. Of this the outer world takes no heed; nature +is ‘unfeeling;’ her laws roll on; ‘beautiful and dumb,’ she +passes forward and vouchsafes no sign. Indeed, she seems to +hide, as one might fancy, the dark mysteries of life which +seem to lie beneath; our feeble eyes strain to look forward, but +her ‘painted veil’ hangs over all, like an October mist upon +the morning hills. Here, as it seems, revelation intervenes; +God will break the spell that is upon us; will meet our need; +will break, as it were, through the veil of nature; He will show +us of Himself. It is not likely, surely, that He will break the +everlasting silence to no end; that, having begun to speak, He +will tell us nothing; that He will leave the difficulties of life +where He found them; that He will repeat them in His speech; +that He will revive them in His word. It seems rather, as if +His faintest disclosure, His least word, would shed abundant light +on all doubts, would take the weight from our minds, would remove +the gnawing anguish from our hearts. Surely, surely, if +He speaks He will make an end of speaking, He will show us +some good, He will destroy ‘the veil that is spread over all nations,’ +and the ‘covering over all people;’ He will not ‘darken +counsel by words without knowledge.’</p> + +<p><span class="pagenum" id="Page_89">[89]</span></p> + +<p>To this line of argument we know of but one objection; it +may be said, that, from the immensity of the universe in which +man is, reasons may exist for communicating to him facts of +which he cannot appreciate the importance, but a belief in +which may nevertheless be most important to his ultimate +welfare. Of this kind, according to some divines, is the doctrine +of the ‘Atonement.’ As they think, it is impossible to +explain the mode in which the death of Christ conduces to the +forgiveness of sin, or why a belief in it should be made, as they +think it is, a necessary preliminary to such forgiveness. They +consider that this is a revealed matter of fact; part of a system +of things which is not known now, which would very likely be +above our understanding if it were explained, which, at all +events, is not explained. We reply, that the revelation of an +inexplicable fact is possible, and that, if adequate evidence +could be adduced in its favour, we might be bound to acquiesce +in it; but that, on the other hand, such a revelation is extremely +improbable: so far as we can see, there was no occasion for it; +it helps in nothing, explains to us nothing; it enlarges our knowledge +only thus far, that for some unknown reason we are bound +to believe something from which certain effects follow in a manner +which we cannot understand. Such a revelation is, as has +been said, possible; but it is much more likely, <i>à priori</i>, that +a revelation, if given, would be a revelation of facts suited to +our comprehension, and throwing a light on the world in which +we are.</p> + +<p>The same remark is applicable to a revelation commanding +rites and ceremonies which do not come home to the conscience +as duties, and of which the reasons are not explained to us by +the revelation itself. The Pharisaic code of ‘cups and washings’ +is an obvious instance. It is obviously most improbable +that we should be ordered to do these things. The fact may be +so; but the evidence of it should be overwhelming, and should +be examined with almost suspicious and sceptical care. A revelation +of a rule of life which approves itself to the heart, which +<span class="pagenum" id="Page_90">[90]</span>awakens conscience, which seems to come from God, is the +greatest conceivable aid to man, the greatest explanation of our +most practical perplexities; a revelation of rites and ordinances +is a revelation of new difficulties, telling us nothing of God, +imposing an additional taskwork on ourselves.</p> + +<p>We are to remember, that the ‘Analogy’ is, as the Germans +would speak, a ‘Kritik’ of every possible revelation. The first +principle of it rests on the inquiry, ‘What would it be likely +that a revelation, if vouchsafed, would contain?’ The whole +argument is one of preconception, presumption, and probability. +It claims to establish a principle, which may be used in defence +of any revelation, the Mahomedan as well as the Christian; according +to it, as soon as you can show that a difficulty exists in +nature, you may immediately expect to find it in revelation. +If carried out to its extreme logical development, it would come +to this, that if a catalogue were constructed of all the inexplicable +arrangements and difficulties of nature, you might confidently +anticipate that these very same difficulties in the same +degree and in the same points would be found in revelation. +Both being from the same Author, it is presumed that each +would resemble the other. The principle, even to this length, +is enunciated by Mr. Rogers; the difficulties of nature are the +α, β, γ of the extract: and he asserts, that if you can show that +all of them exist in one system, you have every reason to expect +<i>all</i> of them in the other. Yet, surely, what can be more monstrous +than that a supernatural communication from God should +simply enumerate all the difficulties of His natural government +and not enlighten us as to any of them—should revive our perplexities +without removing them—should not satisfy one doubt +or one anxiety, but repeat and proclaim every fact which can +give a basis to them both?</p> + +<p>The case does not rest here. There is a second ground of +objection to the argument of the ‘Analogy’ on which we are +inclined to lay nearly equal stress. As has been said, it is most +likely that a revelation from God would explain at least a part +<span class="pagenum" id="Page_91">[91]</span>of the religious difficulties of man; and, in matter of fact, all +systems purporting to be revelations have in their respective +degrees professed to do so. They all deal with what may be +called the system of the universe—its moral plan and scheme; +the destiny of man therein—the motives from which God created +it—and the manner in which He directs it. Throughout +the whole range of doctrines, from Mormonism up to Christianity, +no one has ever gained any acceptance, has ever, perhaps, +been sincerely put forward, which did not deal with this whole +range of facts—which did not tell man, according to his view, +whence he is, and whither he goes. Revelations, as such, are +communications concerning eternity. Now, it seems to us, that +so far from its being likely, <i>à priori</i>, that a revelation of this +sort would contain the same perplexing difficulties which cause so +much evil in this world, in the same degree in which they exist +here, it would be scarcely possible by any evidence, <i>à posteriori</i>, +to establish the communication of such a system from the Divine +Being. It seems clear on the surface of the subject that, +the extent of the unknown world being so enormous in comparison +with that which is known, this scene being so petty, +and the plan of Providence so vast—earth being little, and +space infinite—Time short, and Eternity long—a difficulty, +which is of no moment in so contracted a sphere as this, becomes +of infinite moment when extended to the sphere of the +Almighty. From the smallness of the region which we see—the +short time which we live—from the few things which we +know—it may well be that there are points which perplex the +feebleness of our understanding and puzzle the best feelings of +our hearts. We see, as some one expresses it, the universe ‘not +in plan but in section;’ and we cannot expect to understand +very much of it. But when our knowledge increases—when, +by a revelation, that plan is unfolded to us—when God vouchsafes +to communicate to us the system on which He acts, then +it is rational to expect those difficulties would diminish—would +gradually disappear as the light dawned upon us—would vanish +<span class="pagenum" id="Page_92">[92]</span>finally when the dayspring arose on our hearts. If a difficulty of +nature be repeated in revelation, it would seem to show that it +was not, as we had before supposed, a consequence of our short-sighted +views and contracted knowledge, but a real inherent +element in the scheme of the universe; not a petty shade on a +petty globe, but a pervading inherent stain, extending over all +things, destroying the beauty of the universe, impairing the +perfectness of all creation. Take, as an instance, the extreme +doctrine of Antinomian Calvinism—suppose that the eternal +condition of man depended in no degree on his acts, or works, +or upon himself in any form, but on an arbitrary act of selection +by God, which chose some, independently of any antecedent +fitness on their part, for eternal happiness, and consigns all +others—irrespective of their guilt or innocence—to eternal ruin. +Nothing, of course, can be more shocking than such a doctrine +when stated in simple language; and if it really were contained +in any document that professes to be a revelation, we should be +plainly justified in passing it by as a document which no evidence +would prove to have been inspired by God. Yet the +doctrine certainly does not want partial analogies in this world. +The condition of men here does seem to be in a considerable +measure the result not of what they do, or of what their +characters are, but of the mere circumstances in which they are +placed, over which they have no control, choice, or power. One +man is born in a ditch, another in a palace; one with a gloomy +and painful, another with a cheerful and happy mind; one to +honour, another to dishonour. We invent words—fortune, luck, +chance—to express in a subtle way the notion that some seem +the favourites of circumstance, others the scapegoats. So far +as it goes, this is a distinct ‘election’ on the part of God of +some to misery, of others to felicity, irrespective of their personal +qualities. Accordingly, it may be argued, why should we +not expect to find the same in the world of revelation, which is +from the hand of the same Creator? But this will scarcely impose +on any one. A certain indignation arises within us—conscience +<span class="pagenum" id="Page_93">[93]</span>uplifts her voice, and we reply, ‘It may well be that for +a short time God may afflict His people without their own fault, +but that He should do so for ever—that He should make no +end of injustice—that He favours one without a reason, and +condemns another without a fault—this, come what may, we +will not believe—we would sooner cast ourselves at large on the +waste of uncertainty;—pass on with your teaching, and ask +God, if so be that He will pardon you for attributing such +things to Him.’ We need not further enlarge on this.</p> + +<p>Again, and in the practical conduct of the argument this is +a very material consideration. All revelations impute <i>intentions</i> +to God. Acts are done, observances enjoined, a providential +plan pursued, for reasons which are explained. The +cause of this is evident from our previous reasoning. As we +have seen, all revelations profess to vindicate the ways of God +to man; and it is impossible to do so effectually without declaring +to us at least some of His motives and designs. It is +most important to observe, that no analogy from nature can +justify us in judging of these except by the standard of right +or wrong which God has implanted within us. From external +observation we learn almost nothing of God’s intentions. The +scheme is too large; the universe too unbounded. One phenomenon +follows another; but, except in a few cases, and then +very dubiously, we cannot tell which was created for which—which +was the design—which the means—which the determining +object—and which the subservient purpose. Even in the +few cases in which we do impute such intentions, we do so because +they seem to be in harmony with God’s moral character; +they are not strictly proved, they are mere conjectures; and we +should reject at once any that might seem ethically unworthy. +But the case is different with a revelation which, from its own +nature, unfolds ends and instruments in their due measure and +their actual subordination, which developes an orderly system, +and communicates hidden motives and unforeseen designs. A recent +writer, for example, thus defends certain apparent cruelties +<span class="pagenum" id="Page_94">[94]</span>of the Old Testament by stating those of nature: ‘God,’ he +says, ‘sends His pestilence, and produces horrors on which imagination +dare not dwell; horrors not only physical, but indirectly +moral; often transforming man into something like the +fiend so many say he can never become. He sends His famine, +and thousands perish—men and women, and “the child that +knows not its right hand from its left”—in prolonged and frightful +agonies. He opens the mouths of volcanoes and lakes; boils +and fries the population of a whole city in torrents of burning +lava, &c. &c.’⁠<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a>⁠—with much else to the same purpose. But this +must not be adduced in extenuation of anything of which the +reasons are narrated; on the contrary, these last must be judged +of by the moral faculties which are among God’s highest gifts. +To the infliction of pain, with an express view to what conscience +tells us to be an unworthy object, outward nature does +and can afford no parallel. She has no avowals; it is but from +conjecture that we conceive her motives; her laws pass forward; +the crush of her forces is upon us; like a child in a railway, +we know not anything. The incomprehensible has no analogy +to the explained; the mysterious none to that on which the +oracle has intelligibly spoken.</p> + +<p>Lastly, for a similar reason it is impossible that there should +be any analogy in nature for a precept from God opposed to +the law of conscience. External nature gives no precept; our +knowledge of our duty comes from within; the physical world +is subordinate to our inward teaching; it is silent on points +of morality. On the other hand, a revelation, supposing satisfactory +means of attesting it were found, might possibly contain +such a precept. It is very painful to put such suppositions +before the mind; but the pain is inherent in the nature of the +<span class="pagenum" id="Page_95">[95]</span>subject. The topic of the difficulties and perplexities of man +cannot, by any artifice of rhetoric, be rendered pleasing. In +such a case, supposing there to be no difficulty of evidence in +the case, our duty might be to obey God even against conscience, +from that assurance of His essential perfection which is the most +certain attestation of conscience. But the existence of such a +difficulty is in the highest degree improbable; it is one which +ought only to be admitted on the completest proof and after the +most rigid straining of evidence: it is, from the nature of the +case, without a parallel in the common and unrevealed world.</p> + +<p>To all these considerable objections, we believe the argument +of the ‘Analogy’ is properly subject. We think in general +that, according to every reasonable presumption, a revelation +would not repeat the same difficulties as are to be found in +nature, but would remove and explain some of them; that difficulties, +which are of small importance in the natural world, on +account of the smallness of its sphere and the brevity of its +duration, become of insuperable magnitude when extended to +infinity and eternity, when alleged to be co-extensive with the +universe, and to be inherent in its scheme and structure; and +that,—what is of less universal scope, but still of essential importance,—nature +offers no analogy to the ascription by any +professed revelation of an unworthy intention to God, or the +inculcation through it of an immoral precept on man.</p> + +<p>It is impossible, then, by any such argument as this, to remove +from moral criticism the entire contents of any revelation. +According to the more natural view, the unimpeachable morality +of those contents is a most essential part of the evidence on +which our belief must rest; and this seems to remain so, notwithstanding +these refinements. On the other hand, we do not +contend that the reasoning of the ‘Analogy’ is wholly worthless. +If Butler’s⁠<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> argument had only been adduced to this extent; if +<span class="pagenum" id="Page_96">[96]</span>it had only been argued that, though a revelation might be expected +to explain some difficulties, it could not be expected to +explain all; that a certain number would, from our ignorance +and unworthiness, still remain; and these residuary difficulties +would be of the same order, class, and kind, to which we were +accustomed; that the style of Providence, if one may so say, +would be the same in the newly-communicated phenomena as +we had observed it to be in those we were familiar with before,—there +could be little question of the soundness of the principle. +No one would expect that there would be new difficulties +introduced by a revelation; what difficulties were found in it we +should expect to be identical with those observed before in +nature; or, at least, to be similar to them, and likely to be +explained in the same way by a more adequate knowledge of +God’s purposes. We should particularly expect the difficulties +of revelation to be <i>like</i> those of nature, limited in time and +range, not extending to the entire scheme of Providence, not +diffused through infinity and eternity, not imputing evil intentions +to God, not inculcating immoral precepts on man. We +can hardly be said to <i>expect</i> to find difficulties in revelation +at all; the utmost that seems probable, <i>à priori</i>, is, that it +should leave unnoticed some of those of nature. Nevertheless, +there is no violent, no overwhelming improbability in the fact +of some perplexing points being contained in a communication +from God; we are so weak, that it may be we cannot entirely +understand the smallest intimation from the Infinite Being. +And if difficulties are found there, they are, of course, less perplexing, +when resembling those which we knew before, than if +they be wholly distinct and new in kind. But this principle is, +on the face of it, very different from the admission of an antecedent +probability, that all the difficulties discoverable in nature +would be daguerreotyped in a revelation.</p> + +<p>The difference is seen very clearly by looking at the argument +which Butler’s reasoning is intended to confute. Suppose +a professed revelation to be laid before a person who was before +<span class="pagenum" id="Page_97">[97]</span>unacquainted with it, and that he finds in it several perplexing +points. According to Butler’s principle, or what is supposed +by Mr. Rogers to be Butler’s principle, it is enough to reply: +You have those same difficulties in nature before; you cannot +consistently object to them now; they have not prevented your +ascribing nature to a Divine Author; they should not prevent +you from ascribing to Him this revelation. Nature is so full of +difficulties, that almost every doctrine that has ever been attributed +to revelation may be provided with a parallel more or +less apt. Consequently, it would be almost needless to criticise +the contents of any alleged revelation, when we may be met so +easily by such a reply. No careful reasoner would attempt that +criticism. According to the doctrine which we have reiterated, +we should deem it a difficulty that these perplexing points +should be found in a revelation; but that difficulty would not +amount to much, would not counterbalance strong evidence, if +it could be shown that the system claiming to be revealed, +although leaving these points unexplained, threw ample light +on others; that what gave cause for perplexity was quite subordinate +to what removed perplexity; that no immoral actions +were enjoined on man; no unworthy motives imputed to God; +no vice attributed to the whole scheme and plan of the Creator. +There would therefore remain the largest scope for internal +criticism on all systems claiming to be messages from God; on +the very face they must seem worthy of Him: in their very +essence they must seem good.</p> + +<p>This is plainly the obvious view. The natural opinion certainly +is that the moral and religious faculties would be those +on which we should primarily depend, in judging of an alleged +communication from heaven; in deciding whether it have a +valid claim to that character or no. These faculties are those +which, antecedently to revelation, determine our belief in all +other moral and religious questions, and it is therefore natural +to look to them as the best judges of the authenticity of an +alleged revelation. Many divines, however, struggle to deny +<span class="pagenum" id="Page_98">[98]</span>this. Thus, in the memoir of Butler we are now reviewing, Mr. +Rogers observes,—</p> + +<blockquote> + +<p>‘The immortal “Analogy” has probably done more to silence the +objections of infidelity than any other ever written from the earliest +“apologies” downwards. It not only most critically met the spirit of +unbelief in the author’s own day, but is equally adapted to meet +that which <i>chiefly</i> prevails in all time. In every age, some of the +principal, perhaps <i>the</i> principal, objections to the Christian Revelation +have been those which men’s <i>preconceptions</i> of the Divine character +and administration—of what God <i>must</i> be, and of what God +<i>must</i> do—have suggested against certain facts in the sacred history, or +certain doctrines it reveals. To show the objector, then (supposing +him to be a theist, as nine-tenths of all such objectors have been), that +the very same or similar difficulties are found in the structure of the +universe and the divine administration of it, is to wrest every <i>such</i> +weapon completely from his hands, if he be a fair reasoner and remain +a theist at all. He is bound, by strict logical obligation, either to +show that the parallel difficulties do <i>not</i> exist, or to show how he can +solve them, while he <i>cannot</i> solve those of the Bible. In default of +doing either of these things, he ought either to renounce all <i>such</i> +objections to Christianity, or abandon theism altogether. It is true, +therefore, that though Butler leaves the alternative of atheism open, +he hardly leaves any other alternative to nine-tenths of the theists +who have objected to Christianity.’</p> + +</blockquote> + +<p>And there is a perpetual reiteration in the ‘Eclipse of Faith’ +of the same reasoning. In fact, so far as the latter work has a +distinct principle, this argument may be said to be that principle. +The answer is, that the proof of all ‘revelation’ itself +rests on a ‘preconception’ respecting the Divine character, and +that, if we assume the truth of that one ‘preconception,’ we +must not reject any others which may be found to have the +same evidence. We refer, of course, to the assumption of God’s +veracity; which can only be proved by arguments that, if admitted, +would likewise justify our attributing to Him all other +perfect virtues. It is evident that a doubt as to this attribute +is not only impious in itself, but quite destructive of all confidence +in any communication which may be received from Him. +<span class="pagenum" id="Page_99">[99]</span>And yet, on what evidence does its acceptance rest? It cannot +be said to be demonstrated by what scientific men call ‘natural +theology.’ Competent and careful persons examine the material +world, the structure of animals and plants, the courses of the +planets, the muscles of man, and they find there a great preponderance +of benevolence. They show, with great labour and +great merit, that the Being who arranged this universe is, on +the whole, a benevolent Being; but does it follow that He will +tell the truth? ‘In crossing a heath,’ says Paley, ‘suppose I +pitched my foot against a stone, and were asked how the stone +came to be there, I might possibly answer that, for anything +I knew to the contrary, it had lain there for ever; nor would +it, perhaps, be very easy to show the absurdity of this answer: +but, suppose I had found a <i>watch</i> on the ground, and it should +be inquired how the watch came to be in that place, I should +hardly think of the answer I had before given, that, for anything +I knew, it had been always there.’ And he shows, with +his usual power, that this watch was, in all likelihood, made +by a watchmaker. There is nothing cleverer, perhaps, in argumentative +writing, than the way in which that argument is +stated and pointed. But what evidence is there that the watchmaker +was <i>veracious</i>? The amplest examination of the most +refined designs, the minutest scrutiny of the most complex contrivances, +do not go one hair’s breadth to establish any such +conclusion. Nor can it be shown that the virtue of veracity is +identical with, or consequent on, the virtue of simple benevolence. +We know well in common life that there are such things +as pleasing falsehoods, and that such things exist as disagreeable +truths. A person (what we ordinarily call a good-natured +person) whose only motive is simple benevolence, will constantly +assert the first and deny the second. In its application +to religion this tendency cannot be illustrated without suppositions +which it is painful even to make; but yet they must +be made for a moment, or the necessary argument must be left +incomplete. Suppose, what is doubtless true, that the belief in +<span class="pagenum" id="Page_100">[100]</span>a ‘future state,’ even if false, contributes to the temporal happiness +of man in this world; that it does more to enlarge his +hopes, stimulate his imagination, and alleviate his sorrows, than +any one other consideration; that it contributes to the order of +society and the progress of civilisation; that it is, as some one +says, ‘the last restraint of the powerful, and the last hope of +the wretched.’ Indisputably, a Being whose only motive was +benevolence, who admitted no higher consideration, who looked +steadily and solely to our mere happiness, would endeavour to +instil that belief although it were quite untrue, would not think +that <i>that</i> had anything to do with the question, would not +hesitate to make a false revelation to confirm men in a belief +so pleasant, so advantageous, so consolatory. Perhaps this supposition +drives the argument home. We see that it is necessary +for us to admit a ‘preconception’ as to the character of God +before we can even begin to prove the truth of a revelation; +that we <i>must</i> reason of ‘what God <i>must</i> be and God <i>must</i> do,’ +before we show that there is even a presumption in favour of +any facts, or any doctrines, which are revealed in the ‘sacred +history.’</p> + +<p>We have hinted, in an earlier part of this essay, that this +doctrine of God’s veracity seems to us to rest on the general assumption +of the existence of a ‘perfect’ Being, who rules and +controls all things. It is, perhaps, the Divine attribute of +which it is most difficult to find a trace in nature. Of His +omnipotence, justice, benevolence, we cannot, indeed, find absolute +proof; for we believe that those attributes are infinite, and +we can only prove them strictly with respect to the finite and +very circumscribed world which we see and know. Yet, at the +same time, we discern indications and strong probabilities, that +the Ruler of the world possesses these attributes; we can hardly +be said to be able to do this with His veracity. The speechlessness +of nature, if we may again so speak, deprives us of any +such evidence. All Theism is of the nature of faith. We can +never prove from experience any being to be infinite, for our experience +<span class="pagenum" id="Page_101">[101]</span>itself is essentially small and finite. We can often, +however, as in the instance of the attributes of God above enumerated, +and of others which might be added, establish by +observation that the qualities in question exist in a certain degree, +and we have only to rely on the principle of faith for our +belief that these qualities exist in a perfect and supreme degree. +In the case of the Divine veracity, it should seem that we believe +it to exist in a perfect and infinite degree, without, from +the peculiarity of our circumstances, being able to fortify it +by any test or trial from experience.</p> + +<p>Present controversies show that there should be a distinct +understanding as to this matter. Such writers as the author of +the ‘Eclipse of Faith’ perpetually strive to justify what they +think the difficulties of revelation, by insinuating—we might +say inculcating—a scepticism as to the religious faculties and +conscience of man. These faculties are at one time said to be +‘depraved;’ once they were trustworthy, but man is fallen from +that high estate; he can only now believe what is announced to +him externally. But how can we then rely on those ‘depraved’ +faculties for our belief in the truthfulness of the Being who announces +these things? At another time all the horrid superstitions, +all the immoral rites, all the wretched aberrations of +savage and licentious nations, are enumerated, displayed, inculcated, +in order to convince us that these faculties give no certain +information. We will not quote the passages. We do not like +to read hard attacks even on the worst side of human nature; +we cannot, like some, gloat upon such details. The argument +is plain without any painful accuracy. How can you believe in +the ‘intuition’ of the Divine justice, when the Hindoo says this? +How in that of his Holiness, when the Papuan accepts that impurity? +But this is no defence for any revelation. The writers +who exult in such errors because they think they can use them +in their logic, are really cutting away the substratum of evidentiary +argument from under them. The veracity of God has +not been accepted by all nations any more than His justice. In +<span class="pagenum" id="Page_102">[102]</span>many times and countries He has been thought to inspire falsehoods, +to put a ‘lying spirit’ in the mouths of men, to deceive +them to their destruction. Agamemnon’s dream is but the type +of a whole class of legends imputing untrue revelations to the +gods. If we liked such work, we might prove, perhaps, that +there is no man on the earth whose ancestors have not believed +the like. And what then? Why, we can only answer that, +debased, depraved, imperfect as they may be, these faculties are +our all. It is on them that we depend for life, and breath, and +all things. We must believe our heart and conscience, or we +shall believe nothing. We <i>must</i> believe that God cannot lie, +or we must renounce all that our highest and innermost nature +most cleaves to; but if we go so far, we must go further—we +cannot believe in God’s veracity and deny the intuition of His +justice—we know that He is pure on the same ground that we +know that He is true. If an alleged revelation contradict this +justice or this purity, we must at once deny that it can have +proceeded from Him.</p> + +<p>Even admitting, as we think it must be admitted, that +Butler did not firmly hold the principle which Mr. Rogers and +others ascribe to him, some may find a difficulty in so great a +thinker having even a tendency towards that tenet. On examination, +however, the very error seems characteristic of him.</p> + +<p>A mind such as Butler’s was in a previous page described to +be, is very apt to be prone to over refinement. A thinker of +what was there called the picturesque order has a vision, a picture +of the natural view of the subject. Those certainties and +conclusions, those doubts and difficulties, which occur on the +surface, strike him at once; he sees with his mind’s eye some +conspicuous instance in which all such certainties are realised, +and by which all such doubts are suggested. Some great typical +fact remains delineated before his mind, and is a perpetual answer +to all hypotheses which strive to be over-subtle. But an +unimaginative thinker has no such assistance; he has no pictures +or instances in his mind; he works by a process like an +<span class="pagenum" id="Page_103">[103]</span>accountant, and like an accountant he is dependent on the correctness +with which he works. He begins with a principle and +reasons from it; and if any error have crept into the deduction +or into the principle, he has not any means of detecting it. +His mind does not yield, as with more fertile fancies, a stock of +instances on which to verify his elaborate conclusions. Accordingly +he is apt to say he has explained a difficulty, when in +reality he has but refined it away.</p> + +<p>Again, there is likewise a deeper sense in which the argument +of the ‘Analogy’ is, even in its least valuable portions, +characteristic of Butler. On topics so peculiar, the minds most +likely to hold right opinions are exactly those most likely to +advance wrong arguments in support of them. The opinions +themselves are suggested and supported by deep and strong +feelings, which it is painful to analyse, and not easy to describe. +The real and decisive arguments for those opinions are little +save a rational analysis and acute delineation of those feelings. +It will necessarily follow that the mind most prone to delineate +and analyse that part of itself will be most likely to succeed in +the argumentative exposition of these topics; and this is not +likely to be the mind which feels those emotions with the +greatest intensity. The very keenness of these feelings makes +them painful to touch; their depth, difficult to find: constancy, +too, is liable to disguise them. The mind which always feels +them will, so to speak, be less conscious of them than one which +is only visited by them at long and rare intervals. Those who +know a place or a person best are not those most likely to describe +it best; their knowledge is so familiar that they cannot +bring it out in words. A deep, steady under-current of strong +feeling is precisely what affects men’s highest opinions most, +and exactly what prevents men from being able adequately to +describe them. In the absence of the delineative faculty, +without the power to state their true reasons, minds of this deep +and steadfast class are apt to put up with reasons which lie on +the surface. They are caught by an appearance of fairness +<span class="pagenum" id="Page_104">[104]</span>affect a dry and intellectual tone, endeavour to establish their +conclusions without the premises which are necessary,—without +mention of the grounds on which, in their own minds, they +really rest. The very heartfelt confidence of Butler in Christianity +was perhaps the cause of his seeming in part to support it +with considerations which appear to be erroneous.</p> + +<p>It seems odd to say, and yet it is true, that the power of the +‘Analogy,’ is in its rhetoric. The ancient writers on that art +made a distinction between the modes of persuasion which lay +in the illustrative and argumentative efficacy of what was said, +and a yet more subtle kind which seemed to reside in the +manner and disposition of the speaker himself. In the first class, +as has been before remarked, no writer of equal eminence is so +defective as Butler; his thoughts, if you take each one singly, +seem to lose a good deal from the feeble and hesitating manner +in which they are stated. And yet, if you read any considerable +portion of his writings, you become sensible of a strong disinclination +to disagree with him. A strong anxiety first to find +the truth, and next to impart it—an evident wish not to push +arguments too far—a clear desire not to convince men except +by reasonable arguments of true opinions, characterises every +feeble word and halting sentence. Nothing is laid down to +dazzle or arouse. It is assumed that the reader wants to know +what is true, as much as the writer does to tell it. Very possibly +this may not be the highest species of religious author. +The vehement temperament, the bold assertion, the ecstatic +energy of men like St. Augustine or St. Paul, burn, so to speak, +into the minds and memories of men, and remain there at once +and for ever. Such men excel in the broad statement of great +truths which flash at once with vivid evidence on the minds +which receive them. The very words seem to glow with life; +and even the sceptical reader is half awakened by them to a +kindred and similar warmth. Such are the men who move the +creeds of mankind, and stamp a likeness of themselves on ages +that succeed them. But there is likewise room for a quieter +<span class="pagenum" id="Page_105">[105]</span>class, who partially state arguments, elaborate theories, appreciate +difficulties, solve doubts; who do not expect to gain a +hearing from the many—who do not cry in the streets or lift +their voice from the hill of Mars—who address quiet and lonely +thinkers like themselves, and are well satisfied if a single sentence +in all their writings remove one doubt from the mind of +any man. Of these was Butler. <i>Requiescat in pace</i>, for it +was peace that he loved.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_106">[106]</span></p> + +<h2 class="nobreak" id="STERNE_AND_THACKERAY"><i>STERNE AND +THACKERAY.</i>⁠<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a><br> +<span class="smaller">(1864.)</span></h2> + +</div> + +<p>Mr. Percy Fitzgerald has expressed his surprise that no one +before him has narrated the life of Sterne in two volumes. We +are much more surprised that he has done so. The life of +Sterne was of the very simplest sort. He was a Yorkshire clergyman, +and lived for the most part a sentimental, questionable, +jovial life in the country. He was a queer parson, according to +our notions; but in those days there were many queer parsons. +Late in life he wrote a book or two, which gave him access to +London society; and then he led a still more questionable and +unclerical life at the edge of the great world. After that he +died in something like distress, and leaving his family in something +like misery. A simpler life, as far as facts go, never +was known; and simple as it is, the story has been well told +by Sir Walter Scott, and has been well commented on by Mr. +Thackeray. It should have occurred to Mr. Fitzgerald that a +subject may only have been briefly treated because it is a limited +and simple subject, which suggests but few remarks, and does +not require an elaborate and copious description.</p> + +<p>There are but few materials, too, for a long life of Sterne. +Mr. Fitzgerald has stuffed his volumes with needless facts about +Sterne’s distant relations, his great uncles and ninth cousins, in +which no one now can take the least interest. Sterne’s daughter, +who was left ill-off, did indeed publish two little volumes of odd +letters, which no clergyman’s daughter would certainly have +<span class="pagenum" id="Page_107">[107]</span>published now. But even these are too small in size and thin +in matter to be spun into a copious narrative. We should in +this [the <i>National</i>] Review have hardly given even a brief +sketch of Sterne’s life, if we did not think that his artistic +character presented one fundamental resemblance and many +superficial contrasts to that of a great man whom we have +lately lost. We wish to point these out; and a few interspersed +remarks on the life of Sterne will enable us to enliven the +tedium of criticism with a little interest from human life.</p> + +<p>Sterne’s father was a shiftless, roving Irish officer in the +early part of the last century. He served in Marlborough’s +wars, and was cast adrift, like many greater people, by the +caprice of Queen Anne and the sudden peace of Utrecht. Of +him only one anecdote remains. He was, his son tells us, ‘a +little smart man, somewhat rapid and hasty’ in his temper; +and during some fighting at Gibraltar he got into a squabble +with another young officer, a Captain Phillips. The subject, it +seems, was a goose; but that is not now material. It ended +in a duel, which was fought with swords in a room. Captain +Phillips pinned Ensign Sterne to a plaster-wall behind; upon +which he quietly asked, or is said to have asked, ‘<i>Do</i> wipe the +plaster off your sword before you pull it out of me;’ which, if +true, showed at least presence of mind. Mr. Fitzgerald, in his +famine of matter, discusses who this Captain Phillips was; but +into this we shall not follow him.</p> + +<p>A smart, humorous, shiftless father of this sort is not perhaps +a bad father for a novelist. Sterne was dragged here and there, +through scenes of life where no correct and thriving parent +would ever have taken him. Years afterwards, with all their +harshness softened and half their pains dissembled, Sterne +dashed them upon pages which will live for ever. Of money +and respectability Sterne inherited from his father little or +none; but he inherited two main elements of his intellectual +capital—a great store of odd scenes, and the sensitive Irish +nature which appreciates odd scenes.</p> + +<p><span class="pagenum" id="Page_108">[108]</span></p> + +<p>Sterne was born in the year 1713, the year of the peace of +Utrecht, which cast his father adrift upon the world. Of his +mother we know nothing. Years after, it was said that he behaved +ill to her; at least neglected and left her in misery when +he had the means of placing her in comfort. His enemies neatly +said that he preferred ‘whining over a dead ass to relieving a +living mother.’ But these accusations have never been proved. +Sterne was not remarkable for active benevolence, and certainly +may have neglected an old and uninteresting woman, even +though that woman was his mother; he was a bad hand at dull +duties, and did not like elderly females; but we must not +condemn him on simple probabilities, or upon a neat epigram +and loose tradition. ‘The regiment,’ says Sterne, ‘in which +my father served being broke, he left Ireland as soon as I was +able to be carried, and came to the family seat at Elvington, +near York, where his mother lived.’ After this he was carried +about for some years, as his father led the rambling life of a +poor ensign, who was one of very many engaged during a very +great war, and discarded at a hasty peace. Then, perhaps +luckily, his father died, and ‘my cousin Sterne of Elvington,’ as +he calls him, took charge of him, and sent him to school and +college. At neither of these was he very eminent. He told +one story late in life which may be true, but seems very unlike +the usual school-life. ‘My schoolmaster,’ he says, ‘had the +ceiling of the schoolroom new whitewashed: the ladder remained +there. I one unlucky day mounted it, and wrote with a brush +in large capitals <span class="smcap">Lau. Sterne</span>, for which the usher severely +punished me. My master was much hurt at this, and said +before me that never should that name be effaced, for I was a +boy of genius, and he was sure I should come to preferment.’ +But ‘genius’ is rarely popular in places of education; and it is, +to say the least, remarkable that so sentimental a man as Sterne +should have chanced upon so sentimental an instructor. It is +wise to be suspicious of aged reminiscents; they are like persons +entrusted with ‘untold gold;’ there is no check on what they +tell us.</p> + +<p><span class="pagenum" id="Page_109">[109]</span></p> + +<p>Sterne went to Cambridge, and though he did not acquire +elaborate learning, he thoroughly learned a gentlemanly stock +of elementary knowledge. There is even something scholarlike +about his style. It bears the indefinable traces which an exact +study of words will always leave upon the use of words. He +was accused of stealing learning, and it is likely enough that a +great many needless quotations which were stuck into <i>Tristram +Shandy</i> were abstracted from second-hand storehouses where +such things are to be found. But what he stole was worth very +little, and his theft may now at least be pardoned, for it injures +the popularity of his works. Our present novel-readers do not +at all care for an elaborate caricature of the scholastic learning; +it is so obsolete that we do not care to have it mimicked. Much +of <i>Tristram Shandy</i> is a sort of antediluvian fun, in which +uncouth Saurian jokes play idly in an unintelligible world.</p> + +<p>When he left college, Sterne had a piece of good fortune +which in fact ruined him. He had an uncle with much influence +in the Church, and he was thereby induced to enter the Church. +There could not have been a greater error. He had no special +vice; he was notorious for no wild dissipation or unpardonable +folly; he had done nothing which even in this more discreet age +would be considered imprudent. He had even a refinement +which must have saved him from gross vice, and a nicety of nature +which must have saved him from coarse associations. But +for all that he was as little fit for a Christian priest as if he had +been a drunkard and a profligate. Perhaps he was less fit.</p> + +<p>There are certain persons whom taste guides, much as +morality and conscience guide ordinary persons. They are +‘gentlemen.’ They revolt from what is coarse; are sickened +by that which is gross; hate what is ugly. They have no +temptation to what we may call ordinary vices; they have no +inclination for such raw food; on the contrary, they are repelled +by it, and loathe it. The law in their members does <i>not</i> +war against the law of their mind; on the contrary, the <i>taste</i> of +their bodily nature is mainly in harmony with what conscience +<span class="pagenum" id="Page_110">[110]</span>would prescribe or religion direct. They may not have heard +the saying that the ‘beautiful is higher than the good, for it +includes the good.’ But when they do hear it, it comes upon +them as a revelation of their instinctive creed, of the guidance +under which they have been living all their lives. They are +pure because it is ugly to be impure; innocent because it is out +of taste to be otherwise; they live within the hedge-rows of +polished society; they do not wish to go beyond them into the +great deep of human life; they have a horror of that ‘impious +ocean,’ yet not of the impiety, but of the miscellaneous noise, +the disordered confusion of the whole. These are the men whom +it is hardest to make Christian,—for the simplest reason; paganism +is sufficient for them. Their pride of the eye is a good +pride; their love of the flesh is a delicate and directing love. +They keep ‘within the pathways’ because they dislike the gross, +the uncultured, and the untrodden. Thus they reject the primitive +precept which comes before Christianity. Repent! repent! +says a voice in the wilderness; but the delicate pagan feels +superior to the voice in the wilderness. Why should he attend +to this uncouth person? He has nice clothes and well-chosen +food, the treasures of exact knowledge, the delicate results of the +highest civilisation. Is he to be directed by a person of savage +habits, with a distorted countenance, who lives on wild honey, +who does not wear decent clothes? To the pure worshipper of +beauty, to the naturally refined pagan, conscience and the religion +of conscience are not merely intruders, but barbarous intruders. +At least so it is in youth, when life is simple and temptations if +strong are distinct. Years afterwards, probably, the purest +pagan will be taught by a constant accession of indistinct temptations, +and by a gradual declension of his nature, that taste at +the best, and sentiment of the very purest, are insufficient guides +in the perplexing labyrinth of the world.</p> + +<p>Sterne was a pagan. He went into the Church; but Mr. +Thackeray, no bad judge, said most justly that his sermons +‘have not a single Christian sentiment.’ They are well expressed, +<span class="pagenum" id="Page_111">[111]</span>vigorous, moral essays; but they are no more. Much +more was not expected by many congregations in the last age. +The secular feeling of the English people, though always strong,—though +strong in Chaucer’s time, and though strong now,—was +never so all-powerful as in the last century. It was in +those days that the poet Crabbe was remonstrated with for +introducing heaven and hell into his sermons; such extravagances, +he was told, were very well for the Methodists, but a +<i>clergyman</i> should confine himself to sober matters of this +world, and show the prudence and the reasonableness of virtue +during this life. There is not much of heaven and hell in +Sterne’s sermons, and what there is seems a rhetorical emphasis +which is not essential to the argument, and which might perhaps +as well be left out. Auguste Comte might have admitted most +of these sermons; they are healthy statements of earthly truths, +but they would be just as true if there was no religion at all. +Religion helps the argument, because foolish people might be +perplexed with this world, and they yield readily to another; +religion enables you—such is the real doctrine of these divines, +when you examine it—to coax and persuade those whom you +cannot rationally convince; but it does not alter the matter in +hand—it does not affect that of which you wish to persuade men, +for you are but inculcating a course of conduct <i>in this life</i>. +Sterne’s sermons would be just as true if the secularists should +succeed in their argument, and the ‘valuable illusion’ of a deity +were omitted from the belief of mankind.</p> + +<p>However, in fact, Sterne took orders, and by the aid of his +uncle, who was a Church politician, and who knew the powers +that were, he obtained several small livings. Being a pluralist +was a trifle in those easy times; nobody then thought that the +parishioners of a parson had a right to his daily presence; if +some provision were made for the performance of a Sunday +service, he had done his duty, and he could spend the surplus +income where he liked. He might perhaps be bound to reside, +if health permitted, on one of his livings, but the law allowed +<span class="pagenum" id="Page_112">[112]</span>him to have many, and he could not be compelled to reside on +them all. Sterne preached well-written sermons on Sundays, +and led an easy pagan life on other days, and no one blamed +him.</p> + +<p>He fell in love too, and after he was dead, his daughter +found two or three of his love-letters to her mother, which she +rashly published. They have been the unfeeling sport of persons +not in love up to the present time. Years ago Mr. Thackeray +used to make audiences laugh till they cried by reading one +or two of them, and contrasting them with certain other letters +also about his wife, but written many years later. This is the +sort of thing:—</p> + +<blockquote> + +<p>‘Yes! I will steal from the world, and not a babbling tongue +shall tell where I am—Echo shall not so much as whisper my +hiding-place—suffer thy imagination to paint it as a little sun-gilt +cottage, on the side of a romantic hill—dost thou think I +will leave love and friendship behind me? No! they shall be +my companions in solitude, for they will sit down and rise up +with me in the amiable form of my L.—We will be as merry +and as innocent as our first parents in Paradise, before the arch +fiend entered that undescribable scene.</p> + +<p>‘The kindest affections will have room to shoot and expand +in our retirement, and produce such fruit as madness, and envy, +and ambition have always killed in the bud.—Let the human +tempest and hurricane rage at a distance, the desolation is +beyond the horizon of peace. My L. has seen a polyanthus blow +in December—some friendly wall has sheltered it from the biting +wind. No planetary influence shall reach us, but that which +presides and cherishes the sweetest flowers.—God preserve us! +how delightful this prospect in idea! We will build, and we +will plant, in our own way—simplicity shall not be tortured by +art—we will learn of nature how to live—she shall be our +alchymist, to mingle all the good of life into one salubrious +draught.—The gloomy family of care and distrust shall be +banished from our dwelling, guarded by thy kind and tutelar +<span class="pagenum" id="Page_113">[113]</span>deity—we will sing our choral songs of gratitude, and rejoice to +the end of our pilgrimage.</p> + +<p>‘Adieu, my L. Return to one who languishes for thy +society.</p> + +<p class="right"><span class="smcap">L. Sterne.</span>’</p> + +</blockquote> + +<p>The beautiful language with which young ladies were wooed +a century ago is a characteristic of that extinct age; at least, +we fear that no such beautiful English will be discovered when +our secret repositories are ransacked. The age of ridicule has +come in, and the age of good words has gone out.</p> + +<p>There is no reason to doubt, however, that Sterne was really +in love with Mrs. Sterne. People have doubted it because of +these beautiful words; but, in fact, Sterne was just the sort of +man to be subject to this kind of feeling. He took—and to this +he owes his fame—the <i>sensitive</i> view of life. He regarded it +not from the point of view of intellect, or conscience, or religion, +but in the plain way in which natural feeling impresses, and will +always impress, a natural person. He is a great author; +certainly not because of great thoughts, for there is scarcely a +sentence in his writings which can be called a thought; nor from +sublime conceptions which enlarge the limits of our imagination, +for he never leaves the sensuous,—but because of his wonderful +sympathy with, and wonderful power of representing, simple +human nature. The best passages in Sterne are those which +every one knows, like this:</p> + +<blockquote> + +<p>‘Thou hast left this matter short, said my uncle Toby to the +corporal, as he was putting him to bed,——and I will tell thee in +what, Trim.——In the first place, when thou madest an offer of my +services to Le Fever,—as sickness and travelling are both expensive, +and thou knowest he was but a poor lieutenant, with a son to subsist +as well as himself, out of his pay,—that thou didst not make an offer +to him of my purse; because, had he stood in need, thou knowest, +Trim, he had been as welcome to it as myself.——Your honour +knows, said the corporal, I had no orders;——True, quoth my uncle +Toby,—thou didst very right, Trim, as a soldier, but certainly very +wrong as a man.</p> + +<p><span class="pagenum" id="Page_114">[114]</span></p> + +<p>‘In the second place, for which, indeed, thou hast the same excuse, +continued my uncle Toby,——when thou offeredst him whatever +was in my house,—thou shouldst have offered him my house too:——A +sick brother officer should have the best quarters, Trim, and +if we had him with us,—we could tend and look to him:——Thou +art an excellent nurse thyself, Trim,—and what with thy care of him, +and the old woman’s, and his boy’s, and mine together, we might +recruit him again at once, and set him upon his legs.——</p> + +<p>‘——In a fortnight or three weeks, added my uncle Toby, smiling,—he +might march.——He will never march, an’ please your honour, +in this world, said the corporal:——He will march, said my uncle +Toby, rising up from the side of the bed, with one shoe off:——An’ +please your honour, said the corporal, he will never march, but to his +grave:——He shall march, cried my uncle Toby, marching the foot +which had a shoe on, though without advancing an inch,—he shall +march to his regiment.——He cannot stand it, said the corporal:——He +shall be supported, said my uncle Toby:——He’ll drop at +last, said the corporal, and what will become of his boy?——He shall +not drop, said my uncle Toby, firmly.——A-well-o’day,—do what we +can for him, said Trim, maintaining his point,—the poor soul will +die:——He shall not die, by G—! cried my uncle Toby.</p> + +<p>‘—The <span class="allsmcap">ACCUSING SPIRIT</span>, which flew up to heaven’s chancery with +the oath, blush’d as he gave it in;—and the <span class="allsmcap">RECORDING ANGEL</span>, as he +wrote it down, dropp’d a tear upon the word, and blotted it out for ever.</p> + +<p>‘—My uncle Toby went to his bureau,—put his purse into his +breeches pocket, and having ordered the corporal to go early in the +morning for a physician,—he went to bed, and fell asleep.</p> + +<p>‘The sun looked bright the morning after, to every eye in the +village but Le Fever’s and his afflicted son’s; the hand of death +pressed heavy upon his eye-lids,——and hardly could the wheel at +the cistern turn round its circle,—when my uncle Toby, who had +rose up an hour before his wonted time, entered the lieutenant’s room, +and without preface or apology, sat himself down upon the chair by +the bed-side, and independently of all modes and customs, opened +the curtain in the manner an old friend and brother officer would +have done it, and asked him how he did,—how he had rested in the +night,—what was his complaint,—where was his pain,—and what he +could do to help him:——and without giving him time to answer +any one of the inquiries, went on and told him of the little plan +which he had been concerting with the corporal the night before for +him.——</p> + +<p><span class="pagenum" id="Page_115">[115]</span></p> + +<p>‘——You shall go home directly, Le Fever, said my uncle Toby, +to my house,—and we’ll send for a doctor to see what’s the matter,—and +we’ll have an apothecary,—and the corporal shall be your nurse;——and +I’ll be your servant, Le Fever.</p> + +<p>‘There was a frankness in my uncle Toby,—not the <i>effect</i> of +familiarity,—but the <i>cause</i> of it,—which let you at once into his soul, +and showed you the goodness of his nature; to this there was something +in his looks, and voice, and manner, super-added, which eternally +beckoned to the unfortunate to come and take shelter under him; +so that before my uncle Toby had half finished the kind offers he was +making to the father, had the son insensibly pressed up close to his +knees, and had taken hold of the breast of his coat, and was pulling +it towards him.——The blood and spirit of Le Fever, which were +waxing cold and slow within him, and were retreating to their last +citadel, the heart,—rallied back,—the film forsook his eyes for a +moment,—he looked up wishfully in my uncle Toby’s face,—then cast +a look upon his boy,——and that <i>ligament</i>, fine as it was,—was never +broken.——</p> + +<p>‘Nature instantly ebb’d again,—the film returned to its place,——the +pulse fluttered——stopp’d——went on——throbb’d——stopp’d +again——moved——stopp’d——shall I go on?——No.’</p> + +</blockquote> + +<p>In one of the ‘Roundabout Papers’ Mr. Thackeray introduces +a literary man complaining of his ‘sensibility.’ ‘Ah,’ +he replies, ‘my good friend, your sensibility is your livelihood: +if you did not feel the events and occurrences of life more +acutely than others, you could not describe them better; and it +is the excellence of your description by which you live.’ This +is precisely true of Sterne. He is a great author because he +felt acutely. He is the most pathetic of writers because he had—when +writing, at least—the most pity. He was, too, we believe, +pretty sharply in love with Mrs. Sterne, because he was +sensitive to that sort of feeling likewise.</p> + +<p>The difficulty of this sort of character is the difficulty of +keeping it. It does not last. There is a certain bloom of sensibility +and feeling about it which, in the course of nature, is +apt to fade soon, and which, when it has faded, there is nothing +<span class="pagenum" id="Page_116">[116]</span>to replace. A character with the binding elements—with a firm +will, a masculine understanding, and a persistent conscience—may +retain, and perhaps improve, the early and original freshness. +But a loose-set, though pure character, the moment it is +thrown into temptation sacrifices its purity, loses its gloss, and +gets, so to speak, out of form entirely.</p> + +<p>We do not know with great accuracy what Sterne’s temptations +were; but there was one, which we can trace with some +degree of precision, which has left ineffaceable traces on his +works,—which probably left some traces upon his character and +conduct. There was in that part of Yorkshire a certain John +Hall Stevenson, a country gentleman of some fortune, and possessed +of a castle, which he called Crazy Castle. Thence he wrote +tales, which he named ‘Crazy Tales,’ but which certainly are +not entitled to any such innocent name. The license of that age +was unquestionably wonderful. A man of good property could +write any evil. There was no legal check, or ecclesiastical check, +and hardly any check of public opinion. These ‘Crazy Tales’ +have license without humour, and vice without amusement. +They are the writing of a man with some wit, but only enough +wit for light conversation, which becomes overworked and dull +when it is reduced to regular composition and made to write +long tales. The author, feeling his wit jaded perpetually, becomes +immoral, in the vain hope that he will cease to be dull. +He has attained his reward; he will be remembered for nauseous +tiresomeness by all who have read him.</p> + +<p>But though the ‘Crazy Tales’ are now tedious, Crazy Castle +was a pleasant place, at least to men like Sterne. He was an +idle young parson, with much sensibility, much love of life and +variety, and not a bit of grave goodness. The dull duties of a +country parson, as we now understand them, would never have +been to his taste; and the sinecure idleness then permitted to +parsons left him open to every temptation. The frail texture +of merely natural purity, the soft fibre of the instinctive pagan, +yield to the first casualty. Exactly what sort of life they led at +<span class="pagenum" id="Page_117">[117]</span>Crazy Castle we do not know; but vaguely we do know, and we +may be sure <i>Mrs.</i> Sterne was against it.</p> + +<p>One part of Crazy Castle has had effects which will last as +long as English literature. It had a library richly stored in old +folio learning, and also in the amatory reading of other days. +Every page of <i>Tristram Shandy</i> bears traces of both elements. +Sterne, when he wrote it, had filled his head and his mind, not +with the literature of his own age, but with the literature of +past ages. He was thinking of Rabelais rather than of Fielding; +of forgotten romances rather than of Richardson. He wrote, +indeed, of his own times and of men he had seen, because his +sensitive vivid nature would only endure to write of present +things. But the <i>mode</i> in which he wrote was largely coloured +by literary habits and literary fashions that had long passed +away. The oddity of the book was a kind of advertisement to +its genius, and that oddity consisted in the use of old manners +upon new things. No analysis or account of <i>Tristram Shandy</i> +could be given which would suit the present generation; being, +indeed, a book without plan or order, it is in every generation +unfit for analysis. This age would not endure a statement of the +most telling points, as the writer thought them, and no age +would like an elaborate plan of a book in which there is no +plan, in which the detached remarks and separate scenes were +really meant to be the whole. The notion that ‘a plot was to +hang plums upon’ was Sterne’s notion exactly.</p> + +<p>The real excellence of Sterne is single and simple; the +defects are numberless and complicated. He excels, perhaps, +all other writers in mere simple description of common sensitive +human action. He places before you in their simplest form +the elemental facts of human life; he does not view them +through the intellect, he scarcely views them through the imagination; +he does but reflect the unimpaired impression that +the facts of life, which do not change from age to age, make +on the deep basis of human feeling, which changes as little +though years go on. The example we quoted just now is as +<span class="pagenum" id="Page_118">[118]</span>good as any other, though not better than any other. Our +readers should go back to it again, or our praise may seem +overcharged. It is the portrait-painting of the heart. It is as +pure a reflection of mere natural feeling as literature has ever +given, or will ever give. The delineation is nearly perfect. +Sterne’s feeling in his higher moments so much overpowered his +intellect, and so directed his imagination, that no intrusive +thought blemishes, no distorting fancy mars, the perfection of +the representation. The disenchanting facts which deface, the +low circumstances which debase the simpler feelings oftener +than any other feelings, his art excludes. The feeling which +would probably be coarse in the reality is refined in the picture. +The unconscious tact of the nice artist heightens and chastens +reality, but yet it is reality still. His mind was like a pure +lake of delicate water: it reflects the ordinary landscape, the +rugged hills, the loose pebbles, the knotted and the distorted +firs perfectly and as they are, yet with a charm and fascination +that they have not in themselves. This is the highest attainment +of art, to be at the same time nature and something more +than nature.</p> + +<p>But here the great excellence of Sterne ends as well as begins. +In <i>Tristram Shandy</i> especially there are several defects +which, while we are reading it, tease and disgust so much that +we are scarcely willing even to admire as we ought to admire +the refined pictures of human emotion. The first of these, and +perhaps the worst, is the fantastic disorder of the form. It is +an imperative law of the writing-art, that a book should go +straight on. A great writer should be able to tell a great +meaning as coherently as a small writer tells a small meaning. +The magnitude of the thought to be conveyed, the delicacy of +the emotion to be painted, render the introductory touches of +consummate art not of less importance, but of more importance. +A great writer should train the mind of the reader for his greatest +things; that is, by first strokes and fitting preliminaries he +should form and prepare his mind for the due appreciation and +<span class="pagenum" id="Page_119">[119]</span>the perfect enjoyment of high creations. He should not blunder +upon a beauty, nor, after a great imaginative creation, should +he at once fall back to bare prose. The high-wrought feeling +which a poet excites should not be turned out at once and +without warning into the discomposing world. It is one of the +greatest merits of the greatest living writer of fiction,—of the +authoress of <i>Adam Bede</i>,—that she never brings you to anything +without preparing you for it; she has no loose lumps of beauty; +she puts in nothing at random; after her greatest scenes, too, a +natural sequence of subordinate realities again tones down the +mind to this sublunary world. Her logical style—the most +logical, probably, which a woman ever wrote—aids in this +matter her natural sense of due proportion. There is not a +space of incoherency—not a gap. It is not natural to begin +with the point of a story, and she does not begin with it. +When some great marvel has been told, we all wish to know +what came of it, and she tells us. Her natural way, as it seems +to those who do not know its rarity, of telling what happened +produces the consummate effect of gradual enchantment and as +gradual disenchantment. But Sterne’s style is <i>un</i>natural. He +never begins at the beginning and goes straight through to the +end. He shies-in a beauty suddenly; and just when you are +affected he turns round and grins at it. ‘Ah,’ he says, ‘is it +not fine?’ And then he makes jokes which at that place and +that time are out of place, or passes away into scholastic or other +irrelevant matter, which simply disgusts and disheartens those +whom he has just delighted. People excuse all this irregularity +of form by saying that it was imitated from Rabelais. But this +is nonsense. Rabelais, perhaps, could not in his day venture to +tell his meaning straight out; at any rate, he did not tell it. +Sterne should not have chosen a model so monstrous. Incoherency +is not less a defect because an imperfect foreign writer +once made use of it. ‘You may have, sir, a reason,’ said Dr. +Johnson, ‘for saying that two and two make five, but they will +still make four.’ Just so, a writer may have a reason for selecting +<span class="pagenum" id="Page_120">[120]</span>the defect of incoherency, but it is a defect still. Sterne’s +best things read best out of his books,—in Enfield’s <i>Speaker</i> +and other places,—and you can say no worse of any one as a +continuous artist.</p> + +<p>Another most palpable defect—especially palpable now-a-days—in +<i>Tristram Shandy</i> is its indecency. It is quite true that +the customary conventions of writing are much altered during +the last century, and much which would formerly have been +deemed blameless would now be censured and disliked. The +audience has changed; and decency is of course in part dependent +on who is within hearing. A divorce case may be talked +over across a club-table with a plainness of speech and development +of expression which would be indecent in a mixed +party, and scandalous before young ladies. Now, a large part +of old novels may very fairly be called club-books; they speak +out plainly and simply the notorious facts of the world, as men +speak of them to men. Much excellent and proper masculine +conversation is wholly unfit for repetition to young girls; and +just in the same way, books written—as was almost all old +literature,—for men only, or nearly only, seem coarse enough +when contrasted with novels written by young ladies upon the +subjects and in the tone of the drawing-room. The change is +inevitable; as soon as works of fiction are addressed to boys and +girls, they must be fit for boys and girls; they must deal with a +life which is real so far as it goes, but which is yet most limited; +which deals with the most passionate part of life, and yet omits +the errors of the passions; which aims at describing men in +their relations to women, and yet omits an all but universal +influence which more or less distorts and modifies all these +relations.</p> + +<p>As we have said, the change cannot be helped. A young +ladies’ literature must be a limited and truncated literature. +The indiscriminate study of human life is not desirable for them, +either in fiction or in reality. But the habitual formation of a +scheme of thought and a code of morality upon incomplete materials +<span class="pagenum" id="Page_121">[121]</span>is a very serious evil. The readers for whose sake the +omissions are made cannot fancy what is left out. Many a girl +of the present day reads novels, and nothing but novels; she +forms her mind by them, as far as she forms it by reading at all; +even if she reads a few dull books, she soon forgets all about +them, and remembers the novels only; she is more influenced +by them than by sermons. They form her idea of the world, +they define her taste, and modify her morality; not so much +in explicit thought and direct act, as unconsciously and in her +floating fancy. How is it possible to convince such a girl, +especially if she is clever, that on most points she is all wrong? +She has been reading most excellent descriptions of mere society; +she comprehends those descriptions perfectly, for her own experience +elucidates and confirms them. She has a vivid picture +of a <i>patch</i> of life. Even if she admits in words that there is +something beyond, something of which she has no idea, she will +not admit it really and in practice. What she has mastered +and realised will incurably and inevitably overpower the unknown +something of which she knows nothing, can imagine +nothing, and can make nothing. ‘I am not sure,’ said an old +lady, ‘but I think it’s the novels that make my girls so <i>heady</i>.’ +It is the novels. A very intelligent acquaintance with limited +life makes them think that the world is far simpler than it is, +that men are easy to understand, ‘that mamma is <i>so</i> foolish.’</p> + +<p>The novels of the last age have certainly not this fault. +They do not err on the side of reticence. A girl may learn +from them more than it is desirable for her to know. But, as +we have explained, they were meant for men and not for girls; +and if <i>Tristram Shandy</i> had simply given a plain exposition of +necessary facts—necessary, that is, to the development of the +writer’s view of the world, and to the telling of the story in +hand,—we should not have complained; we should have regarded +it as the natural product of a now extinct society. But +there are most unmistakable traces of ‘Crazy Castle’ in <i>Tristram +Shandy</i>. There is indecency for indecency’s sake. It is made +<span class="pagenum" id="Page_122">[122]</span>a sort of recurring and even permeating joke to mention things +which are not generally mentioned. Sterne himself made a +sort of defence, or rather denial, of this. He once asked a lady +if she had read <i>Tristram</i>. ‘I have not, Mr. Sterne,’ was the +answer; ‘and, to be plain with you, I am informed it is not +proper for female perusal.’ ‘My dear good lady,’ said Sterne, +‘do not be gulled by such stories; the book is like your young +heir there’ (pointing to a child of three years old who was +rolling on the carpet in white tunics): ‘he shows at times a +good deal that is usually concealed, but it is all in perfect +innocence.’ But a perusal of <i>Tristram</i> would not make good +the plea. The unusual publicity of what is ordinarily imperceptible +is not the thoughtless accident of amusing play; it is +deliberately sought after as a nice joke; it is treated as a good +in itself.</p> + +<p>The indecency of <i>Tristram Shandy</i>—at least of the early +part, which was written before Sterne had been to France—is +especially an offence against taste, because of its ugliness. +<i>Moral</i> indecency is always disgusting. There certainly is a sort +of writing which cannot be called decent, and which describes a +society to the core immoral, which nevertheless is no offence +against art; it violates a higher code than that of taste, but it +does not violate the code of taste. The <i>Mémoires de Grammont</i>—hundreds +of French memoirs about France—are of this kind, +more or less. They describe the refined, witty, elegant immorality +of an idle aristocracy. They describe a life ‘unsuitable +to such a being as man in such a world as the present one,’ in +which there are no high aims, no severe duties, where some +precepts of morals seem not so much to be sometimes broken +as to be generally suspended and forgotten; such a life, in short, +as God has never suffered men to lead on this earth long, which +He has always crushed out by calamity and revolution. This +life, though an offence in morals, was not an offence in taste. +It was an elegant, a <i>pretty</i> thing while it lasted. Especially in +enhancing description, where the alloy of life may be omitted, +<span class="pagenum" id="Page_123">[123]</span>where nothing vulgar need be noticed, where everything elegant +may be neatly painted,—such a world is elegant enough. +Morals and policy must decide how far such delineations are permissible +or expedient; but the art of beauty,—art-criticism—has +no objection to them. They are pretty paintings of pretty +objects, and that is all it has to say. They may very easily do +harm; if generally read among the young of the middle class, +they would be sure to do harm: they would teach not a few +to aim at a sort of refinement denied them by circumstances, +and to neglect the duties allotted them; it would make shopmen +‘bad imitations of polished ungodliness,’ and also bad shopmen. +But still, though it would in such places be noxious literature, +in itself it would be pretty literature. The critic must praise +it, though the moralist must condemn it, and perhaps the politician +forbid it.</p> + +<p>But <i>Tristram Shandy’s</i> indecency is the very opposite to +this refined sort. It consists in allusions to certain inseparable +accompaniments of actual life which are not beautiful, which can +never be made interesting, which would, <i>if</i> they were decent, be +dull and uninteresting. There is, it appears, a certain excitement +in putting such matters into a book: there is a minor exhilaration +even in petty crime. At first such things look so odd in print +that you go on reading them to see what they look like; but +you soon give up. What is disenchanting or even disgusting in +reality does not become enchanting or endurable in delineation. +You are more angry at it in literature than in life; there is +much which is barbarous and animal in reality that we could +wish away; we endure it because we cannot help it, because we +did not make it and cannot alter it, because it is an inseparable +part of this inexplicable world. But why we should put this +coarse alloy, this dross of life, into the <i>optional</i> world of literature, +which we can make as we please, it is impossible to say. +The needless introduction of accessory ugliness is always a sin +in art, and is not at all less so when such ugliness is disgusting +and improper. <i>Tristram Shandy</i> is incurably tainted +<span class="pagenum" id="Page_124">[124]</span>with a pervading vice; it dwells at length on, it seeks after, it +returns to, it gloats over, the most unattractive part of the +world.</p> + +<p>There is another defect in <i>Tristram Shandy</i> which would of +itself remove it from the list of first-rate books, even if those +which we have mentioned did not do so. It contains eccentric +characters only. Some part of this defect may be perhaps explained +by one peculiarity of its origin. Sterne was so sensitive +to the picturesque parts of life, that he wished to paint the +picturesque parts of the people he hated. Country-towns in +those days abounded in odd characters. They were out of the +way of the great opinion of the world, and shaped themselves to +little opinions of their own. They regarded the customs which +the place had inherited as the customs which were proper for +it, and which it would be foolish, if not wicked, to try to change. +This gave English country life a motley picturesqueness then, +which it wants now, when London ideas shoot out every morning, +and carry on the wings of the railway a uniform creed to +each cranny of the kingdom, north and south, east and west. +These little public opinions of little places wanted, too, the +crushing power of the great public opinion of our own day; at +the worst, a man could escape from them into some different +place which had customs and doctrines that suited him better. +We now may fly into another ‘city,’ but it is all the same +Roman empire; the same uniform justice, the one code of heavy +laws presses us down and makes us—the sensible part of us at +least—as like other people as we can make ourselves. The +public opinion of county towns yielded soon to individual exceptions; +it had not the confidence in itself which the opinion +of each place now receives from the accordant and simultaneous +echo of a hundred places. If a man chose to be queer, he was +bullied for a year or two, then it was settled that he was ‘queer;’ +that was the fact about him, and must be accepted. In a +year or so he became an ‘institution’ of the place, and the +local pride would have been grieved if he had amended the +<span class="pagenum" id="Page_125">[125]</span>oddity which suggested their legends and added a flavour to +their life. Of course, if a man was rich and influential, he +might soon disregard the mere opinion of the petty locality. +Every place has wonderful traditions of old rich men who did +exactly as they pleased, because they could set at naught the +opinions of the neighbours, by whom they were feared; and who +did not, as now, dread the unanimous conscience which does +not fear even a squire of 2000<i>l.</i> a year, or a banker of 8000<i>l.</i>, +because it is backed by the wealth of London and the magnitude +of all the country. There is little oddity in county +towns now; they are detached scraps of great places; but in +Sterne’s time there was much, and he used it unsparingly.</p> + +<p>Much of the delineation is of the highest merit. Sterne +knew how to describe eccentricity, for he showed its relation to +our common human nature: he showed how we were related +to it, how in some sort and in some circumstances we might +ourselves become it. He reduced the abnormal formation to the +normal rules. Except upon this condition, eccentricity is no fit +subject for literary art. Every one must have known characters +which, if they were put down in books, barely and as he +sees them, would seem monstrous and disproportioned,—which +would disgust all readers,—which every critic would term unnatural. +While characters are monstrous, they should be kept +out of books; they are ugly unintelligibilities, foreign to the +realm of true art. But as soon as they can be explained to us, +as soon as they are shown in their union with, in their outgrowth +from common human nature, they are the best subjects for great +art—for they are new subjects. They teach us, not the old +lesson which our fathers knew, but a new lesson which will please +us and make us better than they. Hamlet is an eccentric character, +one of the most eccentric in literature; but because, by +the art of the poet, we are made to understand that he is a +possible, a <i>vividly</i> possible man, he enlarges our conceptions of +human nature; he takes us out of the bounds of commonplace. +He ‘instructs us by means of delight.’ Sterne does this too. +<span class="pagenum" id="Page_126">[126]</span>Mr. Shandy, Uncle Toby, Corporal Trim, Mrs. Shandy,—for in +strictness she too is eccentric from her abnormal commonplaceness,—are +beings of which the possibility is brought home to us, +which we feel we could under circumstances and by influences +become; which, though contorted and twisted, are yet spun out +of the same elementary nature, the same thread as we are. +Considering how odd these characters are, the success of Sterne +is marvellous, and his art in this respect consummate. But yet +on a point most nearly allied it is very faulty. Though each +individual character is shaded off into human nature, the whole +is not shaded off into the world. This society of originals and +oddities is left to stand by itself, as if it were a natural and +ordinary society,—a society easily conceivable and needing no +explanation. Such is not the manner of the great masters; in +their best works a constant atmosphere of half commonplace +personages surrounds and shades off, illustrates and explains +every central group of singular persons.</p> + +<p>On the whole, therefore, the judgment of criticism on +<i>Tristram Shandy</i> is concise and easy. It is immortal because +of certain scenes suggested by Sterne’s curious experience, detected +by his singular sensibility, and heightened by his delineative +and discriminative imagination. It is defective because its +style is fantastic, its method illogical and provoking; because +its indecency is of the worst sort, as far as in such matters an +artistic judgment can speak of worst and best; because its world +of characters forms an incongruous group of singular persons +utterly dissimilar to, and irreconcilable with the world in which +we live. It is a great work of art, but of barbarous art. Its +mirth is boisterous. It is <i>provincial</i>. It is redolent of an +inferior society; of those who think crude animal spirits in +themselves delightful; who do not know that, without wit to +point them, or humour to convey them, they are disagreeable +to others; who like disturbing transitions, blank pages, and +tricks of style; who do not know that a simple and logical form +of expression is the most effective, if not the easiest—the least +<span class="pagenum" id="Page_127">[127]</span>laborious to readers, if not always the most easily attained by +writers.</p> + +<p>The oddity of <i>Tristram Shandy</i> was, however, a great aid +to its immediate popularity. If an author were to stand on his +head now and then in Cheapside, his eccentricity would bring +him into contact with the police, but it would advertise his +writings; they would sell better: people would like to see what +was said by a great author who was so odd as to stand so. +Sterne put his eccentricity into his writings, and therefore came +into collision with the critics; but he attained the same end. +His book sold capitally. As with all popular authors, he went +to London; he was fêted. ‘The <i>man</i> Sterne,’ growled Dr. +Johnson, ‘has dinner engagements for three months.’ The +upper world—ever desirous of novelty, ever tired of itself, ever +anxious to be amused—was in hopes of a new wit. It naturally +hoped that the author of <i>Tristram Shandy</i> would talk well, +and it sent for him to talk.</p> + +<p>He did talk well, it appears, though not always very correctly, +and never very clerically. His appearance was curious, +but yet refined. Eager eyes, a wild look, a long lean frame, +and what he called a cadaverous bale of goods for a body, made +up an odd exterior, which attracted notice, and did not repel +liking. He looked like a scarecrow with bright eyes. With a +random manner, but not without a nice calculation, he discharged +witticisms at London parties. His keen nerves told +him which were fit witticisms; <i>they</i> took, and <i>he</i> was applauded.</p> + +<p>He published some sermons too. That tolerant age liked, +it is instructive as well as amusing to think, sermons by the +author of <i>Tristram Shandy</i>. People wonder at the rise of +Methodism; but ought they to wonder? If a clergyman publishes +his sermons because he has written an indecent novel—a +novel which is purely pagan—which is outside the ideas of +Christianity, whose author can scarcely have been inside of them—if +a man so made and so circumstanced is <i>as such</i> to publish +Christian sermons, surely Christianity is a joke and a dream. +<span class="pagenum" id="Page_128">[128]</span>Wesley was right in this at least; if Christianity be true, the +upper-class life of the last century was based on rotten falsehood. +A world which is really secular, which professes to be +Christian, is the worst of worlds.</p> + +<p>The only point in which Sterne resembles a clergyman of +our own time is, that he lost his voice. That peculiar affection +of the chest and throat, which is hardly known among barristers, +but which inflicts such suffering upon parsons, attacked him +also. Sterne too, as might be expected, went abroad for it. +He ‘spluttered French,’ he tells us, with success in Paris; the +accuracy of the grammar some phrases in his letters would lead +us to doubt; but few, very few Yorkshire parsons could then +talk French at all, and there was doubtless a fine tact and sensibility +in what he said. A literary phenomenon wishing to +enjoy society, and able to amuse society, has ever been welcome +in the Parisian world. After Paris, Sterne went to the south +of France, and on to Italy, lounging easily in pretty places, and +living comfortably, as far as one can see, upon the profits of +<i>Tristram Shandy</i>. Literary success has seldom changed more +suddenly and completely the course of a man’s life. For years +Sterne resided in a country parsonage, and the sources of his +highest excitement were a country town full of provincial +oddities, and a ‘Crazy Castle’ full of the license and the whims +of a country squire. On a sudden London, Paris, and Italy +were opened to him. From a few familiar things he was suddenly +transferred to many unfamiliar things. He was equal to +them, though the change came so suddenly in middle life—though +the change from a secluded English district to the great +and interesting scenes was far greater, far fuller of unexpected +sights and unforeseen phenomena, than it can be now—when +travelling is common—when the newspaper is ‘abroad’—when +every one has in his head some feeble image of Europe and the +world. Sterne showed the delicate docility which belongs to a +sensitive and experiencing nature. He understood and enjoyed +very much of this new and strange life, if not the whole.</p> + +<p><span class="pagenum" id="Page_129">[129]</span></p> + +<p>The proof of this remains written in the <i>Sentimental +Journey</i>. There is no better painting of first and easy impressions +than that book. After all which has been written on the +<i>ancien régime</i>, an Englishman at least will feel a fresh instruction +on reading these simple observations. They are instructive +<i>because</i> of their simplicity. The old world at heart +was not like that; there were depths and realities, latent forces +and concealed results, which were hidden from Sterne’s eye, +which it would have been quite out of his way to think of or +observe. But the old world <i>seemed</i> like that. This was the +spectacle of it as it was seen by an observing stranger; and we +take it up, not to know what was the truth, but to know what +we should have thought to be the truth if we had lived in those +times. People say <i>Eöthen</i> is not like the real East; very likely +it is not, but it is like what an imaginative young Englishman +would <i>think</i> the East. Just so, the <i>Sentimental Journey</i> is not +the true France of the old monarchy, but it is exactly what an +observant quick-eyed Englishman might fancy that France to +be. This has given it popularity; this still makes it a valuable +relic of the past. It is not true to the outward nature of real +life, but it is true to the reflected image of that life in an imaginative +and sensitive man.</p> + +<p>Here is the actual description of the old chivalry of France; +the ‘cheap defence of nations,’ as Mr. Burke called it a little +while afterwards:</p> + +<blockquote> + +<p>‘When states and empires have their periods of declension, and +feel in their turns what distress and poverty is—I stop not to tell the +causes which gradually brought the house d’E—— in Brittany into +decay. The Marquis d’E—— had fought up against his condition +with great firmness; wishing to preserve, and still show to the world, +some little fragments of what his ancestors had been—their indiscretions +had put it out of his power. There was enough left for the +little exigencies of <i>obscurity</i>. But he had two boys who look’d up to +him for <i>light</i>—he thought they deserved it. He had tried his sword—it +could not open the way—the <i>mounting</i> was too expensive—and +<span class="pagenum" id="Page_130">[130]</span>simple economy was not a match for it—there was no resource but +commerce.</p> + +<p>‘In any other province in France, save Brittany, this was smiting +the root for ever of the little tree his pride and affection wish’d to see +reblossom. But in Brittany, there being a provision for this, he +avail’d himself of it; and taking an occasion when the states were +assembled at Rennes, the Marquis, attended with his two boys, entered +the court; and having pleaded the right of an ancient law of the +duchy, which, though seldom claim’d, he said, was no less in force, he +took his sword from his side—Here, said he, take it; and be trusty +guardians of it, till better times put me in condition to reclaim it.</p> + +<p>‘The president accepted the Marquis’s sword—he stayed a few +minutes to see it deposited in the archives of his house—and +departed.</p> + +<p>‘The Marquis and his whole family embarked the next day for +Martinico, and in about nineteen or twenty years of successful application +to business, with some unlook’d-for bequests from distant +branches of his house, return’d home to reclaim his nobility and to +support it.</p> + +<p>‘It was an incident of good fortune which will never happen to +any traveller but a sentimental one, that I should be at Rennes at +the very time of this solemn requisition: I call it solemn—it was so +to me.</p> + +<p>‘The Marquis enter’d the court with his whole family: he supported +his lady—his eldest son supported his sister, and his youngest +was at the other extreme of the line next his mother—he put his +handkerchief to his face twice—</p> + +<p>‘—There was a dead silence. When the Marquis had approach’d +within six paces of the tribunal, he gave the Marchioness to his +youngest son, and advancing three steps before his family—he reclaim’d +his sword. His sword was given him; and the moment he +got it into his hand he drew it almost out of the scabbard—’twas the +shining face of a friend he had once given up—he look’d attentively +along it, beginning at the hilt, as if to see whether it was the same—when +observing a little rust which it had contracted near the point +he brought it near his eye, and bending his head down over it—I +think I saw a tear fall upon the place: I could not be deceived by +what followed.</p> + +<p>‘“I shall find,” said he, “some <i>other way</i> to get it off.”</p> + +<p>‘When the Marquis had said this, he return’d his sword into its +<span class="pagenum" id="Page_131">[131]</span>scabbard, made a bow to the guardians of it—and with his wife and +daughter, and his two sons following him, walk’d out.</p> + +<p>‘O how I envied him his feelings!’</p> + +</blockquote> + +<p>It shows a touching innocence of the imagination to believe—for +probably Sterne did believe—or to expect his readers to +believe, in a <i>noblesse</i> at once so honourable and so theatrical.</p> + +<p>In two points the <i>Sentimental Journey</i>, viewed with the +critic’s eye, and as a mere work of art, is a great improvement +upon <i>Tristram Shandy</i>. The style is simpler and better; it +is far more connected; it does not jump about, or leave a topic +<i>because</i> it is interesting; it does not worry the reader with +fantastic transitions, with childish contrivances and rhetorical +intricacies. Highly elaborate the style certainly is, and in a +certain sense artificial; it is full of nice touches, which must +have come only upon reflection—a careful polish and judicious +enhancement, in which the critic sees many a trace of time +and toil. But a style delicately adjusted and exquisitely polished +belongs to such a subject. Sterne undertook to write, +<i>not</i> of the coarse business of life—very strong common sort +of words are best for that—<i>not</i> even of interesting outward +realities, which may be best described in a nice and simple +style; but of the passing moods of human nature, of the impressions +which a sensitive nature receives from the world +without; and it is only the nicest art and the most dexterous +care which can fit an obtuse language to such fine employment. +How language was first invented and made we may not know; +but beyond doubt it was shaped and fashioned into its present +state by common ordinary men and women using it for common +and ordinary purposes. They wanted a carving-knife, not a +razor or lancet. And those great artists who have to use language +for more exquisite purposes, who employ it to describe +changing sentiments and momentary fancies and the fluctuating +and indefinite inner world, must use curious nicety, and hidden +but effectual artifice, else they cannot duly punctuate their +<span class="pagenum" id="Page_132">[132]</span>thoughts, and slice the fine edges of their reflections. A hair’s-breadth +is as important to them as a yard’s-breadth to a common +workman. Sterne’s style has been criticised as artificial; but +it is justly and rightly artificial, because language used in +its natural and common mode was not framed to delineate, +cannot delineate, the delicate subjects with which he occupies +himself.</p> + +<p>That contact with the world, and with the French world +especially, should teach Sterne to abandon the arbitrary and +fantastic structure of <i>Tristram Shandy</i> is most natural. French +prose may be unreasonable in its meaning, but is ever rational in +its structure; it is logic itself. It will not endure that the +reader’s mind should be jarred by rough transitions, or distracted +by irrelevant oddities. <i>Antics</i> in style are prohibited by its +severe code, just as eccentricities in manner are kept down by +the critical tone of a fastidious society. In a barbarous country +oddity may be attractive; in the great world it never is, except +for a moment; it is on trial to see whether it is really oddity, +to see if it does not contain elements which may be useful to, +which may be naturalised in society at large. But inherent +eccentricity, oddity <i>pur et simple</i>, is <i>immiscible</i> in the great +ocean of universal thought; it is apart from it, even when it +floats in and is contained in it; very, very soon it is cast out +from the busy waters, and left alone upon the beach. Sterne +had the sense to be taught by the sharp touch of the world; he +threw aside the ‘player’s garb’ which he had been tempted to +assume. He discarded too, as was equally natural, the ugly indecency +of <i>Tristram Shandy</i>. We will not undertake to defend +the morality of certain scenes in the <i>Sentimental Journey</i>; +there are several which might easily do much harm; but there +is nothing displeasing to the natural man in them. They are +nice enough; to those whose æsthetic nature has not been laid +waste by their moral nature, they are attractive. They have a +dangerous prettiness, which may easily incite to practical evil; +but in itself, and separated from its censurable consequences, +<span class="pagenum" id="Page_133">[133]</span>such prettiness is an artistic perfection. It was natural that the +aristocratic world should easily teach Sterne that separation +between the laws of beauty and the laws of morality which has +been familiar to it during many ages—which makes so much of +its essence.</p> + +<p>Mrs. Sterne did not prosper all this time. She went abroad +and stayed at Montpellier with her husband; but it is not +wonderful that a mere ‘wife,’ taken out of Yorkshire, should be +unfit for the great world. The domestic appendices of men +who rise much hardly ever suit the high places at which they +arrive. Mrs. Sterne was no exception. She seems to have +been sensible, but it was <i>domestic</i> sense. It was of the small +world, small: it was fit to regulate the Yorkshire parsonage, it +was suitable to a small <i>ménage</i> even at Montpellier. But there +was a deficiency in general mind. She did not, we apprehend, +comprehend or appreciate the new thoughts and feelings which +a new and great experience had awakened in her husband’s +mind. His mind moved, but hers could not; she was anchored, +but he was at sea.</p> + +<p>To fastidious writers who will only use very dignified words, +there is much difficulty in describing Sterne’s life in his celebrity. +But to humbler persons, who can only describe the +things of society in the words of society, the case is simple. +Sterne was ‘an old flirt.’ These are short and expressive words, +and they tell the whole truth. There is no good reason to suspect +his morals, but he dawdled about pretty women. He +talked at fifty with the admiring tone of twenty; pretended to +‘freshness’ of feeling; though he had become mature, did not +put away immature things. That he had any real influence +over women is very unlikely; he was a celebrity, and they liked +to exhibit him; he was amusing, and they liked him to amuse +them. But they doubtless felt that he too was himself a joke. +Women much respect real virtue; they much admire strong +and successful immorality; but they neither admire nor respect +the timid age which affects the forms of vice without its substance; +<span class="pagenum" id="Page_134">[134]</span>which preserves the exterior of youth, though the +reality is departed; which is insidious but not dangerous, sentimental +but not passionate. Of this sort was Sterne, and he had +his reward. Women of the world are willing to accept any +admiration, but this sort they accept with suppressed and latent +sarcasm. They ridiculed his imbecility while they accepted +his attentions and enjoyed his society.</p> + +<p>Many men have lived this life with but minor penalties, and +justly; for though perhaps a feeble and contemptible, it is not +a bad or immoral life. But Sterne has suffered a very severe +though a delayed and posthumous penalty. He was foolish +enough to write letters to some of his friends, and after his +death, to get money, his family published them. This is the +sort of thing:</p> + +<blockquote> + +<p>‘Eliza will receive my books with this. The sermons came all hot +from the heart: I wish that I could give them any title to be offered +to yours.—The others came from the head—I am more indifferent +about their reception.</p> + +<p>‘I know not how it comes about, but I am half in love with you—I +ought to be wholly so; for I never valued (or saw more good +qualities to value) or thought more of one of your sex than of you; +so adieu.</p> + +<p class="center">‘Yours faithfully,</p> + +<p class="center"><span style="margin-left: 5em;">‘if not affectionately,</span></p> + +<p class="right">‘<span class="smcap">L. Sterne</span>.’</p> + +<p>‘I cannot rest, Eliza, though I shall call on you at half-past +twelve, till I know how you do.—May thy dear face smile, as thou +risest, like the sun of this morning. I was much grieved to hear of +your alarming indisposition yesterday; and disappointed too, at not +being let in. Remember, my dear, that a friend has the same right +as a physician. The etiquettes of this town (you’ll say) say otherwise.—No +matter! Delicacy and propriety do not always consist in +observing their frigid doctrines.</p> + +<p>‘I am going out to breakfast, but shall be at my lodgings by +eleven, when I hope to read a single line under thy own hand, that +thou art better, and wilt be glad to see thy Bramin.’</p> + +</blockquote> + +<p>This Eliza was a Mrs. Draper, the wife of a judge in India, +<span class="pagenum" id="Page_135">[135]</span>‘much respected in that part of the world.’ We know little +of Eliza, except that there is a stone in Bristol cathedral—</p> + +<p class="center"><span class="allsmcap">SACRED<br> +TO THE MEMORY<br> +OF</span><br> +<span class="mid">MRS. ELIZABETH DRAPER,</span><br> +<span class="allsmcap">IN WHOM<br> +GENIUS AND BENEVOLENCE<br> +WERE UNITED.<br> +SHE DIED AUGUST 3, 1778, AGED 35.</span></p> + +<p class="noindent">Let us hope she possessed, in addition to genius and benevolence, +the good sense to laugh at Sterne’s letters.</p> + +<p>In truth, much of the gloss and delicacy of Sterne’s pagan +instinct had faded away by this time. He still retained his fine +sensibility, his exquisite power of entering into and of delineating +plain human nature. But the world had produced its +inevitable effect on that soft and voluptuous disposition. It is +not, as we have said, that he was guilty of grave offences or +misdeeds; he made what he would have called a ‘splutter of +vice,’ but he would seem to have committed very little. Yet, +as with most minds which have exempted themselves from rigid +principle, there was a diffused texture of general laxity. The +fibre had become imperfect; the moral constitution was impaired; +the high colour of rottenness had come at last out, and +replaced the delicate bloom and softness of the early fruit. +There is no need to write commonplace sermons on an ancient +text. The beauty and charm of natural paganism will not endure +the stress and destruction of this rough and complicated +world. An instinctive purity will preserve men for a brief time, +but hardly through a long and varied life of threescore and ten +years.</p> + +<p>Sterne, however, did not live so long. In 1768 he came to +London for the last time, and enjoyed himself much. He dined +with literary friends and supped with fast friends. He liked +both. But the end was at hand. His chest had long been +<span class="pagenum" id="Page_136">[136]</span>delicate; he got a bad cold which became a pleurisy, and died +in a London lodging—a footman sent by ‘some gentlemen who +were dining,’ and a hired nurse, being the only persons present. +His family were away; and he had devoted himself to intellectual +and luxurious enjoyments, which are at least as sure to +make a lonely death-bed as a refined and cultivated life. ‘Self-scanned, +self-centred, self-secure,’ a man may perhaps live, but +even so by <i>himself</i> he will be sure to die. For self-absorbed +men the world at large cares little; as soon as they cease to +amuse, or to be useful, it flings them aside, and they die alone. +Even Sterne’s grave, they say, was so obscure and neglected that +the corpse-stealers ventured to open it, and his body was dissected +without being recognised. The life of literary men is +often a kind of sermon in itself; for the pursuit of fame, when +it is contrasted with the grave realities of life, seems more +absurd and trifling than most pursuits, and to leave less behind +it. Mere <i>amusers</i> are never respected. It would be harsh to +call Sterne a mere amuser, he is much more; but so the contemporary +world regarded him. They laughed at his jests, +disregarded his death-bed, and neglected his grave.</p> + +<p>What, it may be asked, is there in such a career, or such +a character as this, to remind us of the great writer whom we +have just lost? In externals there seems little resemblance, or +rather there seems to be great contrast. On the one side a +respected manhood, a long industry, an honoured memory; on +the other hand a life lax, if not dissolute, little labour, and a +dishonoured grave. Mr. Thackeray, too, has written a most +severe criticism on Sterne’s character. Can we, then, venture +to compare the two? We do so venture; and we allege, and +that in spite of many superficial differences, that there was one +fundamental and ineradicable resemblance between the two.</p> + +<p>Thackeray, like Sterne, looked at everything—at nature, +at life, at art—from a <i>sensitive</i> aspect. His mind was, to some +considerable extent, like a woman’s mind. It could comprehend +<span class="pagenum" id="Page_137">[137]</span>abstractions when they were unrolled and explained before it, +but it never naturally created them; never of itself, and without +external obligation, devoted itself to them. The visible scene +of life—the streets, the servants, the clubs, the gossip, the West +End—fastened on his brain. These were to him reality. They +burnt in upon his brain; they pained his nerves; their influence +reached him through many avenues, which ordinary men do not +feel much, or to which they are altogether impervious. He had +distinct and rather painful sensations where most men have but +confused and blurred ones. Most men have felt the <i>instructive</i> +headache, during which they are more acutely conscious than +usual of all which goes on around them,—during which everything +seems to pain them, and in which they understand it, +because it pains them, and they cannot get their imagination +away from it. Thackeray had a nerve-ache of this sort always. +He acutely felt every possible passing fact—every trivial interlude +in society. Hazlitt used to say of himself, and used to say +truly, that he could not enjoy the society in a drawing-room for +thinking of the opinion which the footman formed of his odd +appearance as he went upstairs. Thackeray had too healthy and +stable a nature to be thrown so wholly off his balance; but the +footman’s view of life was never out of his head. The obvious +facts which suggest it to the footman poured it in upon him; +he could not exempt himself from them. As most men say that +the earth <i>may</i> go round the sun, but in fact, when we look at +the sun, we cannot help believing it goes round the earth,—just +so this most impressible, susceptible genius could not help +half accepting, half believing the common ordinary sensitive +view of life, although he perfectly knew in his inner mind and +deeper nature that this apparent and superficial view of life was +misleading, inadequate, and deceptive. He could not help seeing +everything, and what he saw made so near and keen an +impression upon him, that he could not again exclude it from +his understanding; it stayed there, and disturbed his thoughts.</p> + +<p>If, he often says, ‘people could write about that of which +<span class="pagenum" id="Page_138">[138]</span>they are really thinking, how interesting books would be!’ +More than most writers of fiction, he felt the difficulty of abstracting +his thoughts and imagination from near facts which +<i>would</i> make themselves felt. The sick wife in the next room, +the unpaid baker’s bill, the lodging-house keeper who doubts +your solvency; these, and such as these,—the usual accompaniments +of an early literary life,—are constantly alluded to in his +writings. Perhaps he could never take a grand enough view of +literature, or accept the truth of ‘high art,’ because of his +natural tendency to this stern and humble realism. He knew +that he was writing a tale which would appear in a green magazine +(with others) on the 1st of March, and would be paid for +perhaps on the 11th, by which time, probably, ‘Mr. Smith’ +would have to ‘make up a sum,’ and would again present his +‘little account.’ There are many minds besides his who feel an +interest in these realities, though they yawn over ‘high art’ and +elaborate judgments.</p> + +<p>A painfulness certainly clings like an atmosphere round +Mr. Thackeray’s writings, in consequence of his inseparable +and ever-present realism. We hardly know where it is, yet we +are all conscious of it less or more. A free and bold writer, like +Sir Walter Scott, throws himself far away into fictitious worlds, +and soars there without effort, without pain, and with unceasing +enjoyment. You see as it were between the lines of Mr. +Thackeray’s writings, that his thoughts were never long away +from the close proximate scene. His writings might be better +if it had been otherwise; but they would have been less peculiar, +less individual; they would have wanted their character, +their flavour, if he had been able while writing them to forget +for many moments the ever-attending, the ever-painful sense of +himself.</p> + +<p>Hence have arisen most of the censures upon him, both as +he seemed to be in society and as he was in his writings. He +was certainly uneasy in the common and general world, and +it was natural that he should be so. The world poured in upon +<span class="pagenum" id="Page_139">[139]</span>him, and <i>inflicted</i> upon his delicate sensibility a number of +petty pains and impressions which others do not feel at all, or +which they feel but very indistinctly. As he sat he seemed to +read off the passing thoughts—the base, common, ordinary impressions—of +every one else. Could such a man be at ease? +Could even a quick intellect be asked to set in order with such +velocity so many data? Could any temper, however excellent, +be asked to bear the contemporaneous influx of innumerable +minute annoyances? Men of ordinary nerves who feel a little +of the pains of society, who perceive what really passes, who are +not absorbed in the petty pleasures of sociability, could well +observe how keen was Thackeray’s <i>sensation</i> of common events, +could easily understand how difficult it must have been for him +to keep mind and temper undisturbed by a miscellaneous tide +at once so incessant and so forcible.</p> + +<p>He could not emancipate himself from such impressions +even in a case where most men hardly feel them. Many people +have—it is not difficult to have—some vague sensitive perception +of what is passing in the minds of the guests, of the ideas +of such as sit at meat; but who remembers that there are also +nervous apprehensions, also a latent mental life among those +who ‘stand and wait’—among the floating figures which pass +and carve? But there was no impression to which Mr. Thackeray +was more constantly alive, or which he was more apt in his +writings to express. He observes:</p> + +<blockquote> + +<p>‘Between me and those fellow-creatures of mine who are sitting +in the room below, how strange and wonderful is the partition! We +meet at every hour of the daylight, and are indebted to each other for +a hundred offices of duty and comfort of life; and we live together +for years, and don’t know each other. John’s voice to me is quite +different from John’s voice when it addresses his mates below. If I +met Hannah in the street with a bonnet on, I doubt whether I should +know her. And all these good people, with whom I may live for +years and years, have cares, interests, dear friends and relatives, mayhap +schemes, passions, longing hopes, tragedies of their own, from which +a carpet and a few planks and beams utterly separate me. When we +<span class="pagenum" id="Page_140">[140]</span>were at the sea-side, and poor Ellen used to look so pale, and run +after the postman’s bell, and seize a letter in a great scrawling hand, +and read it, and cry in a corner, how should we know that the poor +little thing’s heart was breaking? She fetched the water, and she +smoothed the ribbons, and she laid out the dresses, and brought the +early cup of tea in the morning, just as if she had had no cares to keep +her awake. Henry (who lived out of the house) was the servant of a +friend of mine who lived in chambers. There was a dinner one day, +and Henry waited all through the dinner. The champagne was properly +iced, the dinner was excellently served; every guest was attended +to; the dinner disappeared; the dessert was set; the claret was +in perfect order, carefully decanted, and more ready. And then +Henry said, “If you please, sir, may I go home?” He had received +word that his house was on fire; and, having seen through his dinner, +he wished to go and look after his children and little sticks of furniture. +Why, such a man’s livery is a uniform of honour. The crest +on his button is a badge of bravery.’</p> + +</blockquote> + +<p>Nothing in itself could be more admirable than this instinctive +sympathy with humble persons; not many things are +rarer than this nervous apprehension of what humble persons +think. Nevertheless it cannot, we think, be effectually denied +that it coloured Mr. Thackeray’s writings and the more superficial +part of his character—that part which was most obvious +in common and current society—with very considerable defects. +The pervading idea of the ‘Snob Papers’ is too frequent, too +recurring, too often insisted on, even in his highest writings; +there was a slight shade of similar feeling even in his occasional +society, and though it was certainly unworthy of him, it was +exceedingly natural that it should be so, with such a mind as +his and in a society such as ours.</p> + +<p>There are three methods in which a society may be constituted. +There is the equal system, which, with more or less +of variation, prevails in France and in the United States. The +social presumption in these countries always is that every one is +on a level with every one else. In America, the porter at the +station, the shopman at the counter, the boots at the hotel, +when neither a Negro nor an Irishman, is your equal. In +<span class="pagenum" id="Page_141">[141]</span>France <i>égalité</i> is a political first principle. The whole of Louis +Napoleon’s <i>régime</i> depends upon it: remove that feeling, and +the whole fabric of the Empire will pass away. We once heard a +great French statesman illustrate this. He was giving a dinner +to the clergy of his neighbourhood, and was observing that he +had now no longer the power to help or hurt them, when an +eager <i>curé</i> said, with simple-minded joy, ‘<i>Oui, monsieur, maintenant +personne ne peut rien, ni le comte, ni le prolétaire</i>.’ +The democratic priest so rejoiced at the universal levelling which +had passed over his nation, that he could not help boasting of +it when silence would have been much better manners. We are +not now able—we have no room and no inclination—to discuss +the advantages of democratic society; but we think in England +we may venture to assume that it is neither the best nor the +highest form which a society can adopt, and that it is certainly +fatal to that development of individual originality and greatness +by which the past progress of the human race has been achieved, +and from which alone, it would seem, all future progress is to +be anticipated. If it be said that people are all alike, that +the world is a plain with no natural valleys and no natural hills, +the picturesqueness of existence is destroyed, and, what is +worse, the instinctive emulation by which the dweller in the +valley is stimulated to climb the hill is annihilated and becomes +impossible.</p> + +<p>On the other hand, there is the opposite system, which prevails +in the East,—the system of irremovable inequalities, of +hedged-in castes, which no one can enter but by birth, and from +which no born member can issue forth. This system likewise, +in this age and country, needs no attack, for it has no defenders. +Every one is ready to admit that it cramps originality, by defining +our work irrespective of our qualities and before we were +born; that it retards progress, by restraining the wholesome +competition between class and class, and the wholesome migration +from class to class, which are the best and strongest instruments +of social improvement.</p> + +<p><span class="pagenum" id="Page_142">[142]</span></p> + +<p>And if both these systems be condemned as undesirable and +prejudicial, there is no third system except that which we have—the +system of <i>removable inequalities</i>, where many people are +inferior to and worse off than others, but in which each may <i>in +theory</i> hope to be on a level with the highest below the throne, +and in which each may reasonably, and without sanguine impracticability, +hope to gain one step in social elevation, to be +at last on a level with those who at first were just above them. +But, from the mere description of such a society, it is evident +that, taking man as he is, with the faults which we know he has, +and the tendencies which he invariably displays, some poison of +‘snobbishness’ is inevitable. Let us define it as the habit of +‘pretending to be higher in the social scale than you really are.’ +Everybody will admit that such pretension is a fault and a vice, +yet every observant man of the world would also admit that, +considering what other misdemeanours men commit, this offence +is not inconceivably heinous; and that, if people never did any +thing worse, they might be let off with a far less punitive +judgment than in the actual state of human conduct would be +just or conceivable. How are we to hope men will pass their +lives in putting their best foot foremost, and yet will never boast +that their better foot is farther advanced and more perfect than +in fact it is? Is boasting to be made a capital crime? Given +social ambition as a propensity of human nature; given a state +of society like ours, in which there are prizes which every man +may seek, degradations which every one may erase, inequalities +which every one may remove,—it is idle to suppose that there +will not be all sorts of striving to cease to be last and to begin +to be first, and it is equally idle to imagine that all such +strivings will be of the highest kind. This effort will be, like +all the efforts of our mixed and imperfect human nature, partly +good and partly bad, with much that is excellent and beneficial +in it, and much also which is debasing and pernicious. The +bad striving after unpossessed distinction is snobbishness, which +from the mere definition cannot be defended, but which may be +<span class="pagenum" id="Page_143">[143]</span>excused as a natural frailty in an emulous man who is not distinguished, +who hopes to be distinguished, and who perceives +that a valuable means of gaining distinction is a judicious, +though false pretension that it has already been obtained.</p> + +<p>Mr. Thackeray, as we think, committed two errors in this +matter. He lacerates ‘snobs’ in his books as if they had committed +an unpardonable outrage and inexpiable crime. That +man, he says, is anxious ‘to know lords; and he pretends to +know more of lords than he really does know. What a villain! +what a disgrace to our common nature; what an irreparable +reproach to human reason!’ Not at all; it is a fault which +satirists should laugh at, and which moralists condemn and disapprove, +but which yet does not destroy the whole vital excellence +of him who possesses it,—which may leave him a good +citizen, a pleasant husband, a warm friend; ‘a fellow,’ as the +undergraduate said, ‘<i>up</i> in his <i>morals</i>.’</p> + +<p>In transient society it is possible, we think, that Mr. Thackeray +thought too much of social inequalities. They belonged +to that common, plain, perceptible world which filled his mind, +and which left him at times, and at casual moments, no room +for a purely intellectual and just estimate of men as they really +are in themselves, and apart from social perfection or defect. +He could gauge a man’s reality as well as any observer, and far +better than most: his attainments were great, his perception of +men instinctive, his knowledge of casual matters enormous; but +he had a greater difficulty than other men in relying only upon +his own judgment. ‘What the footman—what Mr. Yellowplush +Jeames would think and say,’ could not but occur to his +mind, and would modify, not his settled judgment, but his +transient and casual opinion of the poet or philosopher. By the +constitution of his mind he thought much of social distinctions; +and yet he was in his writings too severe on those who, in +cruder and baser ways, showed that they also were thinking +much.</p> + +<p>Those who perceive that this irritable sensibility was the +<span class="pagenum" id="Page_144">[144]</span>basis of Thackeray’s artistic character, that it gave him his materials, +his implanted knowledge of things and men, and gave +him also that keen and precise style which hit in description +the nice edges of all objects,—those who trace these great qualities +back to their real source in a somewhat painful organisation, +must have been vexed or amused, according to their +temperament, at the common criticism which associates him +with Fielding. Fielding’s essence was the very reverse; it was +a bold spirit of bounding happiness. No just observer could +talk to Mr. Thackeray, or look at him, without seeing that he +had deeply felt many sorrows—perhaps that he was a man +<i>likely</i> to feel sorrows—that he was of an anxious temperament. +Fielding was a reckless enjoyer. He saw the world—wealth +and glory, the best dinner and the worst dinner, the gilded +<i>salon</i> and the low sponging-house—and he saw that they were +good. Down every line of his characteristic writings there runs +this elemental energy of keen delight. There is no trace of +such a thing in Thackeray. A musing fancifulness is far more +characteristic of him than a joyful energy.</p> + +<p>Sterne had all this sensibility also, but—and this is the +cardinal discrepancy—it did not make him irritable. He was +not hurried away, like Fielding, by buoyant delight; he stayed +and mused on painful scenes. But they did not make him +angry. He was not irritated at the ‘foolish fat scullion.’ He +did not vex himself because of the vulgar. He did not amass +petty details to prove that tenth-rate people were ever striving +to be ninth-rate people. He had no tendency to rub the bloom +off life. He accepted pretty-looking things, even the French +aristocracy, and he owes his immortality to his making them +prettier than they are. Thackeray was pained by things, and +exaggerated their imperfections; Sterne brooded over things +with joy or sorrow, and he idealised their sentiment—their pathetic +or joyful characteristics. This is why the old lady said, +‘Mr. Thackeray was an uncomfortable writer,’—and an uncomfortable +writer he is.</p> + +<p><span class="pagenum" id="Page_145">[145]</span></p> + +<p>Nor had Sterne a trace of Mr. Thackeray’s peculiar and characteristic +scepticism. He accepted simply the pains and pleasures, +the sorrows and the joys of the world; he was not perplexed +by them, nor did he seek to explain them, or account for +them. There is a tinge—a mitigated, but perceptible tinge—of +Swift’s philosophy in Thackeray. ‘Why is all this? Surely +this is very strange? Am I right in sympathising with such +stupid feelings, such petty sensations? Why are these things? +Am I not a fool to care about or think of them? The world is +dark, and the great curtain hides from us all.’ This is not a +steady or an habitual feeling, but it is never quite absent for +many pages. It was inevitable, perhaps, that in a sceptical +and inquisitive age like this, some vestiges of puzzle and perplexity +should pass into the writings of our great sentimentalist. +He would not have fairly represented the moods of his time if +he omitted that pervading one.</p> + +<p>We had a little more to say of these great men, but our +limits are exhausted, and we must pause. Of Thackeray it is +too early to speak at length. A certain distance is needful for +a just criticism. The present generation have learned too much +from him to be able to judge him rightly. We do not know +the merit of those great pictures which have sunk into our +minds, and which have coloured our thoughts, which are become +habitual memories. In the books we know best, as in the people +we know best, small points, sometimes minor merits, sometimes +small faults, have an undue prominence. When the young +critics of this year have gray hairs, their children will tell them +what is the judgment of posterity upon Mr. Thackeray.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_146">[146]</span></p> + +<h2 class="nobreak" id="THE_WAVERLEY_NOVELS"><i>THE WAVERLEY +NOVELS.</i>⁠<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a><br> +<span class="smaller">(1858.)</span></h2> + +</div> + +<p>It is not commonly on the generation which was contemporary +with the production of great works of art that they exercise +their most magical influence. Nor is it on the distant people +whom we call posterity. Contemporaries bring to new books +formed minds and stiffened creeds; posterity, if it regard them +at all, looks at them as old subjects, worn-out topics, and hears +a disputation on their merits with languid impartiality, like +aged judges in a court of appeal. Even standard authors exercise +but slender influence on the susceptible minds of a rising +generation; they are become ‘papa’s books;’ the walls of the +library are adorned with their regular volumes; but no hand +touches them. Their fame is itself half an obstacle to their +popularity; a delicate fancy shrinks from employing so great a +celebrity as the companion of an idle hour. The generation +which is really most influenced by a work of genius is commonly +that which is still young when the first controversy respecting +its merits arises; with the eagerness of youth they read and +re-read; their vanity is not unwilling to adjudicate: in the +<span class="pagenum" id="Page_147">[147]</span>process their imagination is formed; the creations of the author +range themselves in the memory; they become part of the +substance of the very mind. The works of Sir Walter Scott +can hardly be said to have gone through this exact process. +Their immediate popularity was unbounded. No one—a few +most captious critics apart—ever questioned their peculiar power. +Still they are subject to a transition, which is in principle the +same. At the time of their publication mature contemporaries +read them with delight. Superficial the reading of grown men +in some sort must be; it is only once in a lifetime that we can +know the passionate reading of youth; men soon lose its eager +learning power. But from peculiarities in their structure, which +we shall try to indicate, the novels of Scott suffered less than +almost any book of equal excellence from this inevitable superficiality +of perusal. Their plain, and, so to say, cheerful merits +suit the occupied man of genial middle life. Their appreciation +was to an unusual degree coincident with their popularity. +The next generation, hearing the praises of their fathers in their +earliest reading time, seized with avidity on the volumes; and +there is much in very many of them which is admirably fitted +for the delight of boyhood. A third generation has now risen +into at least the commencement of literary life, which is quite +removed from the unbounded enthusiasm with which the Scotch +novels were originally received, and does not always share the still +more eager partiality of those who, in the opening of their minds, +first received the tradition of their excellence. New books have +arisen to compete with these; new interests distract us from +them. The time, therefore, is not perhaps unfavourable for a +slight criticism of these celebrated fictions; and their continual +republication, without any criticism for many years, +seems almost to demand it.</p> + +<p>There are two kinds of fiction which, though in common +literature they may run very much into one another, are yet in +reality distinguishable and separate. One of these, which we +may call the <i>ubiquitous</i>, aims at describing the whole of human +<span class="pagenum" id="Page_148">[148]</span>life in all its spheres, in all its aspects, with all its varied interests, +aims, and objects. It searches through the whole life of +man; his practical pursuits, his speculative attempts, his romantic +youth, and his domestic age. It gives an entire picture +of all these; or if there be any lineaments which it forbears to +depict, they are only such as the inevitable repression of a regulated +society excludes from the admitted province of literary +art. Of this kind are the novels of Cervantes and Le Sage, +and, to a certain extent, of Smollett or Fielding. In our own +time, Mr. Dickens is an author whom nature intended to write +to a certain extent with this aim. He should have given us +<i>not</i> disjointed novels, with a vague attempt at a romantic plot, +but sketches of diversified scenes, and the obvious life of varied +mankind. The literary fates, however, if such beings there are, +allotted otherwise. By a very terrible example of the way in +which in this world great interests are postponed to little ones, +the genius of authors is habitually sacrificed to the tastes of +readers. In this age, the great readers of fiction are young +people. The ‘addiction’ of these is to romance; and accordingly +a kind of novel has become so familiar to us as almost +to engross the name, which deals solely with the passion of love; +and if it uses other parts of human life for the occasions of its +art, it does so only cursorily and occasionally, and with a view +of throwing into a stronger or more delicate light those sentimental +parts of earthly affairs which are the special objects of +delineation. All prolonged delineation of other parts of human +life is considered ‘dry,’ stupid, and distracts the mind of the +youthful generation from the ‘fantasies’ which peculiarly charm +it. Mr. Olmstead has a story of some deputation of the Indians, +at which the American orator harangued the barbarian audience +about the ‘great spirit,’ and ‘the land of their fathers,’ in the +style of Mr. Cooper’s novels; during a moment’s pause in the +great stream, an old Indian asked the deputation, ‘Why does +your chief speak thus to us? We did not wish great instruction +or fine words; we desire brandy and tobacco.’ No critic in a +<span class="pagenum" id="Page_149">[149]</span>time of competition will speak uncourteously of any reader of +either sex; but it is indisputable that the old kind of novel, +full of ‘great instruction’ and varied pictures, does not afford +to some young gentlemen and some young ladies either the +peculiar stimulus or the peculiar solace which they desire.</p> + +<p>The Waverley Novels were published at a time when the +causes that thus limit the sphere of fiction were coming into +operation, but when they had not yet become so omnipotent as +they are now. Accordingly, these novels everywhere bear marks +of a state of transition. They are not devoted with anything like +the present exclusiveness to the sentimental part of human life. +They describe great events, singular characters, strange accidents, +strange states of society; they dwell with a peculiar interest—and +as if for their own sake—on antiquarian details relating to a past +society. Singular customs, social practices, even political institutions +which existed once in Scotland, and even elsewhere, +during the middle ages, are explained with a careful minuteness. +At the same time the sentimental element assumes a great deal +of prominence. The book is in fact, as well as in theory, a +narrative of the feelings and fortunes of the hero and heroine. +An attempt more or less successful has been made to insert an +interesting love-story in each novel. Sir Walter was quite +aware that the best delineation of the oddest characters, or the +most quaint societies, or the strangest incidents, would not in +general satisfy his readers. He has invariably attempted an +account of youthful, sometimes of decidedly juvenile, feelings +and actions. The difference between Sir Walter’s novels and +the specially romantic fictions of the present day is, that in the +former the love-story is always, or nearly always, connected with +some great event, or the fortunes of some great historical character, +or the peculiar movements and incidents of some strange +state of society; and that the author did not suppose or expect +that his readers would be so absorbed in the sentimental aspect +of human life as to be unable or unwilling to be interested in, +or to attend to, any other. There is always a <i>locus in quo</i>, if +<span class="pagenum" id="Page_150">[150]</span>the expression may be pardoned, in the Waverley Novels. The +hero and heroine walk among the trees of the forest according +to rule, but we are expected to take an interest in the forest as +well as in them.</p> + +<p>No novel, therefore, of Sir Walter Scott’s can be considered +to come exactly within the class which we have called the ubiquitous. +None of them in any material degree attempts to +deal with human affairs in all their spheres—to delineate as a +whole the life of man. The canvas has a large background, in +some cases too large either for artistic effect or the common +reader’s interest; but there are always real boundaries—Sir +Walter had no <i>thesis</i> to maintain. Scarcely any writer will set +himself to delineate the whole of human life, unless he has a +doctrine concerning human life to put forth and inculcate. The +effort is <i>doctrinaire</i>. Scott’s imagination was strictly conservative. +He could understand (with a few exceptions) any considerable +movement of human life and action, and could always +describe with easy freshness everything which he did understand; +but he was not obliged by stress of fanaticism to maintain +a dogma concerning them, or to show their peculiar relation +to the general sphere of life. He described vigorously and boldly +the peculiar scene and society which in every novel he had +selected as the theatre of romantic action. Partly from their +fidelity to nature, and partly from a consistency in the artist’s +mode of representation, these pictures group themselves from +the several novels in the imagination, and an habitual reader +comes to think of and understand what is meant by ‘Scott’s +world;’ but the writer had no such distinct object before him. +No one novel was designed to be a delineation of the world as +Scott viewed it. We have vivid and fragmentary histories; it +is for the slow critic of after-times to piece together their +teaching.</p> + +<p>From this intermediate position of the Waverley Novels, or +at any rate in exact accordance with its requirements, is the +special characteristic for which they are most remarkable. We +<span class="pagenum" id="Page_151">[151]</span>may call this in a brief phrase their <i>romantic sense</i>; and +perhaps we cannot better illustrate it than by a quotation from +the novel to which the series owes its most usual name. It +occurs in the description of the Court ball which Charles Edward +is described as giving at Holyrood House the night before his +march southward on his strange adventure. The striking interest +of the scene before him, and the peculiar position of his +own sentimental career, are described as influencing the mind +of the hero.</p> + +<blockquote> + +<p>‘Under the influence of these mixed sensations, and cheered at +times by a smile of intelligence and approbation from the Prince as +he passed the group, Waverley exerted his powers of fancy, animation, +and eloquence, and attracted the general admiration of the +company. The conversation gradually assumed the line best qualified +for the display of his talents and acquisitions. The gaiety of the +evening was exalted in character, rather than checked, by the approaching +dangers of the morrow. All nerves were strung for the +future, and prepared to enjoy the present. This mood is highly +favourable for the exercise of the powers of imagination, for poetry, +and for that eloquence which is allied to poetry.’</p> + +</blockquote> + +<p>Neither ‘eloquence’ nor ‘poetry’ are the exact words with +which it would be appropriate to describe the fresh style of +the Waverley Novels; but the imagination of their author +was stimulated by a fancied mixture of sentiment and fact, +very much as he describes Waverley’s to have been by a real +experience of the two at once. The second volume of Waverley +is one of the most striking illustrations of this peculiarity. +The character of Charles Edward, his adventurous undertaking, +his ancestral rights, the mixed selfishness and enthusiasm of +the Highland chiefs, the fidelity of their hereditary followers, +their striking and strange array, the contrast with the Baron +of Bradwardine and the Lowland gentry; the collision of the +motley and half-appointed host with the formed and finished +English society, its passage by the Cumberland mountains +and the blue lake of Ullswater—are unceasingly and without +<span class="pagenum" id="Page_152">[152]</span>effort present to the mind of the writer, and incite with +their historical interest the susceptibility of his imagination. +But at the same time the mental struggle, or rather transition, +in the mind of Waverley—for his mind was of the faint order +which scarcely struggles—is never for an instant lost sight of. +In the very midst of the inroad and the conflict, the acquiescent +placidity with which the hero exchanges the service of the imperious +for the appreciation of the ‘nice’ heroine, is kept before +us, and the imagination of Scott wandered without effort from +the great scene of martial affairs to the natural but rather +unheroic sentiments of a young gentleman not very difficult to +please. There is no trace of effort in the transition, as is so +common in the inferior works of later copyists. Many historical +novelists, especially those who with care and pains have ‘read +up’ their detail, are often evidently in a strait how to pass from +their history to their sentiment. The fancy of Sir Walter could +not help connecting the two. If he had given us the English +side of the race to Derby, he would have described the Bank of +England paying in sixpences, and also the loves of the cashier.</p> + +<p>It is not unremarkable in connection with this, the special +characteristic of the ‘Scotch novels,’ that their author began +his literary life by collecting the old ballads of his native +country. Ballad poetry is, in comparison at least with many +other kinds of poetry, a sensible thing. It describes not only +romantic events, but historical ones, incidents in which there is +a form and body and consistence—events which have a result. +Such a poem as ‘Chevy Chace,’ we need not explain, has its +prosaic side. The latest historian of Greece has nowhere been +more successful than in his attempt to derive from Homer, the +greatest of ballad poets, a thorough and consistent account of +the political working of the Homeric state of society. The +early natural imagination of men seizes firmly on all which interests +the minds and hearts of natural men. We find in its +delineations the council as well as the marriage; the harsh +conflict as well as the deep love-affair. Scott’s own poetry is +<span class="pagenum" id="Page_153">[153]</span>essentially a modernised edition of the traditional poems which +his early youth was occupied in collecting. The <i>Lady of the +Lake</i> is a sort of <i>boudoir</i> ballad, yet it contains its element of +common sense and broad delineation. The exact position of +Lowlander and Highlander would not be more aptly described +in a set treatise than in the well-known lines:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Saxon, from yonder mountain high</div> + <div class="verse indent0">I marked thee send delighted eye</div> + <div class="verse indent0">Far to the south and east, where lay,</div> + <div class="verse indent0">Extended in succession gay,</div> + <div class="verse indent0">Deep waving fields and pastures green,</div> + <div class="verse indent0">With gentle slopes and groves between:</div> + <div class="verse indent0">These fertile plains, that softened vale,</div> + <div class="verse indent0">Were once the birthright of the Gael.</div> + <div class="verse indent0">The stranger came with iron hand,</div> + <div class="verse indent0">And from our fathers reft the land.</div> + <div class="verse indent0">Where dwell we now! See, rudely swell</div> + <div class="verse indent0">Crag over crag, and fell o’er fell.</div> + <div class="verse indent0">Ask we this savage hill we tread,</div> + <div class="verse indent0">For fattened steer or household bread;</div> + <div class="verse indent0">Ask we for flocks these shingles dry,—</div> + <div class="verse indent0">And well the mountain might reply:</div> + <div class="verse indent0">To you, as to your sires of yore,</div> + <div class="verse indent0">Belong the target and claymore;</div> + <div class="verse indent0">I give you shelter in my breast,</div> + <div class="verse indent0">Your own good blades must win the rest.</div> + <div class="verse indent0">Pent in this fortress of the North,</div> + <div class="verse indent0">Think’st thou we will not sally forth</div> + <div class="verse indent0">To spoil the spoiler as we may,</div> + <div class="verse indent0">And from the robber rend the prey?</div> + <div class="verse indent0">Ay, by my soul! While on yon plain</div> + <div class="verse indent0">The Saxon rears one shock of grain;</div> + <div class="verse indent0">While of ten thousand herds there strays</div> + <div class="verse indent0">But one along yon river’s maze;</div> + <div class="verse indent0">The Gael, of plain and river heir,</div> + <div class="verse indent0">Shall with strong hand redeem his share.’</div> + </div> + </div> +</div> + +<p class="noindent">We need not search the same poem for specimens of the romantic +element, for the whole poem is full of them. The incident in +<span class="pagenum" id="Page_154">[154]</span>which Ellen discovers who Fitz-James really is, is perhaps excessively +romantic. At any rate the lines,—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘To him each lady’s look was lent;</div> + <div class="verse indent0">On him each courtier’s eye was bent;</div> + <div class="verse indent0">Midst furs and silks and jewels sheen,</div> + <div class="verse indent0">He stood in simple Lincoln green,</div> + <div class="verse indent0">The centre of the glittering ring,</div> + <div class="verse indent0">And Snowdoun’s knight is Scotland’s king,’—</div> + </div> + </div> +</div> + +<p class="noindent">may be cited as very sufficient example of the sort of sentimental +incident which is separable from extreme feeling. When Scott, +according to his own half-jesting but half-serious expression, +was ‘beaten out of poetry’ by Byron, he began to express in +more pliable prose the same combination which his verse had +been used to convey. As might have been expected, the sense +became in the novels more free, vigorous, and flowing, because +it is less cramped by the vehicle in which it is conveyed. The +range of character which can be adequately delineated in narrative +verse is much narrower than that which can be described +in the combination of narrative with dramatic prose; and +perhaps even the sentiment of the novels is manlier and freer; +a delicate unreality hovers over the <i>Lady of the Lake</i>.</p> + +<p>The sensible element, if we may so express it, of the +Waverley Novels appears in various forms. One of the most +striking is in the delineation of great political events and influential +political institutions. We are not by any means about +to contend that Scott is to be taken as an infallible or an impartial +authority for the parts of history which he delineates. +On the contrary, we believe all the world now agrees that there +are many deductions to be made from, many exceptions to be +taken to, the accuracy of his delineations. Still, whatever +period or incident we take, we shall always find in the error a +great, in one or two cases perhaps an extreme, mixture of the +mental element which we term common sense. The strongest +<i>un</i>sensible feeling in Scott was perhaps his Jacobitism, which +crept out even in small incidents and recurring prejudice +<span class="pagenum" id="Page_155">[155]</span>throughout the whole of his active career, and was, so to say, +the emotional aspect of his habitual Toryism. Yet no one can +have given a more sensible delineation, we might say a more +statesmanlike analysis, of the various causes which led to the +momentary success, and to the speedy ruin, of the enterprise +of Charles Edward. Mr. Lockhart says, that notwithstanding +Scott’s imaginative readiness to exalt Scotland at the expense +of England, no man would have been more willing to join in +emphatic opposition to an anti-English party, if any such had +presented itself with a practical object. Similarly his Jacobitism, +though not without moments of real influence, passed +away when his mind was directed to broad masses of fact, and +general conclusions of political reasoning. A similar observation +may be made as to Scott’s Toryism; although it is certain +that there was an enthusiastic, and, in the malicious sense, +poetical element in Scott’s Toryism, yet quite as indisputably it +partook largely of two other elements, which are in common +repute prosaic. He shared abundantly in the love of administration +and organisation, common to all men of great active +powers. He liked to contemplate method at work and order in +action. Everybody hates to hear that the Duke of Wellington +asked ‘how the king’s government was to be carried on.’ No +amount of warning wisdom will bear so fearful a repetition. +Still he <i>did</i> say it, and Scott had a sympathising foresight of +the oracle before it was spoken. One element of his conservatism +is his sympathy with the administrative arrangement, +which is confused by the objections of a Whiggish opposition +and is liable to be altogether destroyed by uprisings of the +populace. His biographer, while pointing out the strong +contrast between Scott and the argumentative and parliamentary +statesmen of his age, avows his opinion that in other +times, and with sufficient opportunities, Scott’s ability in +managing men would have enabled him to ‘play the part of +Cecil or of Gondomar.’ We may see how much a suppressed +enthusiasm for such abilities breaks out, not only in the description +<span class="pagenum" id="Page_156">[156]</span>of hereditary monarchs, where the sentiment might +be ascribed to a different origin, but also in the delineation of +upstart rulers, who could have no hereditary sanctity in the eyes +of any Tory. Roland Græme, in the <i>Abbot</i>, is well described +as losing in the presence of the Regent Murray the natural +impertinence of his disposition. ‘He might have braved with +indifference the presence of an earl merely distinguished by his +belt and coronet; but he felt overawed in that of the soldier +and statesman, the wielder of a nation’s power, and the leader +of her armies.’ It is easy to perceive that the author shares +the feeling of his hero by the evident pleasure with which he +dwells on the Regent’s demeanour: ‘He then turned slowly +round toward Roland Græme, and the marks of gaiety, real or +assumed, disappeared from his countenance as completely as the +passing bubbles leave the dark mirror of a still profound lake +into which the traveller has cast a stone; in the course of a +minute his noble features had assumed their natural expression +of melancholy gravity,’ &c. In real life, Scott used to say, that +he never remembered feeling abashed in any one’s presence +except the Duke of Wellington’s. Like that of the hero of his +novel, his imagination was very susceptible to the influence of +great achievements and prolonged success in wide-spreading +affairs.</p> + +<p>The view which Scott seems to have taken of democracy +indicates exactly the same sort of application of a plain sense to +the visible parts of the subject. His imagination was singularly +penetrated with the strange varieties and motley composition of +human life. The extraordinary multitude and striking contrast +of the characters in his novels show this at once. And even +more strikingly is the same habit of mind indicated ‘by a tendency +never to omit an opportunity of describing those varied +crowds and assemblages,’ which concentrate for a moment into a +unity the scattered and unlike varieties of mankind. Thus, but +a page or two before the passage which we alluded to in the +<i>Abbot</i>, we find the following:</p> + +<p><span class="pagenum" id="Page_157">[157]</span></p> + +<blockquote> + +<p>‘It was indeed no common sight to Roland, the vestibule of a +palace, traversed by its various groups,—some radiant with gaiety—some +pensive, and apparently weighed down by affairs concerning the +State, or concerning themselves. Here the hoary statesman, with his +cautious yet commanding look, his furred cloak and sable pantoufles; +there the soldier in buff and steel, his long sword jarring against the +pavement, and his whiskered upper lip and frowning brow looking +an habitual defiance of danger, which perhaps was not always made +good; there again passed my lord’s serving-man, high of heart and +bloody of hand, humble to his master and his master’s equals, insolent +to all others. To these might be added the poor suitor, with his +anxious look and depressed mien—the officer, full of his brief authority, +elbowing his betters, and possibly his benefactors, out of the +road—the proud priest, who sought a better benefice—the proud +baron, who sought a grant of church lands—the robber chief, who +came to solicit a pardon for the injuries he had inflicted on his neighbours—the +plundered franklin, who came to seek vengeance for that +which he had himself received. Besides, there was the mustering and +disposition of guards and soldiers—the despatching of messengers, +and the receiving them—the trampling and neighing of horses without +the gate—the flashing of arms, and rustling of plumes, and jingling +of spurs within it. In short, it was that gay and splendid +confusion, in which the eye of youth sees all that is brave and brilliant, +and that of experience much that is doubtful, deceitful, false, and +hollow—hopes that will never be gratified—promises which will never +be fulfilled—pride in the disguise of humility—and insolence in that +of frank and generous bounty.’</p> + +</blockquote> + +<p>As in the imagination of Shakespeare, so in that of Scott, +the principal form and object were the structure—that is a +hard word—the undulation and diversified composition of +human society; the picture of this stood in the centre, and +everything else was accessory and secondary to it. The old +‘rows of books,’ in which Scott so peculiarly delighted, were +made to contribute their element to this varied imagination of +humanity. From old family histories, odd memoirs, old law-trials, +his fancy elicited new traits to add to the motley assemblage. +His objection to democracy—an objection of which we +can only appreciate the emphatic force, when we remember that +<span class="pagenum" id="Page_158">[158]</span>his youth was contemporary with the first French Revolution, +and the controversy as to the uniform and stereotyped rights of +man—was, that it would sweep away this entire picture, level +prince and peasant in a common <i>égalité</i>,—substitute a scientific +rigidity for the irregular and picturesque growth of centuries,—replace +an abounding and genial life by a symmetrical but +lifeless mechanism. All the descriptions of society in the novels,—whether +of feudal society, of modern Scotch society, or of +English society,—are largely coloured by this feeling. It peeps +out everywhere, and liberal critics have endeavoured to show +that it was a narrow Toryism; but in reality, it is a subtle compound +of the natural instinct of the artist with the plain sagacity +of the man of the world.</p> + +<p>It would be tedious to show how clearly the same sagacity +appears in his delineation of the various great events and movements +in society which are described in the Scotch novels. +There is scarcely one of them which does not bear it on its +surface. Objections may, as we shall show, be urged to the +delineation which Scott has given of the Puritan resistance and +rebellions, yet scarcely any one will say there is not a worldly +sense in it. On the contrary, the very objection is, that it is +too worldly, and far too exclusively sensible.</p> + +<p>The same thoroughly well-grounded sagacity and comprehensive +appreciation of human life is shown in the treatment of +what we may call <i>anomalous</i> characters. In general, monstrosity +is no topic for art. Every one has known in real life +characters which if, apart from much experience, he had found +described in books, he would have thought unnatural and +impossible. Scott, however, abounds in such characters. Meg +Merrilies, Edie Ochiltree, Radcliffe, are more or less of that +description. That of Meg Merrilies especially is as distorted +and eccentric as anything can be. Her appearance is described +as making Mannering ‘start;’ and well it might.</p> + +<blockquote> + +<p>‘She was full six feet high, wore a man’s greatcoat over the rest +of her dress, had in her hand a goodly sloethorn cudgel, and in all +<span class="pagenum" id="Page_159">[159]</span>points of equipment except her petticoats seemed rather masculine +than feminine. Her dark elf-locks shot out like the snakes of the +gorgon between an old-fashioned bonnet called a bongrace, heightening +the singular effect of her strong and weather-beaten features, which +they partly shadowed, while her eye had a wild roll that indicated +something of insanity.’</p> + +</blockquote> + +<p>Her career in the tale corresponds with the strangeness of +her exterior. ‘Harlot, thief, witch, and gipsy,’ as she describes +herself, the hero is preserved by her virtues; half-crazed +as she is described to be, he owes his safety on more +than one occasion to her skill in stratagem, and ability in +managing those with whom she is connected, and who are +most likely to be familiar with her weakness and to detect +her craft. Yet on hardly any occasion is the natural reader +conscious of this strangeness. Something is of course attributable +to the skill of the artist; for no other power of mind +could produce the effect, unless it were aided by the unconscious +tact of detailed expression. But the fundamental explanation +of this remarkable success is the distinctness with +which Scott saw how such a character as Meg Merrilies arose +and was produced out of the peculiar circumstances of gipsy +life in the localities in which he has placed his scene. He +has exhibited this to his readers not by lengthy or elaborate +description, but by chosen incidents, short comments, and +touches of which he scarcely foresaw the effect. This is the +only way in which the fundamental objection to making eccentricity +the subject of artistic treatment can be obviated. Monstrosity +ceases to be such when we discern the laws of nature +which evolve it: when a real science explains its phenomena, +we find that it is in strict accordance with what we call the +natural type, but that some rare adjunct or uncommon casualty +has interfered and distorted a nature which is really the same, +into a phenomenon which is altogether different. Just so with +eccentricity in human character; it becomes a topic of literary +art only when its identity with the ordinary principles of human +<span class="pagenum" id="Page_160">[160]</span>nature is exhibited in the midst of, and as it were by means of, +the superficial unlikeness. Such a skill, however, requires an +easy careless familiarity with usual human life and common +human conduct. A writer must have a sympathy with health +before he can show us how, and where, and to what extent, that +which is unhealthy deviates from it; and it is this consistent +acquaintance with regular life which makes the irregular characters +of Scott so happy a contrast to the uneasy distortions of +less sagacious novelists.</p> + +<p>A good deal of the same criticism may be applied to the delineation +which Scott has given us of the <i>poor</i>. In truth, +poverty is an anomaly to rich people. It is very difficult to +make out why people who want dinner do not ring the bell. +One half of the world, according to the saying, do not know how +the other half live. Accordingly, nothing is so rare in fiction +as a good delineation of the poor. Though perpetually with us +in reality, we rarely meet them in our reading. The requirements +of the case present an unusual difficulty to artistic delineation. +A good deal of the character of the poor is an unfit +topic for continuous art, and yet we wish to have in our books a +lifelike exhibition of the whole of that character. Mean manners +and mean vices are unfit for prolonged delineation; the every-day +pressure of narrow necessities is too petty a pain and too +anxious a reality to be dwelt upon. We can bear the mere +description of the <i>Parish Register</i>—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘But this poor farce has neither truth nor art</div> + <div class="verse indent0">To please the fancy or to touch the heart.</div> + <div class="verse indent0">Dark but not awful, dismal but yet mean,</div> + <div class="verse indent0">With anxious bustle moves the cumbrous scene;</div> + <div class="verse indent0">Presents no objects tender or profound,</div> + <div class="verse indent0">But spreads its cold unmeaning gloom around;’—</div> + </div> + </div> +</div> + +<p class="noindent">but who could bear to have a long narrative of fortunes ‘dismal +but yet mean,’ with characters ‘dark but not awful,’ and no +objects ‘tender or profound’? Mr. Dickens has in various parts +of his writings been led by a sort of pre-Raphaelite <i>cultus</i> of +<span class="pagenum" id="Page_161">[161]</span>reality into an error of this species. His poor people have taken +to their poverty very thoroughly; they are poor talkers and poor +livers, and in all ways poor people to read about. A whole +array of writers have fallen into an opposite mistake. Wishing +to preserve their delineations clear from the defects of meanness +and vulgarity, they have attributed to the poor a fancied happiness +and Arcadian simplicity. The conventional shepherd of +ancient times was scarcely displeasing: that which is by everything +except express avowal removed from the sphere of reality +does not annoy us by its deviations from reality; but the fictitious +poor of sentimental novelists are brought almost into +contact with real life, half claim to be copies of what actually +exists at our very doors, are introduced in close proximity to +characters moving in a higher rank, over whom no such ideal +charm is diffused, and who are painted with as much truth as +the writer’s ability enables him to give. Accordingly, the contrast +is evident and displeasing: the harsh outlines of poverty +will not bear the artificial rose-tint; they are seen through it, +like high cheek-bones through the delicate colours of artificial +youth; we turn away with some disgust from the false elegance +and undeceiving art; we prefer the rough poor of nature to the +petted poor of the refining describer. Scott has most felicitously +avoided both these errors. His poor people are never coarse and +never vulgar; their lineaments have the rude traits which a life +of conflict will inevitably leave on the minds and manners of +those who are to lead it; their notions have the narrowness +which is inseparable from a contracted experience; their knowledge +is not more extended than their restricted means of attaining +it would render possible. Almost alone among novelists +Scott has given a thorough, minute, lifelike description of poor +persons, which is at the same time genial and pleasing. The +reason seems to be, that the firm sagacity of his genius comprehended +the industrial aspect of poor people’s life thoroughly and +comprehensively, his experience brought it before him easily +and naturally, and his artist’s mind and genial disposition +<span class="pagenum" id="Page_162">[162]</span>enabled him to dwell on those features which would be most +pleasing to the world in general. In fact, his own mind of itself +and by its own nature dwelt on those very peculiarities. He +could not remove his firm and instructed genius into the domain +of Arcadian unreality, but he was equally unable to dwell principally, +peculiarly, or consecutively, on those petty, vulgar, mean +details in which such a writer as Crabbe lives and breathes. +Hazlitt said that Crabbe described a poor man’s cottage like a +man who came to distrain for rent; he catalogued every trivial +piece of furniture, defects and cracks and all. Scott describes +it as a cheerful but most sensible landlord would describe a +cottage on his property: he has a pleasure in it. No detail, or +few details, in the life of the inmates escape his experienced and +interested eye; but he dwells on those which do not displease +him. He sympathises with their rough industry and plain joys +and sorrows. He does not fatigue himself or excite their wondering +smile by theoretical plans of impossible relief. He makes +the best of the life which is given, and by a sanguine sympathy +makes it still better. A hard life many characters in Scott seem +to lead; but he appreciates, and makes his reader appreciate, +the full value of natural feelings, plain thoughts, and applied +sagacity.</p> + +<p>His ideas of political economy are equally characteristic of +his strong sense and genial mind. He was always sneering at +Adam Smith, and telling many legends of that philosopher’s +absence of mind and inaptitude for the ordinary conduct of life. +A contact with the Edinburgh logicians had, doubtless, not augmented +his faith in the formal deductions of abstract economy; +nevertheless, with the facts before him, he could give a very +plain and satisfactory exposition of the genial consequences of +old abuses, the distinct necessity for stern reform, and the delicate +humanity requisite for introducing that reform temperately +and with feeling:</p> + +<blockquote> + +<p>‘Even so the Laird of Ellangowan ruthlessly commenced his +magisterial reform, at the expense of various established and superannuated +<span class="pagenum" id="Page_163">[163]</span>pickers and stealers, who had been his neighbours for half a +century. He wrought his miracles like a second Duke Humphrey; +and by the influence of the beadle’s rod, caused the lame to walk, the +blind to see, and the palsied to labour. He detected poachers, black-fishers, +orchard-breakers, and pigeon-shooters; had the applause +of the bench for his reward, and the public credit of an active +magistrate.</p> + +<p>‘All this good had its rateable proportion of evil. Even an admitted +nuisance, of ancient standing, should not be abated without some caution. +The zeal of our worthy friend now involved in great distress +sundry personages whose idle and mendicant habits his own <i>lâchesse</i> +had contributed to foster, until these habits had become irreclaimable, +or whose real incapacity for exertion rendered them fit objects, in their +own phrase, for the charity of all well-disposed Christians. The “long-remembered +beggar,” who for twenty years had made his regular +rounds within the neighbourhood, received rather as an humble friend +than as an object of charity, was sent to the neighbouring workhouse. +The decrepit dame, who travelled round the parish upon a hand-barrow, +circulating from house to house like a bad shilling, which every one is +in haste to pass to his neighbour; she who used to call for her bearers +as loud, or louder, than a traveller demands post-horses, even she +shared the same disastrous fate. The “daft Jock,” who, half knave, +half idiot, had been the sport of each succeeding race of village children +for a good part of a century, was remitted to the county bridewell, +where, secluded from free air and sunshine, the only advantages he +was capable of enjoying, he pined and died in the course of six months. +The old sailor, who had so long rejoiced the smoky rafters of every +kitchen in the country, by singing <i>Captain Ward</i> and <i>Bold Admiral +Benbow</i>, was banished from the county for no better reason than +that he was supposed to speak with a strong Irish accent. Even the +annual rounds of the pedlar were abolished by the Justice, in his hasty +zeal for the administration of rural police.</p> + +<p>‘These things did not pass without notice and censure. We are +not made of wood or stone, and the things which connect themselves +with our hearts and habits cannot, like bark or lichen, be rent away +without our missing them. The farmer’s dame lacked her usual share +of intelligence, perhaps also the self-applause which she had felt while +distributing the <i>awmous</i> (alms), in shape of a <i>gowpen</i> (handful) of +oatmeal, to the mendicant who brought the news. The cottage felt inconvenience +from interruption of the petty trade carried on by the +itinerant dealers. The children lacked their supply of sugar-plums +<span class="pagenum" id="Page_164">[164]</span>and toys; the young women wanted pins, ribbons, combs, and ballads; +and the old could no longer barter their eggs for salt, snuff, and tobacco. +All these circumstances brought the busy Laird of Ellangowan into +discredit, which was the more general on account of his former popularity. +Even his lineage was brought up in judgment against him. +They thought “naething of what the like of Greenside, or Burnville, +or Viewforth, might do, that were strangers in the country; but Ellangowan! +that had been a name amang them since the mirk Monanday, +and lang before—<i>him</i> to be grinding the puir at that rate!—They ca’d +his grandfather the Wicked Laird; but, though he was whiles fractious +aneuch, when he got into roving company, and had ta’en the drap +drink, he would have scorned to gang on at this gate. Na, na, the +muckle chumlay in the Auld Place reeked like a killogie in his time, +and there were as mony puir folk riving at the banes in the court and +about the door, as there were gentles in the ha’. And the leddy, on +ilka Christmas night as it came round, gae twelve siller pennies to +ilka puir body about, in honour of the twelve apostles like. They were +fond to ca’ it papistrie; but I think our great folk might take a lesson +frae the papists whiles. They gie another sort o’ help to puir folk +than just dinging down a saxpence in the brod on the Sabbath, and +kilting, and scourging, and drumming them a’ the sax days o’ the +week besides.”’</p> + +</blockquote> + +<p>Many other indications of the same healthy and natural +sense, which gives so much of their characteristic charm to the +Scotch novels, might be pointed out, if it were necessary to +weary our readers by dwelling longer on a point we have already +laboured so much. One more, however, demands notice because +of its importance, and perhaps also because, from its somewhat +less obvious character, it might otherwise escape without notice. +There has been frequent controversy as to the penal code, if we +may so call it, of fiction; that is, as to the apportionment of +reward and punishment respectively to the good and evil personages +therein delineated; and the practice of authors has been as +various as the legislation of critics. One school abandons all +thought on the matter, and declares that in the real life we see +around us, good people often fail, and wicked people continually +prosper; and would deduce the precept, that it is unwise in an +art which should hold the ‘mirror up to nature,’ not to copy +<span class="pagenum" id="Page_165">[165]</span>the uncertain and irregular distribution of its sanctions. Another +school, with an exactness which savours at times of pedantry, +apportions the success and the failure, the pain and the pleasure +of fictitious life to the moral qualities of those who are living +in it—does not think at all, or but little, of any other +quality in those characters, and does not at all care whether +the penalty and reward are evolved in natural sequence +from the circumstances and characters of the tale, or are +owing to some monstrous accident far removed from all relation +of cause or consequence to those facts and people. Both these +classes of writers produce works which jar on the natural sense +of common readers, and are at issue with the analytic criticism +of the best critics. One school leaves an impression of an uncared-for +world, in which there is no right and no wrong; the +other, of a sort of Governesses’ Institution of a world, where all +praise and all blame, all good and all pain, are made to turn on +special graces and petty offences, pesteringly spoken of and +teasingly watched for. The manner of Scott is thoroughly +different; you can scarcely lay down any novel of his without +a strong feeling that the world in which the fiction has been +laid, and in which your imagination has been moving, is one +subject to laws of retribution which, though not apparent on a +superficial glance, are yet in steady and consistent operation, +and will be quite sure to work their due effect, if time is only +given to them. Sagacious men know that this is in its best +aspect the condition of life. Certain of the ungodly may, notwithstanding +the Psalmist, flourish even through life like a +green bay-tree; for providence, in external appearance (far +differently from the real truth of things, as we may one day see +it), works by a scheme of averages. Most people who ought to +succeed, do succeed; most people who do fail, ought to fail. +But there is no exact adjustment of ‘mark’ to merit; the competitive +examination system appears to have an origin more +recent than the creation of the world;—‘on the whole,’ ‘speaking +generally,’ ‘looking at life as a whole,’ are the words in +<span class="pagenum" id="Page_166">[166]</span>which we must describe the providential adjustment of visible +good and evil to visible goodness and badness. And when we +look more closely, we see that these general results are the consequences +of certain principles which work half unseen, and +which are effectual in the main, though thwarted here and there. +It is this comprehensive though inexact distribution of good +and evil, which is suited to the novelist, and it is exactly this +which Scott instinctively adopted. Taking a firm and genial +view of the common facts of life,—seeing it as an experienced +observer and tried man of action,—he could not help giving the +representation of it which is insensibly borne in on the minds +of such persons. He delineates it as a world moving according +to laws which are always producing their effect, never <i>have</i> +produced it; sometimes fall short a little; are always nearly +successful. Good sense produces its effect, as well as good intention; +ability is valuable as well as virtue. It is this peculiarity +which gives to his works, more than anything else, the +life-likeness which distinguishes them; the average of the copy +is struck on the same scale as that of reality; an unexplained, +uncommented-on adjustment works in the one, just as a +hidden, imperceptible principle of apportionment operates in +the other.</p> + +<p>The romantic susceptibility of Scott’s imagination is as +obvious in his novels as his matter-of-fact sagacity. We can +find much of it in the place in which we should naturally look +first for it,—his treatment of his heroines. We are no indiscriminate +admirers of these young ladies, and shall shortly try +to show how much they are inferior as imaginative creations +to similar creations of the very highest artists. But the mode +in which the writer speaks of them everywhere indicates an +imagination continually under the illusion which we term +romance. A gentle tone of manly admiration pervades the +whole delineation of their words and actions. If we look carefully +at the narratives of some remarkable female novelists—it +would be invidious to give the instances by name—we shall +<span class="pagenum" id="Page_167">[167]</span>be struck at once with the absence of this; they do not half +like their heroines. It would be satirical to say that they were +jealous of them; but it is certain that they analyse the mode in +which their charms produce their effects, and the <i>minutiæ</i> of +their operation, much in the same way in which a slightly +jealous lady examines the claims of the heroines of society. +The same writers have invented the atrocious species of plain +heroines. Possibly none of the frauds which are now so much +the topic of common remark are so irritating, as that to which +the purchaser of a novel is a victim on finding that he has only +to peruse a narrative of the conduct and sentiments of an ugly +lady. ‘Two-and-sixpence to know the heart which has high +cheek-bones!’ Was there ever such an imposition? Scott +would have recoiled from such a conception. Even Jeanie Deans, +though no heroine, like Flora Macivor, is described as ‘comely,’ +and capable of looking almost pretty when required, and she +has a compensating set-off in her sister, who is beautiful as well +as unwise. Speaking generally, as is the necessity of criticism, +Scott makes his heroines, at least by profession, attractive, and +dwells on their attractiveness, though not with the wild ecstasy +of insane youth, yet with the tempered and mellow admiration +common to genial men of this world. Perhaps at times we are +rather displeased at his explicitness, and disposed to hang back +and carp at the admirable qualities displayed to us. But this +is only a stronger evidence of the peculiarity which we speak +of,—of the unconscious sentiments inseparable from Scott’s +imagination.</p> + +<p>The same romantic tinge undeniably shows itself in Scott’s +pictures of the past. Many exceptions have been taken to the +detail of mediæval life as it is described to us in <i>Ivanhoe</i>; but +one merit will always remain to it, and will be enough to secure +to it immense popularity. It describes the middle ages as we +should have wished them to have been. We do not mean that +the delineation satisfies those accomplished admirers of the old +Church system who fancy that they have found among the prelates +<span class="pagenum" id="Page_168">[168]</span>and barons of the fourteenth century a close approximation +to the theocracy which they would recommend for our adoption. +On the contrary, the theological merits of the middle ages are +not prominent in Scott’s delineation. ‘Dogma’ was not in his +way: a cheerful man of the world is not anxious for a precise +definition of peculiar doctrines. The charm of <i>Ivanhoe</i> is addressed +to a simpler sort of imagination, to that kind of boyish +fancy which idolises mediæval society as the ‘fighting time.’ +Every boy has heard of tournaments, and has a firm persuasion +that in an age of tournaments life was thoroughly well understood. +A martial society, where men fought hand to hand on +good horses with large lances, in peace for pleasure, and in war +for business, seems the very ideal of perfection to a bold and +simply fanciful boy. <i>Ivanhoe</i> spreads before him the full landscape +of such a realm, with Richard Cœur-de-Lion, a black +horse, and the passage of arms at Ashby. Of course he admires +it, and thinks there was never such a writer, and will never +more be such a world. And a mature critic will share his admiration, +at least to the extent of admitting that nowhere else +have the elements of a martial romance been so gorgeously +accumulated without becoming oppressive; their fanciful +charm been so powerfully delineated, and yet so constantly +relieved by touches of vigorous sagacity. One single fact shows +how great the romantic illusion is. The pressure of painful +necessity is scarcely so great in this novel, as in novels of the +same writer in which the scene is laid in modern times. Much +may be said in favour of the mediæval system as contradistinguished +from existing society; much has been said. But no one +can maintain that general comfort was as much diffused as it is +now. A certain ease pervades the structure of later society. +Our houses may not last so long, are not so picturesque, will +leave no such ruins behind them; but they are warmed with hot +water, have no draughts, and contain sofas instead of rushes. A +slight daily unconscious luxury is hardly ever wanting to the +dwellers in civilisation; like the gentle air of a genial climate, +<span class="pagenum" id="Page_169">[169]</span>it is a perpetual minute enjoyment. The absence of this marks +a rude barbaric time. We may avail ourselves of rough pleasures, +stirring amusements, exciting actions, strange rumours; but life +is hard and harsh. The cold air of the keen North may brace +and invigorate, but it cannot soothe us. All sensible people +know that the middle ages must have been very uncomfortable; +there was a difficulty about ‘good food;’—almost insuperable +obstacles to the cultivation of nice detail and small enjoyment. +No one knew the abstract facts on which this conclusion rests +better than Scott; but his delineation gives no general idea of +the result. A thoughtless reader rises with the impression that +the middle ages had the same elements of happiness which we +have at present, and that they had fighting besides. We do not +assert that this tenet is explicitly taught; on the contrary, many +facts are explained, and many customs elucidated from which a +discriminating and deducing reader would infer the meanness of +poverty and the harshness of barbarism. But these less imposing +traits escape the rapid, and still more the boyish reader. +His general impression is one of romance; and though, when +roused, Scott was quite able to take a distinct view of the opposing +facts, he liked his own mind to rest for the most part in +the same pleasing illusion.</p> + +<p>The same sort of historical romance is shown likewise in +Scott’s picture of remarkable historical characters. His Richard I. +is the traditional Richard, with traits heightened and ennobled +in perfect conformity to the spirit of tradition. Some illustration +of the same quality might be drawn from his delineations of +the Puritan rebellions and the Cavalier enthusiasm. We might +show that he ever dwells on the traits and incidents most attractive +to a genial and spirited imagination. But the most +remarkable instance of the power which romantic illusion exercised +over him, is his delineation of Mary Queen of Scots. He +refused at one time of his life to write a biography of that +princess ‘because his opinion was contrary to his feeling.’ He +evidently considered her guilt to be clearly established, and +<span class="pagenum" id="Page_170">[170]</span>thought, with a distinguished lawyer, that he should ‘direct a +jury to find her guilty;’ but his fancy, like that of most of his +countrymen, took a peculiar and special interest in the beautiful +lady who, at any rate, had suffered so much and so fatally at the +hands of a queen of England. He could not bring himself to +dwell with nice accuracy on the evidence which substantiates her +criminality, or on the still clearer indications of that unsound +and over-crafty judgment, which was the fatal inheritance of the +Stuart family, and which, in spite of advantages that scarcely +any other family in the world has enjoyed, has made their name +an historical by-word for misfortune. The picture in the <i>Abbot</i>, +one of the best historical pictures which Scott has given us, is +principally the picture of the Queen as the fond tradition of +his countrymen exhibited her. Her entire innocence, it is true, +is never alleged: but the enthusiasm of her followers is dwelt on +with approving sympathy; their confidence is set forth at large; +her influence over them is skilfully delineated; the fascination +of charms chastened by misfortune is delicately indicated. We +see a complete picture of the beautiful queen, of the suffering +and sorrowful, but yet not insensible woman. Scott could not, +however, as a close study will show us, quite conceal the unfavourable +nature of his fundamental opinion. In one remarkable +passage the struggle of the judgment is even conspicuous, +and in others the sagacity of the practised lawyer,—the ‘thread +of the attorney,’ as he used to call it, in his nature,—qualifies +and modifies the sentiment hereditary in his countrymen, and +congenial to himself.</p> + +<p>This romantic imagination is a habit or power (as we may +choose to call it) of mind, which is almost essential to the highest +success in the historical novel. The aim, at any rate the effect, +of this class of works seems to be to deepen and confirm the +received view of historical personages. A great and acute +writer may, from an accurate study of original documents, discover +that those impressions are erroneous, and by a process of +elaborate argument substitute others which he deems more +<span class="pagenum" id="Page_171">[171]</span>accurate. But this can only be effected by writing a regular +history. The essence of the achievement is the proof. If Mr. +Froude had put forward his view of Henry the Eighth’s character +in a professed novel, he would have been laughed at. +It is only by a rigid adherence to attested facts and authentic +documents, that a view so original could obtain even a hearing. +We start back with a little anger from a representation which +is avowedly imaginative, and which contradicts our impressions. +We do not like to have our opinions disturbed by reasoning; +but it is impertinent to attempt to disturb them by fancies. A +writer of the historical novel is bound by the popular conception +of his subject; and commonly it will be found that this popular +impression is to some extent a romantic one. An element +of exaggeration clings to the popular judgment: great vices +are made greater, great virtues greater also; interesting incidents +are made more interesting, softer legends more soft. +The novelist who disregards this tendency will do so at the +peril of his popularity. His business is to make attraction more +attractive, and not to impair the pleasant pictures of ready-made +romance by an attempt at grim reality.</p> + +<p>We may therefore sum up the indications of this characteristic +excellence of Scott’s novels by saying, that more than any +novelist he has given us fresh pictures of practical human +society, with its cares and troubles, its excitements and its +pleasures; that he has delineated more distinctly than any one +else the framework in which this society inheres, and by the +boundaries of which it is shaped and limited; that he has made +more clear the way in which strange and eccentric characters +grow out of that ordinary and usual system of life; that he has +extended his view over several periods of society, and given an +animated description of the external appearance of each, and a +firm representation of its social institutions; that he has shown +very graphically what we may call the worldly laws of moral +government; and that over all these he has spread the glow of +sentiment natural to a manly mind, and an atmosphere of generosity +<span class="pagenum" id="Page_172">[172]</span>congenial to a cheerful one. It is from the collective +effect of these causes, and from the union of sense and sentiment +which is the principle of them all, that Scott derives the peculiar +healthiness which distinguishes him. There are no such books +as his for the sick-room, or for freshening the painful intervals +of a morbid mind. Mere sense is dull, mere sentiment unsubstantial; +a sensation of genial healthiness is only given by what +combines the solidity of the one and the brightening charm of +the other.</p> + +<p>Some guide to Scott’s defects, or to the limitations of his +genius, if we would employ a less ungenial and perhaps more +correct expression, is to be discovered, as usual, from the consideration +of his characteristic excellence. As it is his merit to +give bold and animated pictures of this world, it is his defect to +give but insufficient representations of qualities which this world +does not exceedingly prize,—of such as do not thrust themselves +very forward in it,—of such as are in some sense above it. We +may illustrate this in several ways.</p> + +<p>One of the parts of human nature which are systematically +omitted in Scott, is the searching and abstract intellect. This +did not lie in his way. No man had a stronger sagacity, better +adapted for the guidance of common men, and the conduct of +common transactions. Few could hope to form a more correct +opinion on things and subjects which were brought before him +in actual life; no man had a more useful intellect. But on the +other hand, as will be generally observed to be the case, no one +was less inclined to that probing and seeking and anxious inquiry +into things in general which is the necessity of some +minds, and a sort of intellectual famine in their nature. He +had no call to investigate the theory of the universe, and he +would not have been able to comprehend those who did. Such +a mind as Shelley’s would have been entirely removed from his +comprehension. He had no call to mix ‘awful talk and asking +looks’ with his love of the visible scene. He could not have +addressed the universe:</p> + +<p><span class="pagenum" id="Page_173">[173]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent14">‘I have watched</div> + <div class="verse indent0">Thy shadow, and the darkness of thy steps;</div> + <div class="verse indent0">And my heart ever gazes on the depth</div> + <div class="verse indent0">Of thy deep mysteries. I have made my bed</div> + <div class="verse indent0">In charnels and on coffins, where black death</div> + <div class="verse indent0">Keeps record of the trophies won from thee,</div> + <div class="verse indent0">Hoping to still these obstinate questionings</div> + <div class="verse indent0">Of thee and thine, by forcing some lone ghost,</div> + <div class="verse indent0">Thy messenger, to render up the tale</div> + <div class="verse indent0">Of what we are.’</div> + </div> + </div> +</div> + +<p class="noindent">Such thoughts would have been to him ‘thinking without an +object,’ ‘abstracted speculations,’ ‘cobwebs of the unintelligible +brain.’ Above all minds, his had the Baconian propensity to +work upon ‘stuff.’ At first sight, it would not seem that this +was a defect likely to be very hurtful to the works of a novelist. +The labours of the searching and introspective intellect, however +needful, absorbing, and in some degree delicious, to the seeker +himself, are not in general very delightful to those who are not +seeking. Genial men in middle life are commonly intolerant of +that philosophising which their prototype, in old times, classed +side by side with the lisping of youth. The theological novel, +which was a few years ago so popular, and which is likely to +have a recurring influence in times when men’s belief is unsettled, +and persons who cannot or will not read large treatises +have thoughts in their minds and inquiries in their hearts, +suggests to those who are accustomed to it the absence elsewhere +of what is necessarily one of its most distinctive and +prominent subjects. The desire to attain a belief, which has +become one of the most familiar sentiments of heroes and +heroines, would have seemed utterly incongruous to the plain +sagacity of Scott, and also to his old-fashioned art. Creeds are +<i>data</i> in his novels; people have different creeds, but each keeps +his own. Some persons will think that this is not altogether +amiss; nor do we particularly wish to take up the defence of the +dogmatic novel. Nevertheless, it will strike those who are +accustomed to the youthful generation of a cultivated time, that +<span class="pagenum" id="Page_174">[174]</span>the passion of intellectual inquiry is one of the strongest impulses +in many of them, and one of those which give the predominant +colouring to the conversation and exterior mind of +many more. And a novelist will not exercise the most potent +influence over those subject to that passion, if he entirely omit +the delineation of it. Scott’s works have only one merit in this +relation: they are an excellent rest to those who have felt this +passion, and have had something too much of it.</p> + +<p>The same indisposition to the abstract exercises of the +intellect shows itself in the reflective portions of Scott’s novels, +and perhaps contributes to their popularity with that immense +majority of the world who strongly share in that same indisposition: +it prevents, however, their having the most powerful +intellectual influence on those who have at any time of their +lives voluntarily submitted themselves to this acute and refining +discipline. The reflections of a practised thinker have a peculiar +charm, like the last touches of the accomplished artist. +The cunning exactitude of the professional hand leaves a trace +in the very language. A nice discrimination of thought makes +men solicitous of the most apt expressions to diffuse their +thoughts. Both words and meaning gain a metallic brilliancy, +like the glittering precision of the pure Attic air. Scott’s is a +healthy and genial world of reflection, but it wants the charm +of delicate exactitude.</p> + +<p>The same limitation of Scott’s genius shows itself in a very +different portion of art—in his delineation of his heroines. The +same blunt sagacity of imagination, which fitted him to excel +in the rough description of obvious life, rather unfitted him +for delineating the less substantial essence of the female character. +The nice <i>minutiæ</i> of society, by means of which female +novelists have been so successful in delineating their own sex, +were rather too small for his robust and powerful mind. Perhaps, +too, a certain unworldliness of <i>imagination</i> is necessary to +enable men to comprehend or delineate that essence: unworldliness +of <i>life</i> is no doubt not requisite; rather, perhaps, worldliness +<span class="pagenum" id="Page_175">[175]</span>is necessary to the acquisition of a sufficient experience. +But an absorption in the practical world does not seem favourable +to a comprehension of anything which does not precisely +belong to it. Its interests are too engrossing; its excitements +too keen; it modifies the fancy, and in the change unfits it for +everything else. Something, too, in Scott’s character and +history made it more difficult for him to give a representation +of women than of men. Goethe used to say, that his idea of +woman was not drawn from his experience, but that it came to +him before experience, and that he explained his experience by +a reference to it. And though this is a German, and not very +happy, form of expression, yet it appears to indicate a very +important distinction. Some efforts of the imagination are +made so early in life, just as it were at the dawn of the conscious +faculties, that we are never able to fancy ourselves as +destitute of them. They are part of the mental constitution +with which, so to speak, we awoke to existence. These are +always far more firm, vivid, and definite, than any other images +of our fancy; and we apply them, half unconsciously, to any +facts and sentiments and actions which may occur to us later in +life, whether arising from within or thrust upon us from the +outward world. Goethe doubtless meant that the idea of the +female character was to him one of these first elements of imagination; +not a thing puzzled out, or which he remembered +having conceived, but a part of the primitive conceptions which, +being coeval with his memory, seemed inseparable from his consciousness. +The descriptions of women likely to be given by this +sort of imagination will probably be the best descriptions. A +mind which would arrive at this idea of the female character by +this process, and so early, would be one obviously of more than +usual susceptibility. The early imagination does not commonly +take this direction; it thinks most of horses and lances, tournaments +and knights; only a mind with an unusual and instinctive +tendency to this kind of thought, would be borne thither so +early or so effectually. And even independently of this probable +<span class="pagenum" id="Page_176">[176]</span>peculiarity of the individual, the primitive imagination in general +is likely to be the most accurate which men can form; not, +of course, of the external manifestations and detailed manners, +but of the inner sentiment and characteristic feeling of women. +The early imagination conceives what it does conceive very +justly; fresh from the facts, stirred by the new aspect of things, +undimmed by the daily passage of constantly forgotten images, +not misled by the irregular analogies of a dislocated life,—the +early mind sees what it does see with a spirit and an intentness +never given to it again. A mind like Goethe’s, of very strong +imagination, aroused at the earliest age,—not of course by +passions, but by an unusual strength in that undefined longing +which is the prelude to our passions,—will form the best idea +of the inmost female nature which masculine nature can form. +The difference is evident between the characters of women +formed by Goethe’s imagination or Shakespeare’s, and those +formed by such an imagination as that of Scott. The latter +seem so external. We have traits, features, manners; we know +the heroine as she appeared in the street; in some degree we +know how she talked, but we never know how she felt—least +of all what she was: we always feel there is a world +behind, unanalysed, unrepresented, which we cannot attain +to. Such a character as Margaret in <i>Faust</i> is known to us +to the very soul; so is Imogen; so is Ophelia. Edith Bellenden, +Flora Macivor, Miss Wardour, are young ladies who, we +are told, were good-looking, and well-dressed (according to the +old fashion), and sensible; but we feel we know but very little +of them, and they do not haunt our imaginations. The failure +of Scott in this line of art is more conspicuous, because he had +not in any remarkable degree the later experience of female +detail, with which some minds have endeavoured to supply the +want of the early essential imagination, and which Goethe possessed +in addition to it. It was rather late, according to his +biographer, before Scott set up for a ‘squire of dames;’ he was +a ‘lame young man, very enthusiastic about ballad poetry;’ he +<span class="pagenum" id="Page_177">[177]</span>was deeply in love with a young lady, supposed to be imaginatively +represented by Flora Macivor, but he was unsuccessful. +It would be over-ingenious to argue, from his failing in a single +love-affair, that he had no peculiar interest in young ladies in +general; but the whole description of his youth shows that +young ladies exercised over him a rather more divided influence +than is usual. Other pursuits intervened, much more than is +common with persons of the imaginative temperament, and he +never led the life of flirtation from which Goethe believed that +he derived so much instruction. Scott’s heroines, therefore, are, +not unnaturally, faulty, since from a want of the very peculiar +instinctive imagination he could not give us the essence of +women, and from the habits of his life he could not delineate to +us their detailed life with the appreciative accuracy of habitual +experience. Jeanie Deans is probably the best of his heroines, +and she is so because she is the least of a heroine. The plain +matter of-fact element in the peasant-girl’s life and circumstances +suited a robust imagination. There is little in the part +of her character that is very finely described which is characteristically +feminine. She is not a masculine, but she is an +epicene heroine. Her love-affair with Butler, a single remarkable +scene excepted, is rather commonplace than otherwise.</p> + +<p>A similar criticism might be applied to Scott’s heroes. +Everyone feels how commonplace they are—Waverley excepted, +whose very vacillation gives him a sort of character. They have +little personality. They are all of the same type;—excellent +young men—rather strong—able to ride and climb and jump. +They are always said to be sensible, and bear out the character +by being not unwilling sometimes to talk platitudes. But we +know nothing of their inner life. They are said to be in love; +but we have no special account of their individual sentiments. +People show their character in their love more than in anything +else. These young gentlemen all love in the same way—in the +vague commonplace way of this world. We have no sketch or +dramatic expression of the life within. Their souls are quite +<span class="pagenum" id="Page_178">[178]</span>unknown to us. If there is an exception, it is Edgar Ravenswood. +But if we look closely, we may observe that the notion +which we obtain of his character, unusually broad as it is, is not +a notion of him in his capacity of hero, but in his capacity of +distressed peer. His proud poverty gives a distinctness which +otherwise his lineaments would not have. We think little of +his love; we think much of his narrow circumstances and compressed +haughtiness.</p> + +<p>The same exterior delineation of character shows itself in his +treatment of men’s religious nature. A novelist is scarcely, in +the notion of ordinary readers, bound to deal with this at all; +if he does, it will be one of his great difficulties to indicate it +graphically, yet without dwelling on it. Men who purchase a +novel do not wish a stone or a sermon. All lengthened reflections +must be omitted; the whole armoury of pulpit eloquence. +But no delineation of human nature can be considered complete +which omits to deal with man in relation to the questions which +occupy him as man, with his convictions as to the theory of the +universe and his own destiny; the human heart throbs on few +subjects with a passion so intense, so peculiar, and so typical. +From an artistic view, it is a blunder to omit an element which +is so characteristic of human life, which contributes so much +to its animation, and which is so picturesque. A reader of a +more simple mind, little apt to indulge in such criticism, feels +‘a want of depth,’ as he would speak, in delineations from which +so large an element of his own most passionate and deepest +nature is omitted. It can hardly be said that there is an +omission of the religious nature in Scott. But, at the same +time, there is no adequate delineation of it. If we refer to the +facts of his life, and the view of his character which we collect +from them, we shall find that his religion was of a qualified +and double sort. He was a genial man of the world, and had +the easy faith in the kindly <i>Dieu des bons gens</i> which is natural +to such a person; and he had also a half-poetic principle of +superstition in his nature, inclining him to believe in ghosts, +<span class="pagenum" id="Page_179">[179]</span>legends, fairies, and elves, which did not affect his daily life, or +possibly his superficial belief, but was nevertheless very constantly +present to his fancy, and which affected, as is the constitution +of human nature, through that frequency, the undefined, half-expressed, +inexpressible feelings which are at the root of that +belief. Superstition was a kind of Jacobitism in his religion; +as a sort of absurd reliance on the hereditary principle modified +insensibly his leanings in the practical world, so a belief in the +existence of unevidenced, and often absurd, supernatural beings +qualified his commonest speculations on the higher world. Both +these elements may be thought to enter into the highest religion; +there is a principle of cheerfulness which will justify in +its measure a genial enjoyment, and also a principle of fear +which those who think only of that enjoyment will deem superstition, +and which will really become superstition in the over-anxious +and credulous acceptor of it. But in a true religion +these two elements will be combined. The character of God +images itself very imperfectly in any human soul; but in the +highest it images itself as a whole; it leaves an abiding impression +which will justify anxiety and allow of happiness. The +highest aim of the religious novelist would be to show how this +operates in human character; to exhibit in their curious modification +our religious love, and also our religious fear. In the +novels of Scott the two elements appear in a state of separation, +as they did in his own mind. We have the superstition of the +peasantry in the <i>Antiquary</i>, in <i>Guy Mannering</i>, everywhere +almost; we have likewise a pervading tone of genial easy reflection +characteristic of the man of the world who produced, and +agreeable to the people of the world who read, these works. But +we have no picture of the two in combination. We are scarcely +led to think on the subject at all, so much do other subjects +distract our interest; but if we do think, we are puzzled at the +contrast. We do not know which is true, the uneasy belief of +superstition, or the easy satisfaction of the world; we waver between +the two, and have no suggestion even hinted to us of the +<span class="pagenum" id="Page_180">[180]</span>possibility of a reconciliation. The character of the Puritans +certainly did not in general embody such a reconciliation, but +it might have been made by a sympathising artist the vehicle +for a delineation of a struggle after it. The two elements of +love and fear ranked side by side in their minds with an intensity +which is rare even in minds that feel only one of them. +The delineation of Scott is amusing, but superficial. He caught +the ludicrous traits which tempt the mirthful imagination, but +no other side of the character pleased him. The man of the +world was displeased with their obstinate interfering zeal; their +intensity of faith was an opposition force in the old Scotch +polity, of which he liked to fancy the harmonious working. +They were superstitious enough; but nobody likes other people’s +superstitions. Scott’s were of a wholly different kind. He made +no difficulty as to the observance of Christmas-day, and would +have eaten potatoes without the faintest scruple, although their +name does not occur in Scripture. Doubtless also his residence +in the land of Puritanism did not incline him to give anything +except a satirical representation of that belief. You must not +expect from a Dissenter a faithful appreciation of the creed from +which he dissents. You cannot be impartial on the religion of +the place in which you live; you may believe it, or you may +dislike it; it crosses your path in too many forms for you to be +able to look at it with equanimity. Scott had rather a rigid +form of Puritanism forced upon him in his infancy; it is asking +too much to expect him to be partial to it. The aspect of +religion which Scott delineates best is that which appears in +griefs, especially in the grief of strong characters. His strong +<i>natural</i> nature felt the power of death. He has given us many +pictures of rude and simple men subdued, if only for a moment, +into devotion by its presence.</p> + +<p>On the whole, and speaking roughly, these defects in the +delineation which Scott has given us of human life are but two. +He omits to give us a delineation of the soul. We have mind, +manners, animation, but it is the stir of this world. We miss +<span class="pagenum" id="Page_181">[181]</span>the consecrating power; and we miss it not only in its own +peculiar sphere, which, from the difficulty of introducing the +deepest elements into a novel, would have been scarcely matter +for a harsh criticism, but in the place in which a novelist might +most be expected to delineate it. There are perhaps such things +as the love affairs of immortal beings, but no one would learn +it from Scott. His heroes and heroines are well dressed for this +world, but not for another; there is nothing even in their love +which is suitable for immortality. As has been noticed, Scott also +omits any delineation of the abstract side of unworldly intellect. +This too might not have been so severe a reproach, considering +its undramatic, unanimated nature, if it had stood alone; but +taken in connection with the omission which we have just spoken +of, it is most important. As the union of sense and romance +makes the world of Scott so characteristically agreeable,—a +fascinating picture of this world in the light in which we like +best to dwell on it; so the deficiency in the attenuated, striving +intellect, as well as in the supernatural soul, gives to the +‘world’ of Scott the cumbrousness and temporality—in short, +the materialism—which is characteristic of the world.</p> + +<p>We have dwelt so much on what we think are the characteristic +features of Scott’s imaginative representations, that we have +left ourselves no room to criticise the two most natural points of +criticism in a novelist—plot and style. This is not, however, so +important in Scott’s case as it would commonly be. He used to +say, ‘It was of no use having a plot; you could not keep to it.’ +He modified and changed his thread of story from day to day,—sometimes +even from bookselling reasons, and on the suggestion +of others. An elaborate work of narrative art could not be produced +in this way, every one will concede; the highest imagination, +able to look far over the work, is necessary for that task. +But the plots produced, so to say, by the pen of the writer as he +passes over the events are likely to have a freshness and a suitableness +to those events, which is not possessed by the inferior +writers who make up a mechanical plot before they commence. +<span class="pagenum" id="Page_182">[182]</span>The procedure of the highest genius doubtless is scarcely a procedure: +the view of the whole story comes at once upon its +imagination like the delicate end and the distinct beginning of +some long vista. But all minds do not possess the highest mode +of conception; and among lower modes, it is doubtless better +to possess the vigorous fancy which creates each separate scene +in succession as it goes, than the pedantic intellect which designs +everything long before it is wanted. There is a play in unconscious +creation which no voluntary elaboration and preconceived +fitting of distinct ideas can ever hope to produce. If the whole +cannot be created by one bounding effort, it is better that each +part should be created separately and in detail.</p> + +<p>The style of Scott would deserve the highest praise if M. +Thiers could establish his theory of narrative language. He +maintains that an historian’s language approaches perfection in +proportion as it aptly communicates what is meant to be narrated +without drawing any attention to itself. Scott’s style +fulfils this condition. Nobody rises from his works without a +most vivid idea of what is related, and no one is able to quote a +single phrase in which it has been narrated. We are inclined, +however, to differ from the great French historian, and to +oppose to him a theory derived from a very different writer. +Coleridge used to maintain that all good poetry was untranslatable +into words of the same language without injury to the +sense: the meaning was, in his view, to be so inseparably +intertwined even with the shades of the language, that the +change of a single expression would make a difference in the +accompanying feeling, if not in the bare signification: consequently, +all good poetry must be remembered exactly,—to +change a word is to modify the essence. Rigidly this theory +can only be applied to a few kinds of poetry, or special passages +in which the imagination is exerting itself to the utmost, and +collecting from the whole range of associated language the +very expressions which it requires. The highest excitation of +feeling is necessary to this peculiar felicity of choice. In +<span class="pagenum" id="Page_183">[183]</span>calmer moments the mind has either a less choice, or less +acuteness of selective power. Accordingly, in prose it would +be absurd to expect any such nicety. Still, on great occasions +in imaginative fiction, there should be passages in which the +words seem to cleave to the matter. The excitement is as +great as in poetry. The words should become part of the +sense. They should attract our attention, as this is necessary +to impress them on the memory; but they should not in so +doing distract attention from the meaning conveyed. On the +contrary, it is their inseparability from their meaning which +gives them their charm and their power. In truth, Scott’s +language, like his sense, was such as became a bold, sagacious +man of the world. He used the first sufficient words which +came uppermost, and seems hardly to have been sensible, even +in the works of others, of that exquisite accuracy and inexplicable +appropriateness of which we have been speaking.</p> + +<p>To analyse in detail the faults and merits of even a few of +the greatest of the Waverley Novels would be impossible in +the space at our command on the present occasion. We have +only attempted a general account of a few main characteristics. +Every critic must, however, regret to have to leave topics so +tempting to remark upon as many of Scott’s stories, and a yet +greater number of his characters.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_184">[184]</span></p> + +<h2 class="nobreak" id="CHARLES_DICKENS"><i>CHARLES +DICKENS.</i>⁠<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a><br> +<span class="smaller">(1858.)</span></h2> + +</div> + +<p>It must give Mr. Dickens much pleasure to look at the collected +series of his writings. He has told us of the beginnings of +<i>Pickwick</i>.</p> + +<blockquote> + +<p>‘I was,’ he relates in what is now the preface to that work, ‘a +young man of three-and-twenty, when the present publishers, attracted +by some pieces I was at that time writing in the <i>Morning +Chronicle</i> newspaper (of which one series had lately been collected +and published in two volumes, illustrated by my esteemed friend Mr. +George Cruikshank), waited upon me to propose a something that +should be published in shilling numbers—then only known to me, or +I believe to anybody else, by a dim recollection of certain interminable +novels in that form, which used, some five-and-twenty years ago, +to be carried about the country by pedlars, and over some of which I +remember to have shed innumerable tears, before I served my +apprenticeship to Life. When I opened my door in Furnival’s Inn +to the managing partner who represented the firm, I recognised in +him the person from whose hands I had bought, two or three years +previously, and whom I had never seen before or since, my first copy +of the magazine in which my first effusion—dropped stealthily one +evening at twilight, with fear and trembling, into a dark letter-box, +in a dark office, up a dark court in Fleet Street—appeared in all the +glory of print; on which occasion, by the bye,—how well I recollect +it!—I walked down to Westminster Hall, and turned into it for +half-an-hour, because my eyes were so dimmed with joy and pride, +that they could not bear the street, and were not fit to be seen there. +I told my visitor of the coincidence, which we both hailed as a good +omen; and so fell to business.’</p> + +</blockquote> + +<p><span class="pagenum" id="Page_185">[185]</span></p> + +<p>After such a beginning, there must be great enjoyment in +looking at the long series of closely printed green volumes, in +remembering their marvellous popularity, in knowing that they +are a familiar literature wherever the English language is +spoken,—that they are read with admiring appreciation by +persons of the highest culture at the centre of civilisation,—that +they amuse, and are fit to amuse, the roughest settler in +Vancouver’s Island.</p> + +<p>The penetrating power of this remarkable genius among all +classes at home is not inferior to its diffusive energy abroad. The +phrase ‘household book’ has, when applied to the works of Mr. +Dickens, a peculiar propriety. There is no contemporary English +writer, whose works are read so generally through the whole +house, who can give pleasure to the servants as well as to the +mistress, to the children as well as to the master. Mr. Thackeray +without doubt exercises a more potent and plastic fascination +within his sphere, but that sphere is limited. It is restricted +to that part of the middle class which gazes inquisitively +at the ‘Vanity Fair’ world. The delicate touches of our +great satirist have, for such readers, not only the charm of wit, +but likewise the interest of valuable information; he tells them +of the topics which they want to know. But below this class +there is another and far larger, which is incapable of comprehending +the idling world, or of appreciating the accuracy of +delineations drawn from it,—which would not know the difference +between a picture of Grosvenor Square by Mr. Thackeray +and the picture of it in a Minerva-Press novel,—which +only cares for or knows of its own multifarious, industrial, +fig-selling world,—and over these also Mr. Dickens has +power.</p> + +<p>It cannot be amiss to take this opportunity of investigating, +even slightly, the causes of so great a popularity. And if, in +the course of our article, we may seem to be ready with over-refining +criticism, or to be unduly captious with theoretical +objections, we hope not to forget that so great and so diffused +<span class="pagenum" id="Page_186">[186]</span>an influence is a <i>datum</i> for literary investigation,—that books +which have been thus <i>tried</i> upon mankind and have thus succeeded, +must be books of immense genius,—and that it is our +duty as critics to explain, as far as we can, the nature and the +limits of that genius, but never for one moment to deny or +question its existence.</p> + +<p>Men of genius may be divided into regular and irregular. +Certain minds, the moment we think of them, suggest to us the +ideas of symmetry and proportion. Plato’s name, for example, +calls up at once the impression of something ordered, measured, +and settled: it is the exact contrary of everything eccentric, +immature, or undeveloped. The opinions of such a mind are +often erroneous, and some of them may, from change of time, of +intellectual <i>data</i>, or from chance, seem not to be quite worthy +of it; but the mode in which those opinions are expressed, and +(as far as we can make it out) the mode in which they are +framed, affect us, as we have said, with a sensation of symmetricalness. +It is not very easy to define exactly to what peculiar +internal characteristic this external effect is due: the feeling is +distinct, but the cause is obscure; it lies hid in the peculiar +constitution of great minds, and we should not wonder that it is +not very easy either to conceive or to describe. On the whole, +however, the effect seems to be produced by a peculiar proportionateness, +in each instance, of the mind to the tasks which it +undertakes, amid which we see it, and by which we measure it. +Thus we feel that the powers and tendencies of Plato’s mind +and nature were more fit than those of any other philosopher for +the due consideration and exposition of the highest problems of +philosophy, of the doubts and difficulties which concern man as +man. His genius was adapted to its element; any change +would mar the delicacy of the thought, or the polished accuracy +of the expression. The weapon was fitted to its aim. Every +instance of proportionateness does not, however, lead us to attribute +this peculiar symmetry to the whole mind we are observing. +The powers must not only be suited to the task undertaken, +<span class="pagenum" id="Page_187">[187]</span>but the task itself must also be suited to a human being, and +employ all the marvellous faculties with which he is endowed. +The neat perfection of such a mind as Talleyrand’s is the +antithesis to the symmetry of genius; the niceties neither of +diplomacy nor of conversation give scope to the entire powers +of a great nature. We may lay down as the condition of a +regular or symmetrical genius, that it should have the exact +combination of powers suited to graceful and easy success in an +exercise of mind great enough to task the whole intellectual +nature.</p> + +<p>On the other hand, men of irregular or unsymmetrical genius +are eminent either for some one or some few peculiarities of +mind, have possibly special defects on other sides of their intellectual +nature, at any rate want what the scientific men of the +present day would call the <i>definite proportion</i> of faculties and +qualities suited to the exact work they have in hand. The foundation +of many criticisms of Shakespeare is, that he is deficient +in this peculiar proportion. His overteeming imagination gives +at times, and not unfrequently, a great feeling of irregularity: +there seems to be confusion. We have the tall trees of the forest, +the majestic creations of the highest genius; but we have, besides, +a bushy second growth, an obtrusion of secondary images +and fancies, which prevent our taking an exact measure of such +grandeur. We have not the sensation of intense simplicity, +which must probably accompany the highest conceivable greatness. +Such is also the basis of Mr. Hallam’s criticism on +Shakespeare’s language, which Mr. Arnold has lately revived. +‘His expression is often faulty,’ because his illustrative imagination, +somewhat predominating over his other faculties, +diffuses about the main expression a supplement of minor +metaphors which sometimes distract the comprehension, and +almost always deprive his style of the charm that arises from +undeviating directness. Doubtless this is an instance of the +very highest kind of irregular genius, in which all the powers +exist in the mind in a very high, and almost all of them in the +<span class="pagenum" id="Page_188">[188]</span>very highest measure, but in which from a slight excess in a +single one, the charm of proportion is lessened. The most +ordinary cases of irregular genius are those in which single +faculties are abnormally developed, and call off the attention +from all the rest of the mind by their prominence and +activity. Literature, as the ‘fragment of fragments,’ is so +full of the fragments of such minds that it is needless to specify +instances.</p> + +<p>Possibly it may be laid down that one of two elements is +essential to a symmetrical mind. It is evident that such a +mind must either apply itself to that which is theoretical or +that which is practical, to the world of abstraction or to the +world of objects and realities. In the former case the deductive +understanding, which masters first principles, and makes deductions +from them, the thin ether of the intellect,—the ‘mind +itself by itself,’—must evidently assume a great prominence. +To attempt to comprehend principles without it, is to try to +swim without arms, or to fly without wings. Accordingly, in +the mind of Plato, and in others like him, the abstract and +deducing understanding fills a great place; the imagination +seems a kind of eye to descry its data; the artistic instinct an +arranging impulse, which sets in order its inferences and conclusions. +On the other hand, if a symmetrical mind busy itself +with the active side of human life, with the world of concrete +men and real things, its principal quality will be a practical +sagacity, which forms with ease a distinct view and just appreciation +of all the mingled objects that the world presents,—which +allots to each its own place, and its intrinsic and appropriate +rank. Possibly no mind gives such an idea of this sort +of symmetry as Chaucer’s. Every thing in it seems in its +place. A healthy sagacious man of the world has gone through +the world; he loves it, and knows it; he dwells on it with a +fond appreciation; every object of the old life of ‘merry +England’ seems to fall into its precise niche in his ordered and +symmetrical comprehension. The <i>Prologue to the Canterbury +<span class="pagenum" id="Page_189">[189]</span>Tales</i> is in itself a series of memorial tablets to mediæval +society; each class has its tomb, and each its apt inscription. +A man without such an apprehensive and broad sagacity must +fail in every extensive delineation of various life; he might +attempt to describe what he did not penetrate, or if by a rare +discretion he avoided that mistake, his works would want the +<i>binding element</i>; he would be deficient in that distinct sense +of relation and combination which is necessary for the depiction +of the whole of life, which gives to it unity at first, and imparts +to it a mass in the memory ever afterwards. And eminence in +one or other of these marking faculties,—either in the deductive +abstract intellect, or the practical seeing sagacity,—seems essential +to the mental constitution of a symmetrical genius, at +least in man. There are, after all, but two principal all-important +spheres in human life—thought and action; and we +can hardly conceive of a masculine mind symmetrically developed, +which did not evince its symmetry by an evident perfection +in one or other of those pursuits, which did not leave the +trace of its distinct reflection upon the one, or of its large insight +upon the other of them. Possibly it may be thought that +in the sphere of pure art there may be room for a symmetrical +development different from these; but it will perhaps be found, +on examination of such cases, either that under peculiar and +appropriate disguises one of these great qualities is present, or +that the apparent symmetry is the narrow perfection of a +limited nature, which may be most excellent in itself, as in +the stricter form of sacred art, but which, as we explained, +is quite opposed to that broad perfection of the thinking +being, to which we have applied the name of the symmetry of +genius.</p> + +<p>If this classification of men of genius be admitted, there can +be no hesitation in assigning to Mr. Dickens his place in it. +His genius is essentially irregular and unsymmetrical. Hardly +any English writer perhaps is much more so. His style is an +example of it. It is descriptive, racy, and flowing; it is instinct +<span class="pagenum" id="Page_190">[190]</span>with new imagery and singular illustration; but it does not +indicate that due proportion of the faculties to one another +which is a beauty in itself, and which cannot help diffusing +beauty over every happy word and moulded clause. We may +choose an illustration at random. The following graphic description +will do:</p> + +<blockquote> + +<p>‘If Lord George Gordon had appeared in the eyes of Mr. Willet, +overnight, a nobleman of somewhat quaint and odd exterior, the impression +was confirmed this morning, and increased a hundredfold. +Sitting bolt upright upon his bony steed, with his long, straight hair +dangling about his face and fluttering in the wind; his limbs all angular +and rigid, his elbows stuck out on either side ungracefully, and +his whole frame jogged and shaken at every motion of his horse’s feet; +a more grotesque or more ungainly figure can hardly be conceived. +In lieu of whip, he carried in his hand a great gold-headed cane, as +large as any footman carries in these days; and his various modes of +holding this unwieldy weapon—now upright before his face like the +sabre of a horse-soldier, now over his shoulder like a musket, now between +his finger and thumb, but always in some uncouth and awkward +fashion—contributed in no small degree to the absurdity of his appearance. +Stiff, lank, and solemn, dressed in an unusual manner, and +ostentatiously exhibiting—whether by design or accident—all his peculiarities +of carriage, gesture, and conduct, all the qualities, natural +and artificial, in which he differed from other men, he might have +moved the sternest looker-on to laughter, and fully provoked the +smiles and whispered jests which greeted his departure from the +Maypole Inn.</p> + +<p>‘Quite unconscious, however, of the effect he produced, he trotted +on beside his secretary, talking to himself nearly all the way, until +they came within a mile or two of London, when now and then some +passenger went by who knew him by sight, and pointed him out to +some one else, and perhaps stood looking after him, or cried in jest or +earnest as it might be, “Hurrah, Geordie! No Popery!” At which +he would gravely pull off his hat, and bow. When they reached the +town and rode along the streets, these notices became more frequent; +some laughed, some hissed, some turned their heads and smiled, some +wondered who he was, some ran along the pavement by his side and +cheered. When this happened in a crush of carts and chairs and +coaches, he would make a dead stop, and pulling off his hat, cry, +<span class="pagenum" id="Page_191">[191]</span>“Gentlemen, No Popery!” to which the gentlemen would respond with +lusty voices, and with three times three; and then, on he would go +again with a score or so of the raggedest, following at his horse’s +heels, and shouting till their throats were parched.</p> + +<p>‘The old ladies too—there were a great many old ladies in the +streets, and these all knew him. Some of them—not those of the highest +rank, but such as sold fruit from baskets and carried burdens—clapped +their shrivelled hands, and raised a weazen, piping, shrill +“Hurrah, my lord.” Others waved their hands or handkerchiefs, or +shook their fans or parasols, or threw up windows, and called in haste +to those within, to come and see. All these marks of popular esteem +he received with profound gravity and respect; bowing very low, and +so frequently that his hat was more off his head than on; and looking +up at the houses as he passed along, with the air of one who was +making a public entry, and yet was not puffed-up or proud.’</p> + +</blockquote> + +<p>No one would think of citing such a passage as this, as +exemplifying the proportioned beauty of finished writing; it is +not the writing of an evenly developed or of a highly cultured +mind; it abounds in jolts and odd turns; it is full of singular +twists and needless complexities: but, on the other hand, no +one can deny its great and peculiar merit. It is an odd style, +and it is very odd how much you read it. It is the overflow of +a copious mind, though not the chastened expression of an harmonious +one.</p> + +<p>The same quality characterises the matter of his works. His +range is very varied. He has attempted to describe every kind +of scene in English life, from quite the lowest to almost the +highest. He has not endeavoured to secure success by confining +himself to a single path, nor wearied the public with repetitions +of the subjects by the delineation of which he originally obtained +fame. In his earlier works he never writes long without +saying something well; something which no other man would +have said; but even in them it is the characteristic of his +power that it is apt to fail him at once; from masterly strength +we pass without interval to almost infantine weakness,—something +like disgust succeeds in a moment to an extreme admiration. +<span class="pagenum" id="Page_192">[192]</span>Such is the natural fate of an unequal mind employing +itself on a vast and variegated subject. In writing on the +‘Waverley Novels,’ we ventured to make a division of novels +into the ubiquitous,—it would have been perhaps better to say +the miscellaneous,—and the sentimental: the first, as its name +implies, busying itself with the whole of human life, the second +restricting itself within a peculiar and limited theme. Mr. +Dickens’s novels are all of the former class. They aim to delineate +nearly all that part of our national life which can be delineated,—at +least, within the limits which social morality prescribes to +social art; but you cannot read his delineation of any part without +being struck with its singular incompleteness. An artist +once said of the best work of another artist, ‘Yes, it is a pretty +patch.’ If we might venture on the phrase, we should say that +Mr. Dickens’s pictures are graphic scraps; his best books are +compilations of them.</p> + +<p>The truth is, that Mr. Dickens wholly wants the two elements +which we have spoken of, as one or other requisite for a symmetrical +genius. He is utterly deficient in the faculty of reasoning. +‘Mamma, what shall I think about?’ said the small girl. ‘My +dear, don’t think,’ was the old-fashioned reply. We do not +allege that in the strict theory of education this was a correct +reply; modern writers think otherwise; but we wish some one +would say it to Mr. Dickens. He is often troubled with the +idea that he must reflect, and his reflections are perhaps the +worst reading in the world. There is a sentimental confusion +about them; we never find the consecutive precision of mature +theory, or the cold distinctness of clear thought. Vivid facts +stand out in his imagination; and a fresh illustrative style +brings them home to the imagination of his readers; but his +continuous philosophy utterly fails in the attempt to harmonise +them,—to educe a theory or elaborate a precept from them. +Of his social thinking we shall have a few words to say in detail; +his didactic humour is very unfortunate: no writer is less +fitted for an excursion to the imperative mood. At present, we +<span class="pagenum" id="Page_193">[193]</span>only say, what is so obvious as scarcely to need saying, that his +abstract understanding is so far inferior to his picturesque imagination +as to give even to his best works the sense of jar and +incompleteness, and to deprive them altogether of the crystalline +finish which is characteristic of the clear and cultured understanding.</p> + +<p>Nor has Mr. Dickens the easy and various sagacity which, +as has been said, gives a unity to all which it touches. He +has, indeed, a quality which is near allied to it in appearance. +His shrewdness in some things, especially in traits and small +things, is wonderful. His works are full of acute remarks on +petty doings, and well exemplify the telling power of minute +circumstantiality. But the minor species of perceptive sharpness +is so different from diffused sagacity, that the two scarcely ever +are to be found in the same mind. There is nothing less like +the great lawyer, acquainted with broad principles and applying +them with distinct deduction, than the attorney’s clerk who +catches at small points like a dog biting at flies. ‘Over-sharpness’ +in the student is the most unpromising symptom of the +logical jurist. You must not ask a horse in blinkers for a large +view of a landscape. In the same way, a detective ingenuity in +microscopic detail is of all mental qualities most unlike the +broad sagacity by which the great painters of human affairs +have unintentionally stamped the mark of unity on their productions. +They show by their treatment of each case that they +understand the whole of life; the special delineator of fragments +and points shows that he understands them only. In one respect +the defect is more striking in Mr. Dickens than in any +other novelist of the present day. The most remarkable deficiency +in modern fiction is its omission of the business of life, +of all those countless occupations, pursuits, and callings in which +most men live and move, and by which they have their being. +In most novels money <i>grows</i>. You have no idea of the toil, +the patience, and the wearing anxiety by which men of action +provide for the day, and lay up for the future, and support those +<span class="pagenum" id="Page_194">[194]</span>that are given into their care. Mr. Dickens is not chargeable +with this omission. He perpetually deals with the pecuniary +part of life. Almost all his characters have determined occupations, +of which he is apt to talk even at too much length. +When he rises from the toiling to the luxurious classes, his +genius in most cases deserts him. The delicate refinement and +discriminating taste of the idling orders are not in his way; he +knows the dry arches of London Bridge better than Belgravia. +He excels in inventories of poor furniture, and is learned in +pawnbrokers’ tickets. But, although his creative power lives +and works among the middle class and industrial section of +English society, he has never painted the highest part of their +daily intellectual life. He made, indeed, an attempt to paint +specimens of the apt and able man of business in <i>Nicholas +Nickleby</i>; but the Messrs. Cheeryble are among the stupidest +of his characters. He forgot that breadth of platitude is rather +different from breadth of sagacity. His delineations of middle-class +life have in consequence a harshness and meanness which +do not belong to that life in reality. He omits the relieving +element. He describes the figs which are sold, but not the talent +which sells figs well. And it is the same want of diffused sagacity +in his own nature which has made his pictures of life so odd and +disjointed, and which has deprived them of symmetry and unity.</p> + +<p>The <i>bizarrerie</i> of Mr. Dickens’s genius is rendered more +remarkable by the inordinate measure of his special excellences. +The first of these is his power of observation in detail. We +have heard,—we do not know whether correctly or incorrectly,—that +he can go down a crowded street, and tell you all that is in +it, what each shop was, what the grocer’s name was, how many +scraps of orange-peel there were on the pavement. His works +give you exactly the same idea. The amount of detail which +there is in them is something amazing,—to an ordinary writer +something incredible. There are single pages containing telling +<i>minutiæ</i>, which other people would have thought enough for a +volume. Nor is his sensibility to external objects, though omnivorous, +<span class="pagenum" id="Page_195">[195]</span>insensible to the artistic effect of each. There are +scarcely anywhere such pictures of London as he draws. No +writer has equally comprehended the artistic material which is +given by its extent, its aggregation of different elements, its +mouldiness, its brilliancy.</p> + +<p>Nor does his genius—though, from some idiosyncrasy of +mind or accident of external situation, it is more especially +directed to City life—at all stop at the Citywall. He is especially +at home in the picturesque and obvious parts of country +life, particularly in the comfortable and (so to say) mouldering +portion of it. The following is an instance; if not the best +that could be cited, still one of the best:—</p> + +<blockquote> + +<p>‘They arranged to proceed upon their journey next evening, as a +stage-wagon, which travelled for some distance on the same road as +they must take, would stop at the inn to change horses, and the driver +for a small gratuity would give Nell a place inside. A bargain was +soon struck when the wagon came; and in due time it rolled away; +with the child comfortably bestowed among the softer packages, her +grandfather and the schoolmaster walking on beside the driver, and +the landlady and all the good folks of the inn screaming out their +good wishes and farewells.</p> + +<p>‘What a soothing, luxurious, drowsy way of travelling, to lie +inside that slowly-moving mountain, listening to the tinkling of the +horses’ bells, the occasional smacking of the carter’s whip, the smooth +rolling of the great broad wheels, the rattle of the harness, the cheery +goodnights of passing travellers jogging past on little short-stepped +horses—all made pleasantly indistinct by the thick awning, which +seemed made for lazy listening under, till one fell asleep! The very +going to sleep, still with an indistinct idea, as the head jogged to and +fro upon the pillow, of moving onward with no trouble or fatigue, and +hearing all these sounds like dreamy music, lulling to the senses—and +the slow waking up, and finding one’s self staring out through the +breezy curtain half-opened in the front, far up into the cold bright sky +with its countless stars, and downward at the driver’s lantern dancing +on like its namesake Jack of the swamps and marshes, and sideways +at the dark grim trees, and forward at the long bare road rising up, +up, up, until it stopped abruptly at a sharp high ridge as if there were +no more road, and all beyond was sky—and the stopping at the inn to +<span class="pagenum" id="Page_196">[196]</span>bait, and being helped out, and going into a room with fire and candles +and winking very much, and being agreeably reminded that the night +was cold, and anxious for very comfort’s sake to think it colder than +it was! What a delicious journey was that journey in the wagon!</p> + +<p>‘Then the going on again—so fresh at first, and shortly afterwards +so sleepy. The waking from a sound nap as the mail came dashing +past like a highway comet, with gleaming lamps and rattling hoofs, +and visions of a guard behind, standing up to keep his feet warm, and +of a gentleman in a fur cap opening his eyes and looking wild and +stupefied—the stopping at the turnpike, where the man was gone to +bed, and knocking at the door until he answered with a smothered +shout from under the bed-clothes in the little room above, where the +faint light was burning, and presently came down, night-capped and +shivering, to throw the gate wide open, and wish all wagons off the +road except by day. The cold sharp interval between night and +morning—the distant streak of light widening and spreading, and +turning from grey to white, and from white to yellow, and from +yellow to burning red—the presence of day, with all its cheerfulness +and life—men and horses at the plough—birds in the trees and +hedges, and boys in solitary fields frightening them away with rattles. +The coming to a town—people busy in the market; light carts and +chaises round the tavern yard; tradesmen standing at their doors; +men running horses up and down the streets for sale; pigs plunging +and grunting in the dirty distance, getting off with long strings at +their legs, running into clean chemists’ shops and being dislodged with +brooms by ’prentices; the night-coach changing horses—the passengers +cheerless, cold, ugly, and discontented, with three months’ growth of +hair in one night—the coachmen fresh as from a bandbox, and exquisitely +beautiful by contrast:—so much bustle, so many things in +motion, such a variety of incidents—when was there a journey with +so many delights as that journey in the wagon!’</p> + +</blockquote> + +<p>Or, as a relief from a very painful series of accompanying +characters, it is pleasant to read and remember the description +of the fine morning on which Mr. Jonas Chuzzlewit does not +reflect. Mr. Dickens has, however, no feeling analogous to the +nature-worship of some other recent writers. There is nothing +Wordsworthian in his bent; the interpreting inspiration (as +that school speak) is not his. Nor has he the erudition in +difficult names which has filled some pages in late novelists +<span class="pagenum" id="Page_197">[197]</span>with mineralogy and botany. His descriptions of nature are +fresh and superficial; they are not sermonic or scientific.</p> + +<p>Nevertheless, it may be said that Mr. Dickens’s genius is +especially suited to the delineation of City life. London is like +a newspaper. Everything is there, and everything is disconnected. +There is every kind of person in some houses; but +there is no more connection between the houses than between +the neighbours in the lists of ‘births, marriages, and deaths.’ +As we change from the broad leader to the squalid police-report, +we pass a corner and we are in a changed world. This is +advantageous to Mr. Dickens’s genius. His memory is full of +instances of old buildings and curious people, and he does not +care to piece them together. On the contrary, each scene, to his +mind, is a separate scene,—each street a separate street. He +has, too, the peculiar alertness of observation that is observable +in those who live by it. He describes London like a special +correspondent for posterity.</p> + +<p>A second most wonderful special faculty which Mr. Dickens +possesses is what we may call his <i>vivification</i> of character, or +rather of characteristics. His marvellous power of observation +has been exercised upon men and women even more than upon +town or country; and the store of human detail, so to speak, in +his books is endless and enormous. The boots at the inn, the +pickpockets in the street, the undertaker, the Mrs. Gamp, are all +of them at his disposal; he knows each trait and incident, and +he invests them with a kind of perfection in detail which in +reality they do not possess. He has a very peculiar power of +taking hold of some particular traits, and making a character +out of them. He is especially apt to incarnate particular professions +in this way. Many of his people never speak without +some allusion to their occupation. You cannot separate them +from it. Nor does the writer ever separate them. What would +Mr. Mould be if not an undertaker? or Mrs. Gamp if not a +nurse? or Charley Bates if not a pickpocket? Not only is +human nature in them subdued to what it works in, but there +<span class="pagenum" id="Page_198">[198]</span>seems to be no nature to subdue; the whole character is the +idealisation of a trade, and is not in fancy or thought distinguishable +from it. Accordingly, of necessity, such delineations +become caricatures. We do not in general contrast them with +reality; but as soon as we do, we are struck with the monstrous +exaggerations which they present. You could no more fancy +Sam Weller, or Mark Tapley, or the Artful Dodger really existing, +walking about among common ordinary men and women, +than you can fancy a talking duck or a writing bear. They are +utterly beyond the pale of ordinary social intercourse. We suspect, +indeed, that Mr. Dickens does not conceive his characters +to himself as mixing in the society he mixes in. He sees people +in the street, doing certain things, talking in a certain way, and +his fancy petrifies them in the act. He goes on fancying hundreds +of reduplications of that act and that speech; he frames an +existence in which there is nothing else but that aspect which +attracted his attention. Sam Weller is an example. He is a +man-servant, who makes a peculiar kind of jokes, and is wonderfully +felicitous in certain similes. You see him at his first +introduction:—</p> + +<blockquote> + +<p>‘“My friend,” said the thin gentleman.</p> + +<p>‘“You’re one o’ the adwice gratis order,” thought Sam, “or you +wouldn’t be so werry fond o’ me all at once.” But he only said—“Well, +sir?”</p> + +<p>‘“My friend,” said the thin gentlemen, with a conciliatory hem—“Have +you got many people stopping here, now? Pretty busy? Eh?”</p> + +<p>‘Sam stole a look at the inquirer. He was a little high-dried man, +with a dark squeezed-up face, and small restless black eyes, that kept +winking and twinkling on each side of his little inquisitive nose, as if +they were playing a perpetual game of peep-bo with that feature. He +was dressed all in black, with boots as shiny as his eyes, a low white +neckcloth, and a clean shirt with a frill to it. A gold watch-chain, +and seals, depended from his fob. He carried his black kid gloves <i>in</i> +his hands, not <i>on</i> them; and as he spoke, thrust his wrists beneath his +coat-tails, with the air of a man who was in the habit of propounding +some regular posers.</p> + +<p>‘“Pretty busy, eh?” said the little man.</p> + +<p><span class="pagenum" id="Page_199">[199]</span></p> + +<p>‘“Oh, werry well, sir,” replied Sam, “we shan’t be bankrupts, and +we shan’t make our fort’ns. We eats our biled mutton without capers, +and don’t care for horse-radish ven ve can get beef?”</p> + +<p>‘“Ah,” said the little man, “you’re a wag, ain’t you?”</p> + +<p>‘“My eldest brother was troubled with that complaint,” said Sam, +“it may be catching—I used to sleep with him.”</p> + +<p>‘“This is a curious old house of yours,” said the little man, looking +round him.</p> + +<p>‘“If you’d sent word you was a coming, we’d ha’ had it repaired,” +replied the imperturbable Sam.</p> + +<p>‘The little man seemed rather baffled by these several repulses, and +a short consultation took place between him and the two plump gentlemen. +At its conclusion, the little man took a pinch of snuff from +an oblong silver box, and was apparently on the point of renewing the +conversation, when one of the plump gentlemen, who, in addition to a +benevolent countenance, possessed a pair of spectacles and a pair of +black gaiters, interfered—</p> + +<p>‘“The fact of the matter is,” said the benevolent gentleman, “that +my friend here” (pointing to the other plump gentleman) “will give +you half a guinea, if you’ll answer one or two—”</p> + +<p>‘“Now, my dear sir—my dear sir,” said the little man, “pray allow +me—my dear sir, the very first principle to be observed in these cases +is this: if you place a matter in the hands of a professional man, you +must in no way interfere in the progress of the business; you must +repose implicit confidence in him. Really, Mr. (he turned to the other +plump gentleman, and said)—I forget your friend’s name.”</p> + +<p>‘“Pickwick,” said Mr. Wardle, for it was no other than that jolly +personage.</p> + +<p>‘“Ah, Pickwick—really Mr. Pickwick, my dear sir, excuse me—I +shall be happy to receive any private suggestions of yours, as <i>amicus +curiæ</i>, but you must see the impropriety of your interfering with my +conduct in this case, with such an <i>ad captandum</i> argument as the +offer of half a guinea. Really, my dear sir, really,” and the little man +took an argumentative pinch of snuff, and looked very profound.</p> + +<p>‘“My only wish, sir,” said Mr. Pickwick, “was to bring this very +unpleasant matter to as speedy a close as possible.”</p> + +<p>‘“Quite right—quite right,” said the little man.</p> + +<p>‘“With which view,” continued Mr. Pickwick, “I made use of +the argument which my experience of men has taught me is the most +likely to succeed in any case.”</p> + +<p>‘“Ay, ay,” said the little man, “very good, very good indeed; but +<span class="pagenum" id="Page_200">[200]</span>you should have suggested it to <i>me</i>. My dear sir, I’m quite certain +you cannot be ignorant of the extent of confidence which must be +placed in professional men. If any authority can be necessary on +such a point, my dear sir, let me refer you to the well-known case in +Barnwell and—”</p> + +<p>‘“Never mind George Barnwell,” interrupted Sam, who had remained +a wondering listener during this short colloquy; “everybody +knows vat sort of a case his was, tho’ it’s always been my opinion, +mind you, that the young ’ooman deserved scragging a precious sight +more than he did. Hows’ever, that’s neither here nor there. You +want me to except of half a guinea. Werry well, I’m agreeable: I +can’t say no fairer than that, can I, sir? (Mr. Pickwick smiled.) +Then the next question is, what the devil do you want with me, as +the man said wen he see the ghost?”</p> + +<p>‘“We want to know—” said Mr. Wardle.</p> + +<p>‘“Now, my dear sir—my dear sir,” interposed the busy little man.</p> + +<p>‘Mr. Wardle shrugged his shoulders, and was silent.</p> + +<p>‘“We want to know,” said the little man, solemnly; “and we ask +the question of you, in order that we may not awaken apprehensions +inside—we want to know who you’ve got in this house at present.”</p> + +<p>‘“Who there is in the house!” said Sam, in whose mind the inmates +were always represented by that particular article of their costume, +which came under his immediate superintendence. “There’s a wooden +leg in number six; there’s a pair of Hessians in thirteen; there’s two +pair of halves in the commercial; there’s these here painted tops in +the snuggery inside the bar; and five more tops in the coffee-room.”</p> + +<p>‘“Nothing more?” said the little man.</p> + +<p>‘“Stop a bit,” replied Sam, suddenly recollecting himself. “Yes; +there’s a pair of Wellingtons a good deal worn, and a pair o’ lady’s +shoes, in number five.”</p> + +<p>‘“What sort of shoes?” hastily inquired Wardle, who, together +with Mr. Pickwick, had been lost in bewilderment at the singular +catalogue of visitors.</p> + +<p>‘“Country make,” replied Sam.</p> + +<p>‘“Any maker’s name?”</p> + +<p>‘“Brown.”</p> + +<p>‘“Where of?”</p> + +<p>‘“Muggleton.”</p> + +<p>‘“It <i>is</i> them,” exclaimed Wardle. “By Heavens, we’ve found them.”</p> + +<p>‘“Hush!” said Sam. “The Wellingtons has gone to Doctors +Commons.”</p> + +<p><span class="pagenum" id="Page_201">[201]</span></p> + +<p>‘“No,” said the little man.</p> + +<p>‘“Yes, for a license.”</p> + +<p>‘“We’re in time,” exclaimed Wardle. “Show us the room; not a +moment is to be lost.”</p> + +<p>‘“Pray, my dear sir—pray,” said the little man; “caution, +caution.” He drew from his pocket a red silk purse, and looked +very hard at Sam as he drew out a sovereign.</p> + +<p>‘Sam grinned expressively.</p> + +<p>‘“Show us into the room at once, without announcing us,” said the +little man, “and it’s yours.”’</p> + +</blockquote> + +<p>One can fancy Mr. Dickens hearing a dialogue of this sort,—not +nearly so good, but something like it,—and immediately +setting to work to make it better and put it in a book; then +changing a little the situation, putting the boots one step up in +the scale of service, engaging him as footman to a stout gentleman +(but without for a moment losing sight of the peculiar +kind of professional conversation and humour which his first +dialogue presents), and astonishing all his readers by the +marvellous fertility and magical humour with which he maintains +that style. Sam Weller’s father is even a stronger and +simpler instance. He is simply nothing but an old coachman +of the stout and extinct sort: you cannot separate him from +the idea of that occupation. But how amusing he is! We +dare not quote a single word of his talk; because we should go +on quoting so long, and every one knows it so well. Some +persons may think that this is not a very high species of +delineative art. The idea of personifying traits and trades may +seem to them poor and meagre. Anybody, they may fancy, +can do that. But how would they do it? Whose fancy would +not break down in a page—in five lines? Who could carry on +the vivification with zest and energy and humour for volume +after volume? Endless fertility in laughter-causing detail is +Mr. Dickens’s most astonishing peculiarity. It requires a continuous +and careful reading of his works to be aware of his +enormous wealth. Writers have attained the greatest reputation +for wit and humour, whose whole works do not contain +<span class="pagenum" id="Page_202">[202]</span>so much of either as are to be found in a very few pages +of his.</p> + +<p>Mr. Dickens’s humour is indeed very much a result of the +two peculiarities of which we have been speaking. His power +of detailed observation and his power of idealising individual +traits of character—sometimes of one or other of them, sometimes +of both of them together. His similes on matters of +external observation are so admirable that everybody appreciates +them, and it would be absurd to quote specimens of them; +nor is it the sort of excellence which best bears to be paraded +for the purposes of critical example. Its off-hand air and +natural connection with the adjacent circumstances are inherent +parts of its peculiar merit. Every reader of Mr. Dickens’s works +knows well what we mean. And who is not a reader of them?</p> + +<p>But his peculiar humour is even more indebted to his habit +of vivifying external traits, than to his power of external +observation. He, as we have explained, expands traits into +people; and it is a source of true humour to place these, when +so expanded, in circumstances in which only people—that is +complete human beings—can appropriately act. The humour +of Mr. Pickwick’s character is entirely of this kind. He is a +kind of incarnation of simple-mindedness and what we may +call obvious-mindedness. The conclusion which each occurrence +or position in life most immediately presents to the unsophisticated +mind is that which Mr. Pickwick is sure to accept. +The proper accompaniments are given to him. He is a stout +gentleman in easy circumstances, who is irritated into originality +by no impulse from within, and by no stimulus from without. +He is stated to have ‘retired from business.’ But no one can +fancy what he was in business. Such guileless simplicity of +heart and easy impressibility of disposition would soon have induced +a painful failure amid the harsh struggles and the tempting +speculations of pecuniary life. As he is represented in the +narrative, however, nobody dreams of such antecedents. Mr. +Pickwick moves easily over all the surface of English life from +<span class="pagenum" id="Page_203">[203]</span>Goswell Street to Dingley Dell, from Dingley Dell to the +Ipswich elections, from drinking milk-punch in a wheelbarrow +to sleeping in the approximate pound, and no one ever thinks +of applying to him the ordinary maxims which we should apply +to any common person in life, or to any common personage in +a fiction. Nobody thinks it is wrong in Mr. Pickwick to drink +too much milk-punch in a wheelbarrow, to introduce worthless +people of whom he knows nothing to the families of people for +whom he really cares; nobody holds him responsible for the +consequences; nobody thinks there is anything wrong in his +taking Mr. Bob Sawyer and Mr. Benjamin Allen to visit Mr. +Winkle, senior, and thereby almost irretrievably offending him +with his son’s marriage. We do not reject moral remarks such +as these, but they never occur to us. Indeed, the indistinct +consciousness that such observations are possible, and that they +are hovering about our minds, enhances the humour of the +narrative. We are in a conventional world, where the mere +maxims of common life do not apply, and yet which has all the +amusing detail, and picturesque elements, and singular eccentricities +of common life. Mr. Pickwick is a personified ideal; +a kind of amateur in life, whose course we watch through all +the circumstances of ordinary existence, and at whose follies we +are amused just as really skilled people are at the mistakes of +an amateur in their art. His being in the pound is not wrong; +his being the victim of Messrs. Dodson is not foolish. ‘Always +shout with the mob,’ said Mr. Pickwick. ‘But suppose there +are two mobs,’ said Mr. Snodgrass. ‘Then shout with the +loudest,’ said Mr. Pickwick. This is not in him weakness or +time-serving, or want of principle, as in most even of fictitious +people it would be. It is his way. Mr. Pickwick was expected +to say something, so he said ‘Ah!’ in a grave voice. +This is not pompous as we might fancy, or clever as it might be, +if intentionally devised; it is simply his way. Mr. Pickwick +gets late at night over the wall behind the back-door of a +young-ladies’ school, is found in that sequestered place by the +<span class="pagenum" id="Page_204">[204]</span>schoolmistress and the boarders and the cook, and there is a +dialogue between them. There is nothing out of possibility in +this; it is his way. The humour essentially consists in treating +as a moral agent a being who really is not a moral agent. We +treat a vivified accident as a man, and we are surprised at the +absurd results. We are reading about an acting thing, and we +wonder at its scrapes, and laugh at them as if they were those +of the man. There is something of this humour in every sort +of farce. Everybody knows these are not real beings acting in +real life, though they talk as if they were, and want us to +believe that they are. Here, as in Mr. Dickens’s books, we +have exaggerations pretending to comport themselves as ordinary +beings, caricatures acting as if they were characters.</p> + +<p>At the same time it is essential to remember, that however +great may be and is the charm of such exaggerated personifications, +the best specimens of them are immensely less excellent, +belong to an altogether lower range of intellectual achievements, +than the real depiction of actual living men. It is +amusing to read of beings <i>out</i> of the laws of morality, but it is +more profoundly interesting, as well as more instructive, to +read of those whose life in its moral conditions resembles our +own. We see this most distinctly when both representations are +given by the genius of one and the same writer. Falstaff is a +sort of sack-holding paunch, an exaggerated over-development +which no one thinks of holding down to the commonplace rules +of the ten commandments and the statute-law. We do not +think of them in connection with him. They belong to a +world apart. Accordingly, we are vexed when the king discards +him and reproves him. Such a fate was a necessary adherence +on Shakespeare’s part to the historical tradition; he never +probably thought of departing from it, nor would his audience +have perhaps endured his doing so. But to those who look at +the historical plays as pure works of imaginative art, it seems +certainly an artistic misconception to have developed so marvellous +an <i>un</i>moral impersonation, and then to have subjected +<span class="pagenum" id="Page_205">[205]</span>it to an ethical and punitive judgment. Still, notwithstanding +this error, which was very likely inevitable, Falstaff is probably +the most remarkable specimen of caricature-representation to +be found in literature. And its very excellence of execution +only shows how inferior is the kind of art which creates only +such representations. Who could compare the genius, marvellous +as must be its fertility, which was needful to create a Falstaff +with that shown in the higher productions of the same +mind in Hamlet, Ophelia, and Lear? We feel instantaneously +the difference between the aggregating accident which rakes up +from the externalities of life other accidents analogous to itself, +and the central ideal of a real character which cannot show +itself wholly in any accidents, but which exemplifies itself +partially in many, which unfolds itself gradually in wide +spheres of action, and yet, as with those we know best in life, +leaves something hardly to be understood, and after years of +familiarity is a problem and a difficulty to the last. In the +same way, the embodied characteristics and grotesque exaggerations +of Mr. Dickens, notwithstanding all their humour and all +their marvellous abundance, can never be for a moment compared +with the great works of the real painters of essential +human nature.</p> + +<p>There is one class of Mr. Dickens’s pictures which may seem +to form an exception to this criticism. It is the delineation of +the outlaw, we might say the anti-law, world in <i>Oliver Twist</i>. +In one or two instances Mr. Dickens has been so fortunate as to +hit on characteristics which, by his system of idealisation and +continual repetition, might really be brought to look like a +character. A man’s trade or profession in regular life can only +exhaust a very small portion of his nature; no approach is made +to the essence of humanity by the exaggeration of the traits +which typify a beadle or an undertaker. With the outlaw world +it is somewhat different. The bare fact of a man belonging to +that world is so important to his nature, that if it is artistically +developed with coherent accessories, some approximation to a +<span class="pagenum" id="Page_206">[206]</span>distinctly natural character will be almost inevitably made. In +the characters of Bill Sykes and Nancy this is so. The former +is the skulking ruffian who may be seen any day at the police-courts, +and whom anyone may fancy he sees by walking through +St. Giles’s. You cannot attempt to figure to your imagination +the existence of such a person without being thrown into the +region of the passions, the will, and the conscience; the mere +fact of his maintaining, as a condition of life and by settled +profession, a struggle with regular society necessarily brings +these deep parts of his nature into prominence; great crime +usually proceeds from abnormal impulses or strange effort. Accordingly, +Mr. Sykes is the character most approaching to a +coherent man who is to be found in Mr. Dickens’s works. We +do not say that even here there is not some undue heightening +admixture of caricature,—but this defect is scarcely thought of +amid the general coherence of the picture, the painful subject, +and the wonderful command of strange accessories. Miss Nancy +is a still more delicate artistic effort. She is an idealisation of +the girl who may also be seen at the police-courts and St. +Giles’s; as bad, according to occupation and common character, +as a woman can be, yet retaining a tinge of womanhood, and a +certain compassion for interesting suffering, which under favouring +circumstances might be the germ of a regenerating influence. +We need not stay to prove how much the imaginative development +of such a personage must concern itself with our deeper +humanity; how strongly, if excellent, it must be contrasted with +everything conventional or casual or superficial. Mr. Dickens’s +delineation is in the highest degree excellent. It possesses not +only the more obvious merits belonging to the subject, but also +that of a singular delicacy of expression and idea. Nobody +fancies for a moment that they are reading about anything +beyond the pale of ordinary propriety. We read the account of +the life which Miss Nancy leads with Bill Sykes without such +an idea occurring to us: yet, when we reflect upon it, few things +in literary painting are more wonderful than the depiction of a +<span class="pagenum" id="Page_207">[207]</span>professional life of sin and sorrow, so as not even to startle those +to whom the deeper forms of either are but names and shadows. +Other writers would have given as vivid a picture: Defoe would +have poured out even a more copious measure of telling circumstantiality, +but he would have narrated his story with an +inhuman distinctness, which if not impure is <i>un</i>pure; French +writers, whom we need not name, would have enhanced the +interest of their narrative by trading on the excitement of +stimulating scenes. It would be injustice to Mr. Dickens to say +that he has surmounted these temptations; the unconscious +evidence of innumerable details proves that, from a certain +delicacy of imagination and purity of spirit, he has not even +experienced them. Criticism is the more bound to dwell at +length on the merits of these delineations, because no artistic +merit can make <i>Oliver Twist</i> a pleasing work. The squalid +detail of crime and misery oppresses us too much. If it is to +be read at all, it should be read in the first hardness of the +youthful imagination, which no touch can move too deeply, +and which is never stirred with tremulous suffering at the ‘still +sad music of humanity.’ The coldest critic in later life may +never hope to have again the apathy of his boyhood.</p> + +<p>It perhaps follows from what has been said of the characteristics +of Mr. Dickens’s genius, that it would be little skilled in +planning plots for his novels. He certainly is not so skilled. +He says in his preface to the <i>Pickwick Papers</i> ‘that they were +designed for the introduction of diverting characters and incidents; +that no ingenuity of plot was attempted, or even at that +time considered feasible by the author in connection with the +desultory plan of publication adopted;’ and he adds an expression +of regret that ‘these chapters had not been strung together +on a thread of more general interest.’ It is extremely fortunate +that no such attempt was made. In the cases in which Mr. +Dickens has attempted to make a long connected story, or to +develop into scenes or incidents a plan in any degree elaborate, +the result has been a complete failure. A certain consistency +<span class="pagenum" id="Page_208">[208]</span>of genius seems necessary for the construction of a consecutive +plot. An irregular mind naturally shows itself in incoherency +of incident and aberration of character. The method in which +Mr. Dickens’s mind works, if we are correct in our criticism +upon it, tends naturally to these blemishes. Caricatures are +necessarily isolated; they are produced by the exaggeration of +certain conspicuous traits and features; each being is enlarged +on its greatest side; and we laugh at the grotesque grouping +and the startling contrast. But that connection between human +beings on which a plot depends is rather severed than elucidated +by the enhancement of their diversities. Interesting stories are +founded on the intimate relations of men and women. These +intimate relations are based not on their superficial traits, or +common occupations, or most visible externalities, but on the +inner life of heart and feeling. You simply divert attention +from that secret life by enhancing the perceptible diversities of +common human nature, and the strange anomalies into which it +may be distorted. The original germ of <i>Pickwick</i> was a ‘Club +of Oddities.’ The idea was professedly abandoned; but traces +of it are to be found in all Mr. Dickens’s books. It illustrates +the professed grotesqueness of the characters as well as their +slender connection.</p> + +<p>The defect of plot is heightened by Mr. Dickens’s great, we +might say complete, inability to make a love-story. A pair of +lovers is by custom a necessity of narrative fiction, and writers +who possess a great general range of mundane knowledge, and +but little knowledge of the special sentimental subject, are often +in amusing difficulties. The watchful reader observes the transition +from the hearty description of well-known scenes, of prosaic +streets, or journeys by wood and river, to the pale colours +of ill-attempted poetry, to such sights as the novelist evidently +wishes that he need not try to see. But few writers exhibit the +difficulty in so aggravated a form as Mr. Dickens. Most men +by taking thought can make a lay figure to look not so very +unlike a young gentleman, and can compose a telling schedule +<span class="pagenum" id="Page_209">[209]</span>of ladylike charms. Mr. Dickens has no power of doing either. +The heroic character—we do not mean the form of character +so called in life and action, but that which is hereditary in the +heroes of novels—is not suited to his style of art. Hazlitt wrote +an essay to inquire ‘Why the heroes of romances are insipid;’ +and without going that length it may safely be said that the character +of the agreeable young gentleman who loves and is loved +should not be of the most marked sort. Flirtation ought not +to be an exaggerated pursuit. Young ladies and their admirers +should not express themselves in the heightened and imaginative +phraseology suited to Charley Bates and the Dodger. Humour +is of no use, for no one makes love in jokes: a tinge of insidious +satire may perhaps be permitted as a rare and occasional relief, +but it will not be thought ‘a pretty book,’ if so malicious an +element be at all habitually perceptible. The broad farce in +which Mr. Dickens indulges is thoroughly out of place. If +you caricature a pair of lovers ever so little, by the necessity of +their calling you make them ridiculous. One of Sheridan’s best +comedies is remarkable for having no scene in which the hero +and heroine are on the stage together; and Mr. Moore suggests +that the shrewd wit distrusted his skill in the light dropping +love-talk which would have been necessary. Mr. Dickens would +have done well to imitate so astute a policy; but he has none of +the managing shrewdness which those who look at Sheridan’s +career attentively will probably think not the least remarkable +feature in his singular character. Mr. Dickens, on the contrary, +pours out painful sentiments as if he wished the abundance +should make up for the inferior quality. The excruciating +writing which is expended on Miss Ruth Pinch passes belief. +Mr. Dickens is not only unable to make lovers talk, but to +describe heroines in mere narrative. As has been said, most +men can make a jumble of blue eyes and fair hair and pearly +teeth, that does very well for a young lady, at least for a good +while; but Mr. Dickens will not, probably cannot, attain even +to this humble measure of descriptive art. He vitiates the +<span class="pagenum" id="Page_210">[210]</span>repose by broad humour, or disenchants the delicacy by an +unctuous admiration.</p> + +<p>This deficiency is probably nearly connected with one of +Mr. Dickens’s most remarkable excellences. No one can read +Mr. Thackeray’s writings without feeling that he is perpetually +treading as close as he dare to the border-line that separates the +world which may be described in books from the world which +it is prohibited so to describe. No one knows better than this +accomplished artist where that line is, and how curious are its +windings and turns. The charge against him is that he knows +it but too well; that with an anxious care and a wistful eye he +is ever approximating to its edge, and hinting with subtle art +how thoroughly he is familiar with, and how interesting he could +make, the interdicted region on the other side. He never violates +a single conventional rule; but at the same time the shadow +of the immorality that is not seen is scarcely ever wanting to +his delineation of the society that is seen. Every one may perceive +what is passing in his fancy. Mr. Dickens is chargeable +with no such defect: he does not seem to feel the temptation. +By what we may fairly call an instinctive purity of genius, he +not only observes the conventional rules, but makes excursions +into topics which no other novelist could safely handle, and, by a +felicitous instinct, deprives them of all impropriety. No other +writer could have managed the humour of Mrs. Gamp without +becoming unendurable. At the same time it is difficult not to +believe that this singular insensibility to the temptations to which +many of the greatest novelists have succumbed is in some measure +connected with his utter inaptitude for delineating the portion +of life to which their art is specially inclined. He delineates +neither the love-affairs which ought to be, nor those which ought +not to be.</p> + +<p>Mr. Dickens’s indisposition to ‘make capital’ out of the +most commonly tempting part of human sentiment is the more +remarkable because he certainly does not show the same indisposition +in other cases. He has naturally great powers of pathos; +<span class="pagenum" id="Page_211">[211]</span>his imagination is familiar with the common sort of human +suffering; and his marvellous conversancy with the detail of +existence enables him to describe sick-beds and death-beds with +an excellence very rarely seen in literature. A nature far more +sympathetic than that of most authors has familiarised him with +such subjects. In general, a certain apathy is characteristic of +book-writers, and dulls the efficacy of their pathos. Mr. Dickens +is quite exempt from this defect; but, on the other hand, is exceedingly +prone to a very ostentatious exhibition of the opposite +excellence. He dwells on dismal scenes with a kind of fawning +fondness; and he seems unwilling to leave them, long after his +readers have had more than enough of them. He describes Mr. +Dennis the hangman as having a professional fondness for his +occupation: he has the same sort of fondness apparently for the +profession of death-painter. The painful details he accumulates +are a very serious drawback from the agreeableness of his +writings. Dismal ‘light literature’ is the dismallest of reading. +The reality of the police reports is sufficiently bad, but a fictitious +police report would be the most disagreeable of conceivable +compositions. Some portions of Mr. Dickens’s books are liable +to a good many of the same objections. They are squalid from +noisome trivialities, and horrid with terrifying crime. In his +earlier books this is commonly relieved at frequent intervals +by a graphic and original mirth. As we will not say age, but +maturity, has passed over his powers, this counteractive element +has been lessened; the humour is not so happy as it was, but +the wonderful fertility in painful <i>minutiæ</i> still remains.</p> + +<p>Mr. Dickens’s political opinions have subjected him to a +good deal of criticism, and to some ridicule. He has shown, on +many occasions, the desire—which we see so frequent among +able and influential men—to start as a political reformer. Mr. +Spurgeon said, with an application to himself, ‘If you’ve got +the ear of the public, <i>of course</i> you must begin to tell it its +faults.’ Mr. Dickens has been quite disposed to make this use +of his popular influence. Even in <i>Pickwick</i> there are many +<span class="pagenum" id="Page_212">[212]</span>traces of this tendency; and the way in which it shows itself +in that book and in others is very characteristic of the time at +which they appeared. The most instructive political characteristic +of the years from 1825 to 1845 is the growth and +influence of the scheme of opinion which we call Radicalism. +There are several species of creeds which are comprehended +under this generic name, but they all evince a marked reaction +against the worship of the English constitution and the affection +for the English <i>status quo</i>, which were then the established +creed and sentiment. All Radicals are anti-Eldonites. This is +equally true of the Benthamite or philosophical radicalism of +the early period, and the Manchester, or ‘definite-grievance +radicalism,’ among the last vestiges of which we are now living. +Mr. Dickens represents a species different from either. His is +what we may call the ‘sentimental radicalism;’ and if we recur +to the history of the time, we shall find that there would not +originally have been any opprobrium attaching to such a name. +The whole course of the legislation, and still more of the administration, +of the first twenty years of the nineteenth century +was marked by a harsh unfeelingness which is of all faults the +most contrary to any with which we are chargeable now. The +world of the ‘Six Acts,’ of the frequent executions, of the +Draconic criminal law, is so far removed from us that we cannot +comprehend its having ever existed. It is more easy to understand +the recoil which has followed. All the social speculation, +and much of the social action of the few years succeeding the +Reform Bill, bear the most marked traces of the reaction. The +spirit which animates Mr. Dickens’s political reasonings and +observations expresses it exactly. The vice of the then existing +social authorities, and of the then existing public, had been the +forgetfulness of the pain which their own acts evidently produced,—an +unrealising habit which adhered to official rules +and established maxims, and which would not be shocked by +the evident consequences, by proximate human suffering. The +sure result of this habit was the excitement of the habit precisely +<span class="pagenum" id="Page_213">[213]</span>opposed to it. Mr. Carlyle, in his <i>Chartism</i>, we think, +observes of the poor-law reform: ‘It was then, above all things, +necessary that outdoor relief should cease. But how? What +means did great Nature take for accomplishing that most desirable +end? She created a race of men who believed the +cessation of outdoor relief to be the one thing needful.’ In +the same way, and by the same propensity to exaggerated opposition +which is inherent in human nature, the unfeeling +obtuseness of the early part of this century was to be corrected +by an extreme, perhaps an excessive, sensibility to human suffering +in the years which have followed. There was most +adequate reason for the sentiment in its origin, and it had a +great task to perform in ameliorating harsh customs and repealing +dreadful penalties; but it has continued to repine at such +evils long after they ceased to exist, and when the only facts +that at all resemble them are the necessary painfulness of due +punishment and the necessary rigidity of established law. Mr. +Dickens is an example both of the proper use and of the abuse +of the sentiment. His earlier works have many excellent descriptions +of the abuses which had descended to the present +generation from others whose sympathy with pain was less +tender. Nothing can be better than the description of the poor +debtors’ gaol in <i>Pickwick</i>, or of the old parochial authorities +in <i>Oliver Twist</i>. No doubt these descriptions are caricatures, +all his delineations are so; but the beneficial use of such art +can hardly be better exemplified. Human nature endures the +aggravation of vices and foibles in written description better +than that of excellences. We cannot bear to hear even the +hero of a book for ever called ‘just;’ we detest the recurring +praise even of beauty, much more of virtue. The moment you +begin to exaggerate a character of true excellence, you spoil it; +the traits are too delicate not to be injured by heightening, or +marred by over-emphasis. But a beadle is made for caricature. +The slight measure of pomposity that humanises his unfeelingness +introduces the requisite comic element; even the turnkeys +<span class="pagenum" id="Page_214">[214]</span>of a debtors’ prison may by skilful hands be similarly used. The +contrast between the destitute condition of Job Trotter and Mr. +Jingle and their former swindling triumph is made comic by +a rarer touch of unconscious art. Mr. Pickwick’s warm heart +takes so eager an interest in the misery of his old enemies, that +our colder nature is tempted to smile. We endure the over-intensity, +at any rate the unnecessary aggravation, of the surrounding +misery; and we endure it willingly, because it brings +out better than anything else could have done the half-comic +intensity of a sympathetic nature.</p> + +<p>It is painful to pass from these happy instances of well-used +power to the glaring abuses of the same faculty in Mr. Dickens’s +later books. He began by describing really removable evils in +a style which would induce all persons, however insensible, to +remove them if they could; he has ended by describing the +natural evils and inevitable pains of the present state of being, +in such a manner as must tend to excite discontent and repining. +The result is aggravated, because Mr. Dickens never ceases +to hint that these evils are removable, though he does not say +by what means. Nothing is easier than to show the evils of +anything. Mr. Dickens has not unfrequently spoken, and what +is worse, he has taught a great number of parrot-like imitators +to speak, in what really is, if they knew it, a tone of objection +to the necessary constitution of human society. If you will +only write a description of it, any form of government will seem +ridiculous. What is more absurd than a despotism, even at its +best? A king of ability or an able minister sits in an orderly +room filled with memorials, and returns, and documents, and +memoranda. These are his world; among these he of necessity +lives and moves. Yet how little of the real life of the nation +he governs can be represented in an official form! How much +of real suffering is there that statistics can never tell! how much +of obvious good is there that no memorandum to a minister will +ever mention! how much deception is there in what such documents +contain! how monstrous must be the ignorance of the +<span class="pagenum" id="Page_215">[215]</span>closet statesman, after all his life of labour, of much that a +ploughman could tell him of! A free government is almost +worse, as it must read in a written delineation. Instead of the +real attention of a laborious and anxious statesman, we have +now the shifting caprices of a popular assembly—elected for one +object, deciding on another; changing with the turn of debate; +shifting in its very composition; one set of men coming down +to vote to-day, to-morrow another and often unlike set, most of +them eager for the dinner-hour, actuated by unseen influences, +by a respect for their constituents, by the dread of an attorney +in a far-off borough. What people are these to control a +nation’s destinies, and wield the power of an empire, and regulate +the happiness of millions! Either way we are at fault. +Free government seems an absurdity, and despotism is so too. +Again, every form of law has a distinct expression, a rigid procedure, +customary rules and forms. It is administered by human +beings liable to mistake, confusion, and forgetfulness, and in +the long run, and on the average, is sure to be tainted with +vice and fraud. Nothing can be easier than to make a case, as +we may say, against any particular system, by pointing out with +emphatic caricature its inevitable miscarriages, and by pointing +out nothing else. Those who so address us may assume a tone +of philanthropy, and for ever exult that they are not so unfeeling +as other men are; but the real tendency of their exhortations +is to make men dissatisfied with their inevitable condition, and, +what is worse, to make them fancy that its irremediable evils +can be remedied, and indulge in a succession of vague strivings +and restless changes. Such, however,—though in a style of +expression somewhat different,—is very much the tone with +which Mr. Dickens and his followers have in later years made +us familiar. To the second-hand repeaters of a cry so feeble, we +can have nothing to say; if silly people cry because they think +the world is silly, let them cry; but the founder of the school +cannot, we are persuaded, peruse without mirth the lachrymose +eloquence which his disciples have perpetrated. The soft +<span class="pagenum" id="Page_216">[216]</span>moisture of irrelevant sentiment cannot have entirely entered +into his soul. A truthful genius must have forbidden it. Let +us hope that his pernicious example may incite some one of +equal genius to preach with equal efficiency a sterner and a +wiser gospel; but there is no need just now for us to preach it +without genius.</p> + +<p>There has been much controversy about Mr. Dickens’s taste. +A great many cultivated people will scarcely concede that he +has any taste at all; a still larger number of fervent admirers +point, on the other hand, to a hundred felicitous descriptions +and delineations which abound in apt expressions and skilful +turns and happy images,—in which it would be impossible to +alter a single word without altering for the worse; and naturally +inquire whether such excellences in what is written do not +indicate good taste in the writer. The truth is, that Mr. Dickens +has what we may call creative taste; that is to say, the habit +or faculty, whichever we may choose to call it, which at the +critical instant of artistic production offers to the mind the +right word, and the right word only. If he is engaged on a +good subject for caricature, there will be no defect of taste to +preclude the caricature from being excellent. But it is only in +moments of imaginative production that he has any taste at all. +His works nowhere indicate that he possesses in any degree the +passive taste which decides what is good in the writings of other +people, and what is not, and which performs the same critical +duty upon a writer’s own efforts when the confusing mists of +productive imagination have passed away. Nor has Mr. Dickens +the gentlemanly instinct which in many minds supplies the place +of purely critical discernment, and which, by constant association +with those who know what is best, acquires a second-hand +perception of that which is best. He has no tendency to conventionalism +for good or for evil; his merits are far removed +from the ordinary path of writers, and it was not probably so +much effort to him as to other men to step so far out of that +path: he scarcely knew how far it was. For the same reason, +<span class="pagenum" id="Page_217">[217]</span>he cannot tell how faulty his writing will often be thought, for +he cannot tell what people will think.</p> + +<p>A few pedantic critics have regretted that Mr. Dickens had +not received what they call a regular education. And if we +understand their meaning, we believe they mean to regret that +he had not received a course of discipline which would probably +have impaired his powers. A regular education should mean +that ordinary system of regulation and instruction which experience +has shown to fit men best for the ordinary pursuits of +life. It applies the requisite discipline to each faculty in the +exact proportion in which that faculty is wanted in the pursuits +of life; it develops understanding, and memory, and imagination, +each in accordance with the scale prescribed. To men +of ordinary faculties this is nearly essential; it is the only +mode in which they can be fitted for the inevitable competition +of existence. To men of regular and symmetrical genius also, +such a training will often be beneficial. The world knows pretty +well what are the great tasks of the human mind, and has learnt +in the course of ages with some accuracy what is the kind of +culture likely to promote their exact performance. A man of +abilities extraordinary in degree but harmonious in proportion +will be the better for having submitted to the kind of discipline +which has been ascertained to fit a man for the work to which +powers in that proportion are best fitted; he will do what he +has to do better and more gracefully; culture will add a touch +to the finish of nature. But the case is very different with men +of irregular and anomalous genius, whose excellences consist in +the aggravation of some special faculty, or at the most of one or +two. The discipline which will fit such a man for the production +of great literary works is that which will most develop the +peculiar powers in which he excels; the rest of the mind will be +far less important; it will not be likely that the culture which +is adapted to promote this special development will also be that +which is most fitted for expanding the powers of common men +in common directions. The precise problem is to develop the +<span class="pagenum" id="Page_218">[218]</span>powers of a strange man in a strange direction. In the case of +Mr. Dickens, it would have been absurd to have shut up his +observant youth within the walls of a college. They would +have taught him nothing about Mrs. Gamp there; Sam Weller +took no degree. The kind of early life fitted to develop the +power of apprehensive observation is a brooding life in stirring +scenes; the idler in the streets of life knows the streets; the +bystander knows the picturesque effect of life better than the +player; and the meditative idler amid the hum of existence is +much more likely to know its sound and to take in and comprehend +its depths and meanings than the scholastic student +intent on books, which, if they represent any world, represent +one which has long passed away,—which commonly try rather +to develop the reasoning understanding than the seeing observation,—which +are written in languages that have long been +dead. You will not train by such discipline a caricaturist of +obvious manners.</p> + +<p>Perhaps, too, a regular instruction and daily experience of +the searching ridicule of critical associates would have detracted +from the pluck which Mr. Dickens shows in all his writings. It +requires a great deal of courage to be a humorous writer; you +are always afraid that people will laugh at you instead of with +you: undoubtedly there is a certain eccentricity about it. You +take up the esteemed writers, Thucydides and the <i>Saturday +Review</i>; after all, they do not make you laugh. It is not the +function of really artistic productions to contribute to the +mirth of human beings. All sensible men are afraid of it, and +it is only with an extreme effort that a printed joke attains +to the perusal of the public: the chances are many to one +that the anxious producer loses heart in the correction of the +press, and that the world never laughs at all. Mr. Dickens is +quite exempt from this weakness. He has what a Frenchman +might call the courage of his faculty. The real daring which is +shown in the <i>Pickwick Papers</i>, in the whole character of Mr. +Weller senior, as well as in that of his son, is immense, far surpassing +<span class="pagenum" id="Page_219">[219]</span>any which has been shown by any other contemporary +writer. The brooding irregular mind is in its first stage prone +to this sort of courage. It perhaps knows that its ideas are ‘out +of the way;’ but with the infantine simplicity of youth, it supposes +that originality is an advantage. Persons more familiar +with the ridicule of their equals in station (and this is to most +men the great instructress of the college time) well know that +of all qualities this one most requires to be clipped and pared +and measured. Posterity, we doubt not, will be entirely perfect +in every conceivable element of judgment; but the existing +generation like what they have heard before—it is much easier. +It required great courage in Mr. Dickens to write what his +genius has compelled them to appreciate.</p> + +<p>We have throughout spoken of Mr. Dickens as he was, rather +than as he is; or, to use a less discourteous phrase, and we hope +a truer, of his early works rather than of those which are more +recent. We could not do otherwise consistently with the true +code of criticism. A man of great genius, who has written great +and enduring works, must be judged mainly by them; and not +by the inferior productions which, from the necessities of personal +position, a fatal facility of composition, or other cause, he +may pour forth at moments less favourable to his powers. Those +who are called on to review these inferior productions themselves, +must speak of them in the terms they may deserve; but +those who have the more pleasant task of estimating as a whole +the genius of the writer, may confine their attention almost +wholly to those happier efforts which illustrate that genius. We +should not like to have to speak in detail of Mr. Dickens’s later +works, and we have not done so. There are, indeed, peculiar +reasons why a genius constituted as his is (at least if we are +correct in the view which we have taken of it) would not endure +without injury during a long life the applause of the many, the +temptations of composition, and the general excitement of existence. +Even in his earlier works it was impossible not to fancy +that there was a weakness of fibre unfavourable to the longevity +<span class="pagenum" id="Page_220">[220]</span>of excellence. This was the effect of his deficiency in those +masculine faculties of which we have said so much,—the reasoning +understanding and firm far-seeing sagacity. It is these +two component elements which stiffen the mind, and give a +consistency to the creed and a coherence to its effects,—which +enable it to protect itself from the rush of circumstances. If +to a deficiency in these we add an extreme sensibility to circumstances,—a +mobility, as Lord Byron used to call it, of emotion, +which is easily impressed, and still more easily carried +away by impression,—we have the idea of a character peculiarly +unfitted to bear the flux of time and chance. A man of very +great determination could hardly bear up against them with +such slight aids from within and with such peculiar sensibility +to temptation. A man of merely ordinary determination would +succumb to it; and Mr. Dickens has succumbed. His position +was certainly unfavourable. He has told us that the works of +his later years, inferior as all good critics have deemed them, +have yet been more read than those of his earlier and healthier +years. The most characteristic part of his audience, the lower +middle-class, were ready to receive with delight the least favourable +productions of his genius. Human nature cannot endure +this; it is too much to have to endure a coincident temptation +both from within and from without. Mr. Dickens was too much +inclined by natural disposition to lachrymose eloquence and +exaggerated caricature. Such was the kind of writing which +he wrote most easily. He found likewise that such was the +kind of writing that was read most readily; and of course he +wrote that kind. Who would have done otherwise? No critic +is entitled to speak very harshly of such degeneracy, if he is +not sure that he could have coped with difficulties so peculiar. +If that rule is to be observed, who is there that will not be +silent? No other Englishman has attained such a hold on the +vast populace; it is little, therefore, to say that no other has +surmounted its attendant temptations.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_221">[221]</span></p> + +<h2 class="nobreak" id="THOMAS_BABINGTON_MACAULAY"><i>THOMAS BABINGTON +MACAULAY.</i>⁠<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a><br> +<span class="smaller">(1856.)</span></h2> + +</div> + +<p>This is a marvellous book. Everybody has read it, and +every one has read it with pleasure. It has little advantage +of subject. When the volumes came out, an honest man said, +‘I suppose something happened between the years 1689 and +1697; but what happened I do not know.’ Every one knows +now. No period with so little obvious interest will henceforth +be so familiarly known. Only a most felicitous and rather +curious genius could and would shed such a light on such an +age. If in the following pages we seem to cavil and find fault, +let it be remembered, that the business of a critic is criticism; +that it is <i>not</i> his business to be thankful; that he must attempt +an estimate rather than a eulogy.</p> + +<p>Macaulay seems to have in a high degree the temperament +most likely to be that of a historian. This may be summarily +defined as the temperament which inclines men to +take an interest in actions as contrasted with objects, and in +past actions in preference to present actions. We should expand +our meaning. Some people are unfortunately born scientific. +They take much interest in the objects of nature. They feel +a curiosity about shells, snails, horses, butterflies. They are +delighted at an ichthyosaurus, and excited at a polyp; they +are learned in minerals, vegetables, animals; they have skill in +fishes, and attain renown in pebbles: in the highest cases they +know the great causes of grand phenomena, can indicate the +courses of the stars or the current of the waves; but in every +<span class="pagenum" id="Page_222">[222]</span>case their minds are directed not to the actions of man, but to +the scenery amidst which he lives; not to the inhabitants of this +world, but to the world itself; not to what most resembles +themselves, but to that which is most unlike. What compels +men to take an interest in what they do take an interest in, is +commonly a difficult question—for the most part, indeed, it is +an insoluble one; but in this case it would seem to have a +negative cause—to result from the absence of an intense and +vivid nature. The inclination of mind which abstracts the +attention from that in which it can feel sympathy to that in +which it cannot, seems to arise from a want of sympathy. A +tendency to devote the mind to trees and stones as much as, or +in preference to, men and women, appears to imply that the +intellectual qualities, the abstract reason, and the inductive +scrutiny which can be applied equally to trees and to men, to +stones and to women, predominate over the more special qualities +solely applicable to our own race,—the keen love, the eager +admiration, the lasting hatred, the lust of rule which fastens +men’s interests on people and to people. As a confirmation of +this, we see that, even in the greatest cases, scientific men +have been calm men. Their actions are unexceptionable; +scarcely a spot stains their excellence: if a doubt is to be +thrown on their character, it would be rather that they were +insensible to the temptations than that they were involved in +the offences of ordinary men. An aloofness and abstractedness +cleave to their greatness. There is a coldness in their fame. +We think of Euclid as of fine ice; we admire Newton as we +admire the Peak of Teneriffe. Even the intensest labours, the +most remote triumphs of the abstract intellect, seem to carry us +into a region different from our own—to be in a <i>terra incognita</i> +of pure reasoning, to cast a chill on human glory.</p> + +<p>We know that the taste of most persons is quite opposite. +The tendency of man is to take an interest in man, and almost +in man only. The world has a vested interest in itself. Analyse +the minds of the crowd of men, and what will you find? +<span class="pagenum" id="Page_223">[223]</span>Something of the outer earth, no doubt,—odd geography, odd +astronomy, doubts whether Scutari is in the Crimea, investigations +whether the moon is less or greater than Jupiter; some +idea of herbs, more of horses; ideas, too, more or less vague, of +the remote and supernatural,—notions which the tongue cannot +speak, which it would seem the world would hardly bear if +thoroughly spoken. Yet, setting aside these which fill the +remote corners and lesser outworks of the brain, the whole stress +and vigour of the ordinary faculties is expended on their possessor +and his associates, on the man and on his fellows. In +almost all men, indeed, this is not simply an intellectual contemplation; +we not only look on, but act. The impulse to +busy ourselves with the affairs of men goes further than the +simple attempt to know and comprehend them: it warms us +with a further life; it incites us to stir and influence those +affairs; its animated energy will not rest till it has hurried us +into toil and conflict. At this stage the mind of the historian, +as we abstractedly fancy it, naturally breaks off: it has more +interest in human affairs than the naturalist; it instinctively +selects the actions of man for occupation and scrutiny, in +preference to the habits of fishes or the structure of stones; but +it has not so much vivid interest in them as the warm and +active man. To know is sufficient for it; it can bear not to +take a part. A want of impulse seems born with the disposition. +To be constantly occupied about the actions of others; to have +constantly presented to your contemplation and attention events +and occurrences memorable only as evincing certain qualities of +mind and will, which very qualities in a measure you feel within +yourself, and yet to be without an impulse to exhibit them in the +real world, ‘which is the world of all of us;’ to contemplate, +yet never act; ‘to have the House before you,’ and yet to be +content with the reporters’ gallery,—shows a chill impassiveness +of temperament, a sluggish insensibility to ardent impulse, +a heavy immobility under ordinary emotion. The image of the +stout Gibbon placidly contemplating the animated conflicts, the +<span class="pagenum" id="Page_224">[224]</span>stirring pleadings of Fox and Burke, watching a revolution and +heavily taking no part in it, gives an idea of the historian as he +is likely to be. ‘Why,’ it is often asked, ‘is history dull? It +is a narrative of life, and life is of all things the most interesting.’ +The answer is, that it is written by men too dull to take +the common interest in life, in whom languor predominates over +zeal, and sluggishness over passion.</p> + +<p>Macaulay is not dull, and it may seem hard to attempt to +bring him within the scope of a theory which is so successful in +explaining dulness. Yet, in a modified and peculiar form, we +can perhaps find in his remarkable character unusually distinct +traces of the insensibility which we ascribe to the historian. +The means of scrutiny are ample. Macaulay has not spent +his life in a corner; if posterity should refuse—of course they +will not refuse—to read a line of his writings, they would yet +be sought out by studious inquirers, as those of a man of high +political position, great notoriety, and greater oratorical power. +We are not therefore obliged, as in so many cases even among +contemporaries, to search for the author’s character in his books +alone; we are able from other sources to find out his character, +and then apply it to explain the peculiarities of his works. +Macaulay has exhibited many high attainments, many dazzling +talents, much singular and well-trained power; but the quality +which would most strike the observers of the interior man +is what may be called his <i>in</i>experiencing nature. Men of +genius are in general distinguished by their extreme susceptibility +to external experience. Finer and softer than other men, +every exertion of their will, every incident of their lives, +influences them more deeply than it would others. Their +essence is at once finer and more impressible; it receives a +distincter mark, and receives it more easily than the souls of +the herd. From a peculiar sensibility, the man of genius bears +the stamp of life commonly more clearly than his fellows; even +casual associations make a deep impression on him: examine +his mind, and you may discern his fortunes. Macaulay has +<span class="pagenum" id="Page_225">[225]</span>nothing of this. You could not tell what he has been. His +mind shows no trace of change. What he is, he was; and what +he was, he is. He early attained a high development, but he +has not increased it since; years have come, but they have +whispered little; as was said of the second Pitt, ‘He never +grew, he was cast.’ The volume of ‘speeches’ which he has +published places the proof of this in every man’s hand. His first +speeches are as good as his last; his last scarcely richer than +his first. He came into public life at an exciting season; he +shared of course in that excitement, and the same excitement +still quivers in his mind. He delivered marvellous rhetorical +exercises on the Reform Bill when it passed; he speaks of it +with rhetorical interest even now. He is still the man of ’32. +From that era he looks on the past. He sees ‘Old Sarum’ in +the seventeenth century, and Gatton in the civil wars. You +may fancy an undertone. The Norman barons commenced the +series of reforms which ‘<i>we</i> consummated;’ Hampden was +‘preparing for the occasion in which I had a part;’ William +‘for the debate in which I took occasion to observe.’ With a +view to that era everything begins; up to that moment everything +ascends. That was the ‘fifth act’ of the human race; +the remainder of history is only an afterpiece. All this was very +natural at the moment; nothing could be more probable than +that a young man of the greatest talents, entering at once into +important life at a conspicuous opportunity, should exaggerate +its importance; he would fancy it was the ‘crowning achievement,’ +the greatest ‘in the tide of time.’ But the singularity +is, that he should retain the idea now; that years have brought +no influence, experience no change. The events of twenty years +have been full of rich instruction on the events of twenty years +ago; but they have not instructed him. His creed is a fixture. +It is the same on his peculiar topic—on India. Before he +went there he made a speech on the subject; Lord Canterbury, +who must have heard a million speeches, said it was the best he +had ever heard. It is difficult to fancy that so much vivid +<span class="pagenum" id="Page_226">[226]</span>knowledge could be gained from books—from horrible Indian +treatises; that such imaginative mastery should be possible +without actual experience. Not forgetting, or excepting, the +orations of Burke, it was perhaps as remarkable a speech as was +ever made on India by an Englishman who had not been in India. +Now he has been there he speaks no better—rather worse; he +spoke excellently without experience, he speaks no better with +it,—if anything, it rather puts him out. His speech on the +Indian charter a year or two ago was not finer than that on the +charter of 1833. Before he went to India he recommended +that writers should be examined in the classics; after being in +India he recommended that they should be examined in the +same way. He did not say he had seen the place in the meantime; +he did not think that had anything to do with it. You +could never tell from any difference in his style what he had seen, +or what he had not seen. He is so insensible to passing objects, +that they leave no distinctive mark, no intimate peculiar trace.</p> + +<p>Such a man would naturally think literature more instructive +than life. Hazlitt said of Mackintosh, ‘He might like to read +an <i>account</i> of India; but India itself, with its burning, shining +face, was a mere blank, an endless waste to him. Persons of +this class have no more to say to a plain matter of fact staring +them in the face than they have to say to a <i>hippopotamus</i>.’ This +was a keen criticism on Sir James, savouring of the splenetic mind +from which it came. As a complete estimate, it would be a +most unjust one of Macaulay; but we know that there is a +whole class of minds which prefers the literary delineation of +objects to the actual eyesight of them. To some life is difficult. +An insensible nature, like a rough hide, resists the breath of +passing things; an unobserving retina in vain depicts whatever +a quicker eye does not explain. But any one can understand a +book; the work is done, the facts observed, the formulæ +suggested, the subjects classified. Of course it needs labour, +and a following fancy, to peruse the long lucubrations and +descriptions of others; but a fine detective sensibility is unnecessary; +<span class="pagenum" id="Page_227">[227]</span>type is plain, an earnest attention will follow it and +know it. To this class Macaulay belongs: and he has characteristically +maintained that dead authors are more fascinating +than living people.</p> + +<blockquote> + +<p>‘Those friendships,’ he tells us, ‘are exposed to no danger from +the occurrences by which other attachments are weakened or dissolved. +Time glides by; fortune is inconstant; tempers are soured; bonds +which seemed indissoluble are daily sundered by interest, by emulation, +or by caprice. But no such cause can affect the silent converse +which we hold with the highest of human intellects. That +placid intercourse is disturbed by no jealousies or resentments. These +are the old friends who are never seen with new faces; who are the +same in wealth and in poverty, in glory and in obscurity. With the +dead there is no rivalry. In the dead there is no change. Plato is +never sullen. Cervantes is never petulant. Demosthenes never +comes unseasonably. Dante never stays too long. No difference of +political opinion can alienate Cicero. No heresy can excite the horror +of Bossuet.’</p> + +</blockquote> + +<p>But Bossuet is dead; and Cicero was a Roman; and Plato +wrote in Greek. Years and manners separate us from the great. +After dinner, Demosthenes <i>may</i> come unseasonably; Dante <i>might</i> +stay too long. <i>We</i> are alienated from the politician, and have a +horror of the theologian. Dreadful idea, having Demosthenes +for an intimate friend! He had pebbles in his mouth; he was +always urging action; he spoke such good Greek; we cannot dwell +on it,—it is too much. Only a mind impassive to our daily life, +unalive to bores and evils, to joys and sorrows, incapable of the +deepest sympathies, a prey to print, could imagine it. The +mass of men have stronger ties and warmer hopes. The +exclusive devotion to books tires. We require to love and hate, +to act and live.</p> + +<p>It is not unnatural that a person of this temperament +should preserve a certain aloofness even in the busiest life. +Macaulay has ever done so. He has been in the thick of political +warfare, in the van of party conflict. Whatever a keen +excitability would select for food and opportunity, has been his; +<span class="pagenum" id="Page_228">[228]</span>but he has not been excited. He has never thrown himself +upon action, he has never followed trivial details with an anxious +passion. He has ever been a man for a great occasion. He +was by nature a <i>deus ex machinâ</i>. Somebody has had to fetch +him. His heart was in Queen Anne’s time. When he came, +he spoke as Lord Halifax might have spoken. Of course, it +may be contended that this is the <i>eximia ars</i>; that this solitary +removed excellence is particularly and essentially sublime. +But, simply and really, greater men have been more deeply +‘immersed in matter.’ The highest eloquence quivers with +excitement; there is life-blood in the deepest action; a man +like Strafford seems flung upon the world. An orator should +never talk like an observatory; no coldness should strike upon +the hearer.</p> + +<p>It is characteristic also that Macaulay should be continually +thinking of posterity. In general, that expected authority is most +ungrateful; those who think of it most, it thinks of least. The +way to secure its favour is, to give vivid essential pictures of +the life before you; to leave a fresh glowing delineation of the +scene to which you were born, of the society to which you have +peculiar access. This is gained, not by thinking of your posterity, +but by living in society; not by poring on what is to be, +but by enjoying what is. That spirit of thorough enjoyment +which pervades the great delineators of human life and human +manners, was not caused by ‘being made after supper, out of a +cheese-paring;’ it drew its sustenance from a relishing, enjoying, +sensitive life, and the flavour of the description is the +reality of that enjoyment. Of course, this is not so in science. +You may leave a name by an abstract discovery, without having +led a vigorous existence; yet what a name is this! Taylor’s +theorem will go down to posterity,—possibly its discoverer was +for ever dreaming and expecting it would; but what does posterity +know of the deceased Taylor? <i>Nominis umbra</i> is rather +a compliment; for it is not substantial enough to have a shadow. +But in other walks,—say in political oratory, which is the part +<span class="pagenum" id="Page_229">[229]</span>of Macaulay’s composition in which his value for posterity’s +opinion is most apparent,—the way to interest posterity is to +think but little of it. What gives to the speeches of Demosthenes +the interest they have? The intense, vivid, glowing +interest of the speaker in all that he is speaking about. Philip +is not a person whom ‘posterity will censure,’ but the man +‘whom I hate:’ the matter in hand not one whose interest +depends on the memory of men, but in which an eager intense +nature would have been absorbed if there had been no posterity +at all, on which he wished to deliver his own soul. A <i>casual</i> +character, so to speak, is natural to the most intense words; +externally, even, they will interest the ‘after world’ more for +having interested the present world; they must have a life of +<i>some</i> place and <i>some</i> time before they can have one of all space +and all time. Macaulay’s oratory is the very opposite of +this. School-boyish it is not, for it is the oratory of a very +sensible man; but the theme of a schoolboy is not more devoid +of the salt of circumstance. The speeches on the Reform Bill +have been headed, ‘Now, a man came up from college and +spoke thus;’ and, like a college man, he spoke rather to the +abstract world than to the present. He knew no more of the +people who actually did live in London than of people who +would live in London, and there was therefore no reason for +speaking to one more than to the other. After years of politics, +he speaks so still. He looks on a question (he says) as posterity +will look on it; he appeals from this to future generations; he +regards existing men as painful prerequisites of great-grandchildren. +This seems to proceed, as has been said, from a +distant and unimpressible nature. But it is impossible to deny +that it has one great advantage: it has made him take pains. +A man who speaks to people a thousand years off will naturally +speak carefully: he tries to be heard over the clang of ages, +over the rumours of myriads. Writing for posterity is like +writing on foreign post paper: you cannot say to a man at +Calcutta what you would say to a man at Hackney; you think +<span class="pagenum" id="Page_230">[230]</span>‘the yellow man is a very long way off; this is fine paper, it +will go by a ship;’ so you try to say something worthy of the +ship, something noble, which will keep and travel. Writers +like Macaulay, who think of future people, have a respect for +future people. Each syllable is solemn, each word distinct. +No author trained to periodical writing has so little of its +slovenliness and its imperfection.</p> + +<p>This singularly constant contemplation of posterity has +coloured his estimate of social characters. He has no toleration +for those great men in whom a lively sensibility to momentary +honours has prevailed over a consistent reference to the posthumous +tribunal. He is justly severe on Lord Bacon:</p> + +<blockquote> + +<p>‘In his library all his rare powers were under the guidance of an +honest ambition, of an enlarged philanthropy, of a sincere love of +truth. There no temptation drew him away from the right course. +Thomas Aquinas could pay no fees, Duns Scotus could confer no +peerages. The “Master of the Sentences” had no rich reversions in +his gift. Far different was the situation of the great philosopher +when he came forth from his study and his laboratory to mingle with +the crowd which filled the galleries of Whitehall. In all that crowd +there was no man equally qualified to render great and lasting services +to mankind. But in all that crowd there was not a heart more set +on things which no man ought to suffer to be necessary to his happiness,—on +things which can often be obtained only by the sacrifice of +integrity and honour. To be the leader of the human race in the +career of improvement, to found on the ruins of ancient intellectual +dynasties a more prosperous and more enduring empire, to be revered +to the latest generations as the most illustrious among the benefactors +of mankind,—all this was within his reach. But all this availed +him nothing, while some quibbling special pleader was promoted +before him to the Bench,—while some heavy country gentleman took +precedence of him by virtue of a purchased coronet,—while some +pander, happy in a fair wife, could obtain a more cordial salute from +Buckingham,—while some buffoon, versed in all the latest scandal of +the Court, could draw a louder laugh from James.’</p> + +</blockquote> + +<p>Yet a less experience, or a less opportunity of experience, +would have warned a mind more observant that the bare desire +<span class="pagenum" id="Page_231">[231]</span>for long posthumous renown is but a feeble principle in common +human nature. Bacon had as much of it as most men. The keen +excitability to this world’s temptations must be opposed by more +exciting impulses, by more retarding discouragements, by conscience, +by religion, by fear. If you would vanquish earth, you +must ‘invent heaven.’ It is the fiction of a cold abstractedness +that the possible respect of unseen people can commonly be more +desired than the certain homage of existing people.</p> + +<p>In a more conspicuous manner the chill nature of the most +brilliant among English historians is shown in his defective +dealing with the passionate eras of our history. He has never +been attracted, or not proportionally attracted, by the singular +mixture of heroism and slavishness, of high passion and base +passion, which mark the Tudor period. The defect is apparent +in his treatment of a period on which he has written powerfully—the +time of the civil wars. He has never in the highest +manner appreciated either of the two great characters—the +Puritan and the Cavalier—which are the form and life of those +years. What historian, indeed, has ever estimated the Cavalier +character? There is Clarendon—the grave, rhetorical, decorous +lawyer—piling words, congealing arguments,—very stately, a +little grim. There is Hume—the Scotch metaphysician—who +has made out the best case for such people as never were, for a +Charles who never died, for a Strafford who would never have +been attainted,—a saving, calculating North-countryman,—fat, +impassive,—who lived on eightpence a day. What have these +people to do with an enjoying English gentleman? It is easy +for a <i>doctrinaire</i> to bear a <i>post-mortem</i> examination,—it is +much the same whether he be alive or dead; but not so with +those who live during their life, whose essence is existence, +whose being is in animation. There seem to be some characters +who are not made for history, as there are some who are not +made for old age. A Cavalier is always young. The buoyant +life arises before us rich in hope, strong in vigour, irregular in +action; men young and ardent, framed in the ‘prodigality of +<span class="pagenum" id="Page_232">[232]</span>nature;’ open to every enjoyment, alive to every passion; +eager, impulsive; brave without discipline; noble without +principle; prizing luxury, despising danger, capable of high +sentiment, but in each of whom the</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent12">‘Addiction was to courses vain;</div> + <div class="verse indent0">His companies unlettered, rude and shallow,</div> + <div class="verse indent0">His hours filled up with riots, banquets, sports,</div> + <div class="verse indent0">And never noted in him any study,</div> + <div class="verse indent0">Any retirement, any sequestration</div> + <div class="verse indent0">From open haunts and popularity.’</div> + </div> + </div> +</div> + +<p>We see these men setting forth or assembling to defend +their King and Church; and we see it without surprise; a rich +daring loves danger; a deep excitability likes excitement. If +we look around us, we may see what is analogous. Some say +that the battle of the Alma was won by the ‘uneducated +gentry;’ the ‘uneducated gentry’ would be Cavaliers now. +The political sentiment is part of the character. The essence +of Toryism is enjoyment. Talk of the ways of spreading a +wholesome Conservatism throughout this country: give painful +lectures, distribute weary tracts (and perhaps this is as well—you +may be able to give an argumentative answer to a few +objections, you may diffuse a distinct notion of the dignified +dulness of politics); but as far as communicating and establishing +your creed are concerned—try a little pleasure. The +way to keep up old customs is, to enjoy old customs; the way +to be satisfied with the present state of things is, to enjoy that +state of things. Over the ‘Cavalier’ mind this world passes +with a thrill of delight; there is an exultation in a daily event, +zest in the ‘regular thing,’ joy at an old feast. Sir Walter +Scott is an example of this. Every habit and practice of old +Scotland was inseparably in his mind associated with genial +enjoyment. To propose to touch one of her institutions, to +abolish one of those practices, was to touch a personal pleasure—a +point on which his mind reposed, a thing of memory and +hope. So long as this world is this world, will a buoyant life +<span class="pagenum" id="Page_233">[233]</span>be the proper source of an animated Conservatism. The +‘Church-and-King’ enthusiasm has even a deeper connection +with the Cavaliers. Carlyle has said, in his vivid way, ‘Two +or three young gentlemen have said, “Go to, I will <i>make</i> a +religion.”’ This is the exact opposite of what the irregular, +enjoying man can think or conceive. What! is he, with his +untrained mind and his changeful heart and his ruleless +practice, to create a creed? Is the gushing life to be asked to +construct a cistern? Is the varying heart to be its own master, +the evil practice its own guide? Sooner will a ship invent its +own rudder, devise its own pilot, than the eager being will find +out the doctrine which is to restrain him. The very intellect +is a type of the confusion of the soul. It has little arguments +on a thousand subjects, hearsay sayings, original flashes, small +and bright, struck from the heedless mind by the strong impact +of the world. And it has nothing else. It has no systematic +knowledge; it has a hatred of regular attention. What can an +understanding of this sort do with refined questioning or subtle +investigation? It is obliged in a sense by its very nature to +take what comes; it is overshadowed in a manner by the +religion to which it is born; its conscience tells it that it owes +obedience to something; it craves to worship something; that +something, in both cases, it takes from the past. ‘Thou hast +not chosen me, but I have chosen thee,’ might his faith say to +a believer of this kind. A certain bigotry is altogether natural +to him. His creed seems to him a primitive fact, as certain +and evident as the stars. The political faith (for it is a faith) +of these persons is of a kind analogous. The virtue of loyalty +assumes in them a passionate aspect, and overflows, as it were, +all the intellect which belongs to the topic. This virtue, this +need of our nature, arises, as political philosophers tell us, from +the conscious necessity which man is under of obeying an +external moral rule. We feel that we are by nature and by +the constitution of all things under an obligation to conform to +a certain standard, and we seek to find or to establish in the +<span class="pagenum" id="Page_234">[234]</span>sphere without, an authority which shall enforce it, shall aid us +in compelling others and also in mastering ourselves. When a +man impressed with this principle comes in contact with the +institution of civil government as it now exists and as it has +always existed, he finds what he wants—he discovers an authority; +and he feels bound to submit to it. We do not, of course, +mean that all this takes place distinctly and consciously in the +mind of the person; on the contrary, the class of minds most +subject to its influence are precisely those which have in general +the least defined and accurate consciousness of their own +operations, or of what befalls them. In matter of fact, they +find themselves under the control of laws and of a polity from +the earliest moment that they can remember, and they obey it +from habit and custom years before they know why. Only in +later life, when distinct thought is from an outward occurrence +forced upon them, do they feel the necessity of some such +power; and in proportion to their passionate and impulsive +disposition they feel it the more. The law has in a less degree +on them the same effect which military discipline has in a +greater. It braces them to defined duties, and subjects them +to a known authority. Quieter minds find this authority in an +internal conscience; but in riotous natures its still small voice +is lost if it be not echoed in loud harsh tones from the firm and +outer world:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Their breath is agitation, and their life</div> + <div class="verse indent0">A storm whereon they ride.’</div> + </div> + </div> +</div> + +<p class="noindent">From without they crave a bridle and a curb. The doctrine +of non-resistance is no <i>accident</i> of the Cavalier character, +though it seems at first sight singular in an eager, tumultuous +disposition. So inconsistent is human nature, that it proceeds +from the very extremity of that tumult. They know that they +cannot allow themselves to question the authority which is +upon them; they feel its necessity too acutely, their intellect is +untrained in subtle disquisitions, their conscience fluctuating, +<span class="pagenum" id="Page_235">[235]</span>their passions rising. They are sure that if they once depart +from that authority, their whole soul will be in anarchy. As a +riotous state tends to fall under a martial tyranny, a passionate +mind tends to subject itself to an extrinsic law—to enslave +itself to an outward discipline. ‘That is what the king says, +boy, and that was ever enough for Sir Henry Lee.’ An hereditary +monarch is, indeed, the very embodiment of this principle. +The authority is so defined, so clearly vested, so evidently +intelligible; it descends so distinctly from the past, it is imposed +so conspicuously from without. Anything free refers to the +people; anything elected seems self-chosen. ‘The divinity +that doth hedge a king’ consists in his evidently representing an +unmade, unchosen, hereditary duty.</p> + +<p>The greatness of this character is not in Macaulay’s way, +and its faults are. Its license affronts him; its riot alienates +him. He is for ever contrasting the dissoluteness of Prince +Rupert’s horse with the restraint of Cromwell’s pikemen. A deep +enjoying nature finds no sympathy. The brilliant style passes +forward: we dwell on its brilliancy, but it is cold. Macaulay +has no tears for that warm life, no tenderness for that extinct +joy. The ignorance of the Cavalier, too, moves his wrath: +‘They were ignorant of what every schoolgirl knows.’ Their +loyalty to their sovereign is the devotion of the Egyptians to +the god Apis, who selected ‘a calf to adore.’ Their non-resistance +offends the philosopher: their license is commented +on with the tone of a precisian. Their indecorum does not suit +the dignity of the narrator. Their rich free nature is unappreciated; +the tingling intensity of their joy is unnoticed. In +a word, there is something of the schoolboy about the Cavalier—there +is somewhat of a schoolmaster about the historian.</p> + +<p>It might be thought, at first sight, that the insensibility +and coldness which are unfavourable to the appreciation of the +Cavalier would be particularly favourable to that of the Puritan. +Some may say that a natural aloofness from things earthly +would dispose a man to the doctrines of a sect which enjoins +<span class="pagenum" id="Page_236">[236]</span>above all other commandments abstinence and aloofness <i>from</i> +those things. In Macaulay’s case it certainly has had no such +consequence. He was bred up in the circle which more +than any other has resembled that of the greatest and best +Puritans—in the circle which has presented the evangelical +doctrine in its most influential and celebrated, and not its least +genial form. Yet he has revolted against it. The bray of +‘Exeter Hall’ is a phrase which has become celebrated: it is +an odd one for his father’s son. The whole course of his +personal fortunes, the entire scope of his historical narrative, +show an utter want of sympathy with the Puritan disposition. +It would be idle to quote passages; it will be enough to +recollect the contrast between the estimate—say, of Cromwell—by +Carlyle and that by Macaulay, to be aware of the enormous +discrepancy. The one’s manner evinces an instinctive sympathy, +the other’s an instinctive aversion.</p> + +<p>We believe that this is but a consequence of the same +impassibility of nature which we have said so much of. M. +de Montalembert, in a striking <i>éloge</i> on a French historian—a +man of the Southey type—after speaking of his life in Paris +during youth (a youth cast in the early and exciting years of +the first Revolution, and of the prelude to it), and graphically +portraying a man subject to scepticism, but not given to vice; +staid in habits, but unbelieving in opinion; without faith and +without irregularity,—winds up the whole by the sentence, that +‘<i>he was hardened at once against good and evil</i>.’ In his +view, the insensibility which was a guard against exterior +temptation was also a hindrance to inward belief: and there is +a philosophy in this. The nature of man is not two things, +but one thing. We have not one set of affections, hopes, sensibilities, +to be affected by the present world, and another and a +different to be affected by the invisible world: we are moved +by grandeur, or we are not; we are stirred by sublimity, or we +are not; we hunger after righteousness, or we do not; we hate +vice, or we do not; we are passionate, or not passionate; loving, +<span class="pagenum" id="Page_237">[237]</span>or not loving; cold, or not cold; our heart is dull, or it is +wakeful; our soul is alive, or it is dead. Deep under the surface of +the intellect lies the <i>stratum</i> of the passions, of the intense, peculiar, +simple impulses which constitute the heart of man; there +is the eager essence, the primitive desiring being. What stirs +this latent being we know. In general it is stirred by everything. +Sluggish natures are stirred little, wild natures are stirred much; +but all are stirred somewhat. It is not important whether +the object be in the visible or invisible world: whoso loves +what he has seen, will love what he has not seen; whoso hates +what he has seen, will hate what he has not seen. Creation is, +as it were, but the garment of the Creator: whoever is blind +to the beauty on its surface, will be insensible to the beauty +beneath; whoso is dead to the sublimity before his senses, will +be dull to that which he imagines; whoso is untouched by the +visible man, will be unmoved by the invisible God. These are +no new ideas; and the conspicuous evidence of history confirms +them. Everywhere the deep religious organisation has been +deeply sensitive to this world. If we compare what are called +sacred and profane literatures, the depth of human affection is +deepest in the sacred. A warmth as of life is on the Hebrew, +a chill as of marble is on the Greek. In Jewish history the +most tenderly religious character is the most sensitive to earth. +Along every lyric of the Psalmist thrills a deep spirit of human +enjoyment; he was alive as a child to the simple aspects of the +world; the very errors of his mingled career are but those to +which the open, enjoying character is most prone; its principle, +so to speak, was a tremulous passion for that which he had +seen, as well as that which he had not seen. There is no +paradox, therefore, in saying that the same character which +least appreciates the impulsive and ardent Cavalier is also the +most likely not to appreciate the warm zeal of an overpowering +devotion.</p> + +<p>Some years ago it would have been necessary to show at +length that the Puritans had such a devotion. The notion had +<span class="pagenum" id="Page_238">[238]</span>been that they were fanatics, who simulated zeal, and hypocrites, +who misquoted the Old Testament. A new era has arrived; one +of the great discoveries which the competition of authors has +introduced into historical researches has attained a singular +popularity. Times are changed. We are rather now, in general, +in danger of holding too high an estimate of the puritanical +character than a too low or contemptuous one. Among the +disciples of Carlyle it is considered that having been a Puritan +is the next best thing to having been in Germany. But though +we cannot sympathise with everything that the expounders of +the new theory allege, and though we should not select for +praise the exact peculiarities most agreeable to the slightly +grim ‘gospel of earnestness,’ we acknowledge the great service +which they have rendered to English history. No one will now +ever overlook, that in the greater, in the original Puritans—in +Cromwell, for example—the whole basis of the character was a +passionate, deep, rich, religious organisation.</p> + +<p>This is not in Macaulay’s way. It is not that he is +sceptical; far from it. ‘Divines of all persuasions,’ he tells us, +‘are agreed that there is a religion;’ and he acquiesces in their +teaching. But he has no passionate self-questionings, no indomitable +fears, no asking perplexities. He is probably pleased +at the exemption. He has praised Bacon for a similar want +of interest. ‘Nor did he ever meddle with those enigmas +which have puzzled hundreds of generations, and will puzzle +hundreds more. He said nothing about the grounds of moral +obligation, or the freedom of the human will. He had no +inclination to employ himself in labours resembling those of the +damned in the Grecian Tartarus—to spin for ever on the same +wheel round the same pivot. He lived in an age in which +disputes on the most subtle points of divinity excited an intense +interest throughout Europe; and nowhere more than in +England. He was placed in the very thick of the conflict. He +was in power at the time of the Synod of Dort, and must for +months have been daily deafened with talk about election, +<span class="pagenum" id="Page_239">[239]</span>reprobation, and final perseverance. Yet we do not remember +a line in his works from which it can be inferred that he was +either a Calvinist or an Arminian. While the world was +resounding with the noise of a disputatious philosophy and a +disputatious theology, the Baconian school, like Allworthy seated +between Square and Thwackum, preserved a calm neutrality,—half-scornful, +half-benevolent,—and, content with adding to the +sum of practical good, left the war of words to those who liked +it.’ This may be the writing of good sense, but it is not the +expression of an anxious or passionate religious nature.</p> + +<p>Such is the explanation of Macaulay’s not prizing so highly as +he should prize the essential excellences of the Puritan character. +He is defective in the one point in which they were very great; +he is eminent in the very point in which they were most +defective. A spirit of easy cheerfulness pervades his writings, +a pleasant geniality overflows his history: the rigid asceticism, +the pain for pain’s sake, of the Puritan is altogether alien to +him. Retribution he would deny; sin is hardly a part of his +creed. His religion is one of thanksgiving. His notion of +philosophy—it would be a better notion of his own writing—is +<i>illustrans commoda vitæ</i>.</p> + +<p>The English Revolution is the very topic for a person of this +character. It is eminently an unimpassioned movement. It +requires no appreciation of the Cavalier or of the zealot; no +sympathy with the romance of this world; no inclination to +pass beyond, and absorb the mind’s energies in another. It had +neither the rough enthusiasm of barbarism nor the delicate +grace of high civilisation; the men who conducted it had neither +the deep spirit of Cromwell’s Puritans nor the chivalric loyalty +of the enjoying English gentleman. They were hard-headed +sensible men, who knew that politics were a kind of business, +that the essence of business is compromise, of practicality +concession. They drove no theory to excess; for they had no +theory. Their passions did not hurry them away; for their +temperament was still, their reason calculating and calm. +<span class="pagenum" id="Page_240">[240]</span>Locke is the type of the best character of his era. There is +nothing in him which a historian such as we have described +could fail to comprehend, or could not sympathise with when +he did comprehend. He was the very reverse of a Cavalier; he +came of a Puritan stock; he retained through life a kind of +chilled Puritanism; he had nothing of its excessive, overpowering, +interior zeal, but he retained the formal decorum which it +had given to the manners, the solid earnestness of its intellect, +the heavy respectability of its character. In all the nations +across which Puritanism has passed you may notice something +of its indifference to this world’s lighter enjoyments; no one of +them has been quite able to retain its singular interest in what +is beyond the veil of time and sense. The generation to which +we owe our Revolution was in the first stage of the descent. +Locke thought a zealot a dangerous person, and a poet little +better than a rascal. It has been said, with perhaps an allusion +to Macaulay, that our historians have held that ‘all the people +who lived before 1688 were either knaves or fools.’ This is, of +course, an exaggeration; but those who have considered what +sort of person a historian is likely to be, will not be surprised at +his preference for the people of that era. They had the equable +sense which he appreciates; they had not the deep animated +passions to which his nature is insensible.</p> + +<p>Yet, though Macaulay shares in the common temperament +of historians, and in the sympathy with, and appreciation +of, the characters most congenial to that temperament, he is +singularly contrasted with them in one respect—he has a vivid +fancy, they have a dull one. History is generally written on +the principle that human life is a transaction; that people come +to it with defined intentions and a calm self-possessed air, as +stockjobbers would buy ‘omnium,’ as timber-merchants buy +‘best middling;’ people are alike, and things are alike; everything +is a little dull, every one a little slow; manners are not +depicted, traits are not noticed; the narrative is confined to +those great transactions which can be understood without any +<span class="pagenum" id="Page_241">[241]</span>imaginative delineation of their accompaniments. There are +two kinds of things—those which you need only to <i>understand</i>, +and those which you need also to <i>imagine</i>. That a man bought +nine hundredweight of hops is an intelligible idea—you do not +want the hops delineated or the man described; that he went +into society suggests an inquiry—you want to know what the +society was like, and how far he was fitted to be there. The +great business transactions of the political world are of the +intelligible description. Macaulay has himself said:</p> + +<blockquote> + +<p>‘A history, in which every particular incident may be true, may +on the whole be false. The circumstances which have most influence +on the happiness of mankind, the changes of manners and morals, the +transition of communities from poverty to wealth, from knowledge +to ignorance, from ferocity to humanity,—these are, for the most +part, noiseless revolutions. Their progress is rarely indicated by what +historians are pleased to call important events. They are not achieved +by armies, or enacted by senates. They are sanctioned by no treaties, +and recorded in no archives. They are carried on in every school, in +every church, behind ten thousand counters, at ten thousand firesides. +The upper current of society presents no certain criterion by which +we can judge of the direction in which the under current flows. We +read of defeats and victories; but we know that nations may be +miserable amidst victories, and prosperous amidst defeats. We read +of the fall of wise ministers, and of the rise of profligate favourites; +but we must remember how small a proportion the good or evil +effected by a single statesman can bear to the good or evil of a great +social system.’</p> + +</blockquote> + +<p class="noindent">But of this sluggishness of imagination he has certainly no trace +himself. He is willing to be ‘behind ten thousand counters,’ +to be a guest ‘at ten thousand firesides.’ He is willing to see +‘ordinary men as they appear in their ordinary business and in +their ordinary pleasures.’ He has no objection to ‘mingle in +the crowds of the Exchange and the coffee-house.’ He would +‘obtain admittance to the convivial table and the domestic +hearth.’ So far as his dignity will permit, ‘he will bear with +vulgar expressions.’ And a singular efficacy of fancy gives him +<span class="pagenum" id="Page_242">[242]</span>the power to do so. Some portion of the essence of human +nature is concealed from him; but all its accessories are at his +command. He delineates any trait; he can paint, and justly +paint, any manners he chooses.</p> + +<blockquote> + +<p>‘A perfect historian,’ he tells us, ‘is he in whose work the character +and spirit of an age is exhibited in miniature. He relates no +fact, he attributes no expression to his characters, which is not +authenticated by sufficient testimony; but, by judicious selection, +rejection, and arrangement, he gives to truth those attractions which +have been usurped by fiction. In his narrative a due subordination +is observed—some transactions are prominent, others retire; but the +scale on which he represents them is increased or diminished, not +according to the dignity of the persons concerned in them, but according +to the degree in which they elucidate the condition of society and +the nature of man. He shows us the court, the camp, and the senate; +but he shows us also the nation. He considers no anecdote, no peculiarity +of manner, no familiar saying, as too insignificant for his +notice, which is not too insignificant to illustrate the operation of +laws, of religion, and of education, and to mark the progress of the +human mind. Men will not merely be described, but will be made +intimately known to us. The changes of manners will be indicated, +not merely by a few general phrases, or a few extracts from statistical +documents, but by appropriate images presented in every line. If a +man, such as we are supposing, should write the history of England, +he would assuredly not omit the battles, the sieges, the negotiations, +the seditions, the ministerial changes; but with these he would intersperse +the details which are the charm of historical romances. At Lincoln +Cathedral there is a beautiful painted window, which was made by +an apprentice out of the pieces of glass which had been rejected by +his master. It is so far superior to every other in the church, that, +according to the tradition, the vanquished artist killed himself from +mortification. Sir Walter Scott, in the same manner, has used those +fragments of truth which historians have scornfully thrown behind +them in a manner which may well excite their envy. He has constructed +out of their gleanings works which, even considered as +histories, are scarcely less valuable than theirs. But a truly great +historian would reclaim those materials which the novelist has appropriated. +The history of the Government, and the history of the +people, would be exhibited in that mode in which alone they can be +exhibited justly, in inseparable conjunction and intermixture. We +<span class="pagenum" id="Page_243">[243]</span>should not then have to look for the wars and votes of the Puritans +in Clarendon, and for their phraseology in <i>Old Mortality</i>; for one +half of King James in Hume, and for the other half in the <i>Fortunes +of Nigel</i>.’</p> + +</blockquote> + +<p class="noindent">So far as the graphic description of exterior life goes, he has +completely realised his idea.</p> + +<p>This union of a flowing fancy with an insensible organisation +is very rare. In general, a delicate fancy is joined with a poetic +organisation. Exactly why, it would be difficult to explain. It +is for metaphysicians in large volumes to explain the genesis of +the human faculties; but, as a fact, it seems to be clear that, +for the most part, imaginative men are the most sensitive to +the poetic side of human life and natural scenery. They are +drawn by a strong instinct to what is sublime, grand, and +beautiful. They do not care for the coarse business of life. +They dislike to be cursed with its ordinary cares. Their nature +is vivid; it is interested by all which naturally interests; it +dwells on the great, the graceful, and the grand. On this +account it naturally runs away from history. The very name of +it is too oppressive. Are not all such works written in the +<i>Index Expurgatorius</i> of the genial satirist as works which it +was impossible to read? The coarse and cumbrous matter +revolts the soul of the fine and fanciful voluptuary. Take it as +you will, human life is like the earth on which man dwells. +There are exquisite beauties, grand imposing objects, scattered +here and there; but the spaces between these are wide; the +mass of common clay is huge; the dead level of vacant life, of +commonplace geography, is immense. The poetic nature cannot +bear the preponderance; it seeks relief in selected scenes, in +special topics, in favourite beauties. History, which is the +record of human existence, is a faithful representative of it, at +least in this: the poetic mind cannot bear the weight of its +narrations and the commonplaceness of its events.</p> + +<p>This peculiarity of character gives to Macaulay’s writing +one of its most curious characteristics. He throws over matters +<span class="pagenum" id="Page_244">[244]</span>which are in their nature dry and dull,—transactions—budgets—bills,—the +charm of fancy which a poetical mind employs +to enhance and set forth the charm of what is beautiful. +An attractive style is generally devoted to what is in itself +specially attractive; here it is devoted to subjects which are +often unattractive, are sometimes even repelling, at the best +are commonly neutral, not inviting attention, if they do not +excite dislike. In these new volumes there is a currency reform, +pages on Scotch Presbyterianism, a heap of Parliamentary +debates. Who could be expected to make anything interesting +of such topics? It is not cheerful to read in the morning +papers the debates of yesterday, though they happened last +night; one cannot like a Calvinistic divine when we see him in +the pulpit; it is awful to read on the currency, even when it +concerns the bank-notes which we use. How, then, can we +care for a narrative when the divine is dead, the shillings extinct, +the whole topic of the debate forgotten and passed away? +Yet such is the power of style, so great is the charm of very +skilful words, of narration which is always passing forward, of +illustration which always hits the mark, that such subjects as +these not only become interesting, but very interesting. The +proof is evident. No book is so sought after. The Chancellor +of the Exchequer said, ‘all members of Parliament had read it.’ +What other books could ever be fancied to have been read by +them? A county member—a real county member—hardly +reads two volumes <i>per</i> existence. Years ago Macaulay said +a History of England might become more in demand at the +circulating libraries than the last novel. He has actually made +his words true. It is no longer a phrase of rhetoric, it is a +simple fact.</p> + +<p>The explanation of this remarkable notoriety is, the contrast +of the topic and the treatment. Those who read for the +sake of entertainment are attracted by the one; those who +read for the sake of instruction are attracted by the other. +Macaulay has something that suits the readers of Mr. Hallam; +<span class="pagenum" id="Page_245">[245]</span>he has something which will please the readers of Mr. +Thackeray. The first wonder to find themselves reading such +a style; the last are astonished at reading on such topics—at +finding themselves studying by casualty. This marks the +author. Only a buoyant fancy and an impassive temperament +could produce a book so combining weight with levity.</p> + +<p>Something similar may be remarked of the writings of a +still greater man—of Edmund Burke. The contrast between +the manner of his characteristic writings and their matter is very +remarkable. He too threw over the detail of business and of +politics those graces and attractions of manner which seem in +some sort inconsistent with them; which are adapted for topics +more intrinsically sublime and beautiful. It was for this reason +that Hazlitt asserted that ‘no woman ever cared for Burke’s +writings.’ The matter, he said, was ‘hard and dry,’ and no +superficial glitter or eloquence could make it agreeable to +those who liked what is, in its very nature, fine and delicate. +The charm of exquisite narration has, in a great degree, in +Macaulay’s case, supplied the deficiency; but it may be <i>perhaps</i> +remarked, that some trace of the same phenomenon has +again occurred, from similar causes, and that his popularity, +though great among both sexes, is in some sense more masculine +than feminine. The absence of this charm of narration, +to which accomplished women are, it would seem, peculiarly +sensitive, is very characteristic of Burke. His mind was the +reverse of historical. Although he had rather a coarse, incondite +temperament, not finely susceptible to the best influences, to +the most exquisite beauties of the world in which he lived, he +yet lived in that world thoroughly and completely. He did not +take an interest, as a poet does, in the sublime because it is +sublime, in the beautiful because it is beautiful; but he had +the passions of more ordinary men in a degree, and of an +intensity, which ordinary men may be most thankful that they +have not. In no one has the intense faculty of intellectual +hatred—the hatred which the absolute dogmatist has for those +<span class="pagenum" id="Page_246">[246]</span>in whom he incarnates and personifies the opposing dogma—been +fiercer or stronger; in no one has the intense ambition to +rule and govern,—in scarcely any one has the daily ambition +of the daily politician been fiercer and stronger: he, if any +man, cast himself upon his time. After one of his speeches, +peruse one of Macaulay’s: you seem transported to another +sphere. The fierce living interest of the one contrasts with the +cold rhetorical interest of the other; you are in a different +part of the animal kingdom; you have left the viviparous +intellect; you have left products warm and struggling with +hasty life; you have reached the oviparous, and products smooth +and polished, cold and stately.</p> + +<p>In addition to this impassive nature, inclining him to +write on past transactions—to this fancy, enabling him to +adorn and describe them—Macaulay has a marvellous memory +to recall them; and what we may call the Scotch intellect, +enabling him to conceive them. The memory is his +most obvious power. An enormous reading seems always +present to him. No effort seems wanted—no mental excogitation. +According to his own description of a like faculty, ‘it +would have been strange indeed if you had asked for anything +that was not to be found in that immense storehouse. The +article you required was not only there, it was ready. It was +in its own compartment. In a moment it was brought down, +unpacked, and explained.’ He has a literary illustration for +everything; and his fancy enables him to make a skilful use of +his wealth. He always selects the exact likeness of the idea +which he wishes to explain. And though it be less obvious, yet +his writing would have been deficient in one of its most essential +characteristics if it had not been for what we have called his +Scotch intellect, which is a curious matter to explain. It may +be thought that Adam Smith had little in common with Sir +Walter Scott. Sir Walter was always making fun of him; +telling odd tales of his abstraction and singularity; not +obscurely hinting, that a man who could hardly put on his own +<span class="pagenum" id="Page_247">[247]</span>coat, and certainly could not buy his own dinner, was scarcely +fit to decide on the proper course of industry and the mercantile +dealings of nations. Yet, when Sir Walter’s own works come +to be closely examined, they will be found to contain a good +deal of political economy of a certain sort,—and not a very bad +sort. Any one who will study his description of the Highland +clans in <i>Waverley</i>; his observations on the industrial side (if +so it is to be called) of the Border-life; his plans for dealing with +the poor of his own time,—will be struck not only with a plain +sagacity, which we could equal in England, but with the +digested accuracy and theoretical completeness which they +show. You might cut paragraphs, even from his lighter +writings, which would be thought acute in the <i>Wealth of +Nations</i>. There appears to be in the genius of the Scotch +people—fostered, no doubt, by the abstract metaphysical education +of their Universities, but also, by way of natural taste, +supporting that education, and rendering it possible and +popular—a power of reducing human actions to formulæ or +principles. An instance is now in a high place. People who +are not lawyers,—rural people, who have sense of their own, +but have no access to the general repute and opinion which +expresses the collective sense of the great world,—never can be +brought to believe that Lord Campbell is a great man. They +read his speeches in the House of Lords—his occasional +flights of eloquence on the bench—his attempts at pathos—his +stupendous <i>gaucheries</i>—and they cannot be persuaded that +a person guilty of such things can have really first-rate talent. +If you ask them how he came to be Chief Justice of England, +they mutter something angry, and say ‘Well, Scotchmen +<i>do</i> get on somehow.’ This is really the true explanation. In +spite of a hundred defects, Lord Campbell has the Scotch +faculties in perfection. He reduces legal matters to a sound +broad principle better than any man who is now a judge. +He has a steady, comprehensive, abstract, distinct consistency, +which elaborates a formula and adheres to a formula; and it +<span class="pagenum" id="Page_248">[248]</span>is this which has raised him from a plain—a very plain—Scotch +lawyer to be Lord Chief Justice of England. Macaulay +has this too. Among his more brilliant qualities, it has +escaped the attention of critics; the more so, because his +powers of exposition and expression make it impossible to +conceive for a moment that the amusing matter we are reading +is really Scotch economy.</p> + +<blockquote> + +<p>‘During the interval,’ he tells us, ‘between the Restoration and +the Revolution, the riches of the nation had been rapidly increasing. +Thousands of busy men found every Christmas that, after the expenses +of the year’s housekeeping had been defrayed out of the year’s income, +a surplus remained; and how that surplus was to be employed was +a question of some difficulty. In our time, to invest such a surplus, +at something more than three per cent., on the best security that has +ever been known in the world, is the work of a few minutes. But in +the seventeenth century, a lawyer, a physician, a retired merchant, +who had saved some thousands, and who wished to place them safely +and profitably, was often greatly embarrassed. Three generations +earlier, a man who had accumulated wealth in a profession generally +purchased real property, or lent his savings on mortgage. But the +number of acres in the kingdom had remained the same; and the +value of those acres, though it had greatly increased, had by no +means increased so fast as the quantity of capital which was seeking +for employment. Many, too, wished to put their money where they +could find it at an hour’s notice, and looked about for some species of +property which could be more readily transferred than a house or a +field. A capitalist might lend on bottomry or on personal security; +but, if he did so, he ran a great risk of losing interest and principal. +There were a few joint-stock companies, among which the East India +Company held the foremost place; but the demand for the stock of +such companies was far greater than the supply. Indeed, the cry +for a new East India Company was chiefly raised by persons who had +found difficulty in placing their savings at interest on good security. +So great was that difficulty, that the practice of hoarding was common. +We are told that the father of Pope the poet, who retired +from business in the City about the time of the Revolution, carried +to a retreat in the country a strong box containing nearly twenty thousand +pounds, and took out from time to time what was required for +household expenses; and it is highly probable that this was not a +<span class="pagenum" id="Page_249">[249]</span>solitary case. At present the quantity of coin which is hoarded by +private persons is so small, that it would, if brought forth, make no +perceptible addition to the circulation. But in the earlier part of +the reign of William the Third, all the greatest writers on currency +were of opinion that a very considerable mass of gold and silver was +hidden in secret drawers and behind wainscots.</p> + +<p>‘The natural effect of this state of things was, that a crowd of +projectors, ingenious and absurd, honest and knavish, employed themselves +in devising new schemes for the employment of redundant +capital. It was about the year 1688 that the word stockjobber was +first heard in London. In the short space of four years a crowd of +companies, every one of which confidently held out to subscribers the +hope of immense gains, sprang into existence: the Insurance Company, +the Paper Company, the Lutestring Company, the Pearl-Fishery +Company, the Glass-Bottle Company, the Alum Company, +the Blythe Coal Company, the Swordblade Company. There was a +Tapestry Company, which would soon furnish pretty hangings for all +the parlours of the middle class and for all the bedchambers of the +higher. There was a Copper Company, which proposed to explore +the mines of England, and held out a hope that they would prove not +less valuable than those of Potosi. There was a Diving Company, +which undertook to bring up precious effects from shipwrecked vessels, +and which announced that it had laid in a stock of wonderful +machines, resembling complete suits of armour. In front of the +helmet was a huge glass eye, like that of a Cyclop; and out of the +crest went a pipe, through which the air was to be admitted. The +whole process was exhibited on the Thames. Fine gentlemen and +fine ladies were invited to the show, were hospitably regaled, and +were delighted by seeing the divers in their panoply descend into the +river, and return laden with old iron and ship’s tackle. There was a +Greenland Fishing Company, which could not fail to drive the Dutch +whalers and herring-busses out of the Northern Ocean. There was +a Tanning Company, which promised to furnish leather superior to +the best that was brought from Turkey or Russia. There was a +society which undertook the office of giving gentlemen a liberal education +on low terms, and which assumed the sounding name of the +Royal Academies Company. In a pompous advertisement it was +announced that the directors of the Royal Academies Company had +engaged the best masters in every branch of knowledge, and were +about to issue twenty thousand tickets at twenty shillings each. +There was to be a lottery: two thousand prizes were to be drawn; +<span class="pagenum" id="Page_250">[250]</span>and the fortunate holders of the prizes were to be taught, at the +charge of the Company, Latin, Greek, Hebrew, French, Spanish, +conic sections, trigonometry, heraldry, japanning, fortification, bookkeeping, +and the art of playing the theorbo. Some of these companies +took large mansions, and printed their advertisements in gilded +letters. Others, less ostentatious, were content with ink, and met at +coffee-houses in the neighbourhood of the Royal Exchange. Jonathan’s +and Garraway’s were in a constant ferment with brokers, +buyers, sellers, meetings of directors, meetings of proprietors. Time-bargains +soon came into fashion. Extensive combinations were +formed, and monstrous fables were circulated, for the purpose of +raising or depressing the price of shares. Our country witnessed +for the first time those phenomena with which a long experience has +made us familiar. A mania, of which the symptoms were essentially +the same with those of the mania of 1720, of the mania of 1825, of +the mania of 1845, seized the public mind. An impatience to be +rich, a contempt for those slow but sure gains which are the proper +reward of industry, patience, and thrift, spread through society. The +spirit of the cogging dicers of Whitefriars took possession of the +grave senators of the City, wardens of trades, deputies, aldermen. It +was much easier and much more lucrative to put forth a lying prospectus +announcing a new stock, to persuade ignorant people that the +dividends could not fall short of twenty per cent., and to part with +five thousand pounds of this imaginary wealth for ten thousand solid +guineas, than to load a ship with a well-chosen cargo for Virginia or +the Levant. Every day some new bubble was puffed into existence, +rose buoyant, shone bright, burst, and was forgotten.’</p> + +</blockquote> + +<p class="noindent">You will not find the cause of panics so accurately explained +in the dryest of political economists—in the Scotch +M’Culloch.</p> + +<p>These peculiarities of character and mind may be very +conspicuously traced through the <i>History of England</i>, and +in the <i>Essays</i>. Their first and most striking quality is the +<i>intellectual entertainment</i> which they afford. This, as practical +readers know, is a kind of sensation which is not very +common, and which is very productive of great and healthy +enjoyment. It is quite distinct from the amusement which +is derived from common light works. The latter is very +<span class="pagenum" id="Page_251">[251]</span>great; but it is passive. The mind of the reader is not +awakened to any independent action: you see the farce, but +you see it without effort; not simply without painful effort, +but without any perceptible mental activity whatever. +Again, entertainment of intellect is contrasted with the +high enjoyment of consciously following pure and difficult +reasoning; such a sensation is a sort of sublimated pain. +The highest and most intense action of the intellectual +powers is like the most intense action of the bodily on a +high mountain. We climb and climb: we have a thrill of +pleasure, but we have also a sense of effort and anguish. +Nor is the sensation to be confounded with that which we +experience from the best and purest works of art. The +pleasure of high tragedy is also painful: the whole soul is +stretched; the spirit pants; the passions scarcely breathe: +it is a rapt and eager moment, too intense for continuance—so +overpowering, that we scarcely know whether it be +joy or pain. The sensation of intellectual entertainment is +altogether distinguished from these by not being accompanied +by any pain, and yet being consequent on, or being +contemporaneous with, a high and constant exercise of mind. +While we read works which so delight us, we are conscious +that we are delighted, and are conscious that we are not idle. +The opposite pleasures of indolence and exertion seem for a +moment combined. A sort of elasticity pervades us; thoughts +come easily and quickly; we seem capable of many ideas; we +follow cleverness till we fancy that we are clever. This feeling +is only given by writers who stimulate the mind just to the +degree which is pleasant, and who do not stimulate it more; +who exact a moderate exercise of mind, and who seduce us to +it insensibly. This can only be, of course, by a charm of +style; by the inexplicable <i>je ne sais quoi</i> which attracts our +attention; by constantly raising and constantly satisfying our +curiosity. And there seems to be a further condition. A +writer who wishes to produce this constant effect must not +<span class="pagenum" id="Page_252">[252]</span>appeal to any single, separate faculty of mind, but to the whole +mind at once. The fancy tires, if you appeal only to the +fancy; the understanding is aware of its dulness, if you appeal +only to the understanding; the curiosity is soon satiated unless +you pique it with variety. This is the very opportunity for +Macaulay. He has fancy, sense, abundance; he appeals to both +fancy and understanding. There is no sense of effort. His +books read like an elastic dream. There is a continual sense of +instruction; for who had an idea of the transactions before? +The emotions, too, which he appeals to are the easy admiration, +the cool disapprobation, the gentle worldly curiosity, which +quietly excite us, never fatigue us,—which we could bear for +ever. To read Macaulay for a day, would be to pass a day of +easy thought, of pleasant placid emotion.</p> + +<p>Nor is this a small matter. In a state of high civilisation +it is no simple matter to give multitudes a large and healthy +enjoyment. The old bodily enjoyments are dying out; there +is no room for them any more; the complex apparatus of +civilisation cumbers the ground. We are thrown back upon +the mind, and the mind is a barren thing. It can spin little +from itself: few that describe what they see are in the way +to discern much. Exaggerated emotions, violent incidents, +monstrous characters, crowd our canvas; they are the resource +of a weakness which would obtain the fame of strength. +Reading is about to become a series of collisions against +aggravated breakers, of beatings with imaginary surf. In such +times a book of sensible attraction is a public benefit; it +diffuses a sensation of vigour through the multitude. Perhaps +there is a danger that the extreme popularity of the manner +may make many persons fancy they understand the matter +more perfectly than they do: some readers may become +conceited; several boys believe that they too are Macaulays. +Yet, duly allowing for this defect, it is a great good that so +many people should learn so much on such topics so agreeably; +that they should feel that they <i>can</i> understand them; that +<span class="pagenum" id="Page_253">[253]</span>their minds should be stimulated by a consciousness of health +and power.</p> + +<p>The same peculiarities influence the style of the narrative. +The art of narration is the art of writing in hooks-and-eyes. +The principle consists in making the appropriate thought +follow the appropriate thought, the proper fact the proper fact; +in first preparing the mind for what is to come, and then +letting it come. This can only be achieved by keeping +continually and insensibly before the mind of the reader some +one object, character, or image, whose variations are the events +of the story, whose unity is the unity of it. Scott, for example, +keeps before you the mind of some one person,—that of +Morton in <i>Old Mortality</i>, of Rebecca in <i>Ivanhoe</i>, of Lovel in +<i>The Antiquary</i>,—whose fortunes and mental changes are the +central incidents, whose personality is the string of unity. It is +the defect of the great Scotch novels that their central figure +is frequently not their most interesting topic,—that their +interest is often rather in the accessories than in the essential +principle—rather in that which surrounds the centre of narration +than in the centre itself. Scott tries to meet this +objection by varying the mind which he selects for his unit; +in one of his chapters it is one character, in the next a +different; he shifts the scene from the hero to the heroine, +from the ‘Protector of the settlement’ of the story to the evil +being who mars it perpetually: but when narrowly examined, +the principle of his narration will be found nearly always the +same,—the changes in the position—external or mental—of +some one human being. The most curiously opposite sort of +narration is that of Hume. He seems to carry a <i>view</i>, as the +moderns call it, through everything. He forms to himself a +metaphysical—that perhaps is a harsh word—an intellectual +conception of the time and character before him; and the +gradual working out or development of that view is the +principle of his narration. He tells the story of the conception. +You rise from his pages without much remembrance of or +<span class="pagenum" id="Page_254">[254]</span>regard for the mere people, but with a clear notion of an +elaborated view, skilfully abstracted and perpetually impressed +upon you. A critic of detail should scarcely require a better +task than to show how insensibly and artfully the subtle +historian infuses his doctrine among the facts, indicates +somehow—you can scarcely say how—their relation to it; +strings them, as it were, upon it, concealing it in seeming +beneath them, while in fact it altogether determines their +form, their grouping, and their consistency. The style of +Macaulay is very different from either of these. It is a +diorama of political pictures. You seem to begin with a +brilliant picture,—its colours are distinct, its lines are firm; +on a sudden it changes, at first gradually, you can scarcely tell +how or in what, but truly and unmistakably,—a slightly +different picture is before you; then the second vision seems +to change,—it too is another and yet the same; then the third +shines forth and fades; and so without end. The unity of this +delineation is the identity—the apparent identity—of the +picture; in no two moments does it seem quite different, in +no two is it identically the same. It grows and alters as our +bodies would appear to alter and grow, if you could fancy any +one watching them, and being conscious of their daily little +changes. The events are picturesque variations; the unity is +a unity of political painting, of represented external form. +It is evident how suitable this is to a writer whose understanding +is solid, whose sense is political, whose fancy is fine +and delineative.</p> + +<p>To this merit of Macaulay is to be added another. No one +describes so well what we may call the <i>spectacle</i> of a character. +The art of delineating character by protracted description is +one which grows in spite of the critics. In vain is it alleged +that the character should be shown dramatically; that it should +be illustrated by events; that it should be exhibited in its +actions. The truth is, that these homilies are excellent, but +incomplete; true, but out of season. There is a utility in +<span class="pagenum" id="Page_255">[255]</span>verbal portrait, as Lord Stanhope says there is in painted. +Goethe used to observe, that in society—in a <i>tête-à-tête</i>, rather—you +often thought of your companion as if he was his +portrait: you were silent; you did not care what he said; +but you considered him as a picture, as a whole, especially as +regards yourself and your relations towards him. You require +something of the same kind in literature; <i>some</i> description of +a man is clearly necessary as an introduction to the story of his +life and actions. But more than this is wanted; you require +to have the object placed before you as a whole, to have the +characteristic traits mentioned, the delicate qualities drawn +out, the firm features gently depicted. As the practice which +Goethe hints at is, of all others, the most favourable to a just +and calm judgment of character, so the literary substitute is +essential as a steadying element, as a summary, to bring +together and give a unity to our views. We must see the +man’s face. Without it, we seem to have heard a great deal +about the person, but not to have known him; to be aware that +he had done a good deal, but to have no settled, ineradicable +notion what manner of man he was. This is the reason why +critics like Macaulay, who sneer at the practice when estimating +the works of others, yet make use of it at great length, and, in +his case, with great skill, when they come to be historians +themselves. The kind of characters whom Macaulay can +describe is limited—at least we think so—by the bounds which +we indicated just now. There are some men whom he is too +impassive to comprehend; but he can always tell us of such as +he does comprehend, what they looked like, and what they +were.</p> + +<p>A great deal of this vividness Macaulay of course owes to +his style. Of its effectiveness there can be no doubt; its +agreeableness no one who has just been reading it is likely to +deny. Yet it has a defect. It is not, as Bishop Butler would +have expressed it, such a style as ‘is suitable to such a being +as man, in such a world as the present one.’ It is too +<span class="pagenum" id="Page_256">[256]</span>omniscient. Everything is too plain. All is clear; nothing +is doubtful. Instead of probability being, as the great thinker +expressed it, ‘the very guide of life,’ it has become a rare +exception—an uncommon phenomenon. You rarely come across +anything which is not decided; and when you do come across +it, you seem to wonder that the positiveness, which has accomplished +so much, should have been unwilling to decide +everything. This is hardly the style for history. The data of +historical narratives, especially of modern histories, are a heap of +confusion. No one can tell where they lie, or where they do not +lie; what is in them, or what is not in them. Literature is called +the ‘fragment of fragments;’ little has been written, and but +little of that little has been preserved. So history is a vestige of +vestiges; few facts leave any trace of themselves, any witness +of their occurrence; of fewer still is that witness preserved; a +slight track is all anything leaves, and the confusion of life, +the tumult of change, sweeps even that away in a moment. It +is not possible that these data can be very fertile in certainties. +Few people would make anything of them: a memoir here, a +MS. there—two letters in a magazine—an assertion by a person +whose veracity is denied,—these are the sort of evidence out of +which a flowing narrative is to be educed; and of course it +ought not to be too flowing. ‘If you please, sir, tell me what +you do <i>not</i> know,’ was the inquiry of a humble pupil addressed +to a great man of science. It would have been a relief to the +readers of Macaulay if he had shown a little the outside of +uncertainties, which there must be—the gradations of doubt, +which there ought to be—the singular accumulation of difficulties, +which must beset the extraction of a very easy narrative +from very confused materials.</p> + +<p>This defect in style is, indeed, indicative of a defect in +understanding. Macaulay’s mind is eminently gifted, but +there is a want of graduation in it. He has a fine eye for +probabilities, a clear perception of evidence, a shrewd guess +at missing links of fact; but each probability seems to him a +<span class="pagenum" id="Page_257">[257]</span>certainty, each piece of evidence conclusive, each analogy exact. +The heavy Scotch intellect is a little prone to this: one figures +it as a heap of formulæ, and if fact <i>b</i> is reducible to formula <span class="allsmcap">B</span>, +that is all which it regards; the mathematical mill grinds with +equal energy at flour perfect and imperfect—at matter which +is quite certain and at matter which is only a little probable. +But the great cause of this error is, an abstinence from practical +action. Life is a school of probability. In the writings of every +man of patient practicality, in the midst of whatever other defects, +you will find a careful appreciation of the degrees of likelihood; +a steady balancing of them one against another; a disinclination +to make things too clear, to overlook the debit side of +the account in mere contemplation of the enormousness of the +credit. The reason is obvious: action is a business of risk; +the real question is the magnitude of that risk. Failure is +ever impending; success is ever uncertain; there is always, in +the very best of affairs, a slight probability of the former, a +contingent possibility of the non-occurrence of the latter. For +practical men, the problem ever is to test the amount of these +inevitable probabilities; to make sure that no one increases +too far; that by a well-varied choice the number of risks may +in itself be a protection—be an insurance to you, as it were, +against the capricious result of any one. A man like Macaulay, +who stands aloof from life, is not so instructed; he sits secure: +nothing happens in his study: he does not care to test probabilities; +he loses the detective sensation.</p> + +<p>Macaulay’s so-called inaccuracy is likewise a phase of this +defect. Considering the enormous advantages which a picturesque +style gives to ill-disposed critics; the number of points +of investigation which it suggests; the number of assertions it +makes, sentence by sentence; the number of ill-disposed critics +that there are in the world; remembering Macaulay’s position,—set +on a hill to be spied at by them,—he can scarcely be +thought an inaccurate historian. Considering all things, they +have found few certain blunders, hardly any direct mistakes. +<span class="pagenum" id="Page_258">[258]</span>Every sentence of his style requires minute knowledge; the +vivid picture has a hundred details; each of those details must +have an evidence, an authority, a proof. An historian like +Hume passes easily over a period; his chart is large; if he gets +the conspicuous headlands, the large harbours, duly marked, +he does not care. Macaulay puts in the depth of each wave, +every remarkable rock, every tree on the shore. Nothing gives +a critic so great an advantage. It is difficult to do this for a +volume; simple for a page. It is easy to select a particular +event, and learn all which any one can know about it; examine +Macaulay’s descriptions, say he is wrong, that X is not buried +where he asserts, that a little boy was one year older than he +states. But how would the critic manage, if he had to work +out all this for a million facts, for a whole period? Few men, +we suspect, would be able to make so few errors of simple and +provable fact. On the other hand, few men would arouse a +sleepy critic by such startling assertion. If Macaulay finds a +new theory, he states it as a fact. Very likely it really is the +most probable theory; at any rate, we know of no case in which +his theory is not one among the most plausible. If it had only +been so stated, it would have been well received. His view +of Marlborough’s character, for instance, is a specious one; +it has a good deal of evidence, a large amount of real probability, +but it has scarcely more. Marlborough <i>may</i> have +been as bad as is said, but we can hardly be <i>sure</i> of it at this +time.</p> + +<p>Macaulay’s ‘party-spirit’ is another consequence of his +positiveness. When he inclines to a side, he inclines to it +too much. His opinions are a shade too strong; his predilections +some degrees at least too warm. William is too perfect, +James too imperfect. The Whigs are a trifle like angels; the +Tories like, let us say, ‘our inferiors.’ Yet this is evidently an +honest party-spirit. It does not lurk in the corners of sentences, +it is not insinuated without being alleged; it does not, +like the unfairness of Hume, secrete itself so subtly in the +<span class="pagenum" id="Page_259">[259]</span>turns of the words, that when you look to prove it, it is gone. +On the contrary, it rushes into broad day. William is loaded +with panegyric; James is always spoken evil of. Hume’s is +the artful pleading of a hired advocate; Macaulay’s the bold +eulogy of a sincere friend. As far as effect goes, this is an +error. The very earnestness of the affection leads to a reaction; +we are tired of having William called the ‘just;’ we +cannot believe so many pages; ‘all that’ can scarcely be correct. +As we said, if the historian’s preference for persons and parties +had been duly tempered and mitigated, if the probably good +were only said to be probably good, if the rather bad were +only alleged to be rather bad, the reader would have been +convinced, and the historian would have escaped the savage +censure of envious critics.</p> + +<p>The one thing which detracts from the pleasure of reading +these volumes, is the doubt whether they should have been +written. Should not these great powers be reserved for great +periods? Is this abounding, picturesque style suited for +continuous history? Are small men to be so largely described? +Should not admirable delineation be kept for admirable +people? We think so. You do not want Raphael to paint +sign-posts, or Palladio to build dirt-pies. Much of history is +necessarily of little value,—the superficies of circumstance, +the scum of events. It is very well to have it described, indeed +you must have it described; the chain must be kept complete; +the narrative of a country’s fortunes will not allow of breaks +or gaps. Yet all things need not be done equally well. The +life of a great painter is short. Even the industry of Macaulay +will not complete this history. It is a pity to spend such +powers on such events. It would have been better to have +some new volumes of essays solely on great men and great +things. The diffuseness of the style would have been then +in place; we could have borne to hear the smallest <i>minutiæ</i> +of magnificent epochs. If an inferior hand had executed +the connecting-links, our notions would have acquired an +<span class="pagenum" id="Page_260">[260]</span>insensible perspective; the works of the great artist, the +best themes, would have stood out from the canvas. They +are now confused by the equal brilliancy of the adjacent +inferiorities.</p> + +<p>Much more might be said on this narrative. As it will +be read for very many years, it will employ the critics for very +many years. It would be unkind to make all the best observations. +Something, as Mr. Disraeli said in a budget-speech, +something should be left for ‘future statements of this nature.’ +There will be an opportunity. Whatever those who come after +may say against this book, it will be, and remain, the ‘Pictorial +History of England.’</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_261">[261]</span></p> + +<h2 class="nobreak" id="BERANGER"><i>BERANGER.</i>⁠<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a><br> +<span class="smaller">(1857.)</span></h2> + +</div> + +<p>The invention of books has at least one great advantage. It +has half-abolished one of the worst consequences of the diversity +of languages. Literature enables nations to understand one +another. Oral intercourse hardly does this. In English a distinguished +foreigner says not what he thinks, but what he can. +There is a certain intimate essence of national meaning which +is as untranslatable as good poetry. Dry thoughts are cosmopolitan; +but the delicate associations of language which express +character, the traits of speech which mark the man, differ in +every tongue, so that there are not even cumbrous circumlocutions +that are equivalent in another. National character is +a deep thing—a shy thing; you cannot exhibit much of it to +people who have a difficulty in understanding your language; +you are in strange society, and you feel you will not be understood. +‘Let an English gentleman,’ writes Mr. Thackeray, +‘who has dwelt two, four, or ten years in Paris, say at the end +of any given period how much he knows of French society, how +many French houses he has entered, and how many French +friends he has made. Intimacy there is none; we see but the +outsides of the people. Year by year we live in France, and +grow grey and see no more. We play <i>écarté</i> with Monsieur de +Trêfle every night; but what do we know of the heart of the +man—of the inward ways, thoughts, and customs of Trêfle? +<span class="pagenum" id="Page_262">[262]</span>We have danced with Countess Flicflac Tuesdays and Thursdays +ever since the peace; and how far are we advanced in her acquaintance +since we first twirled her round a room? We know +her velvet gown and her diamonds; we know her smiles and +her simpers and her rouge; but the real, rougeless, <i>intime</i> +Flicflac we know not.’⁠<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> Even if our words did not stutter, as +they do stutter on our tongue, she would not tell us what she is. +Literature has half mended this. Books are exportable; the +essence of national character lies flat on a printed page. Men of +genius with the impulses of solitude produce works of art, whose +words can be read and re-read and partially taken in by foreigners +to whom they could never be uttered, the very thought of whose +unsympathising faces would freeze them on the surface of the +mind. Alexander Smith has accused poetical reviewers of beginning +as far as possible from their subject. It may seem to some, +though it is not so really, that we are exemplifying this saying +in commencing as we have commenced an article on Béranger.</p> + +<p>There are two kinds of poetry—which one may call poems +of this world, and poems not of this world. We see a certain +society on the earth held together by certain relations, performing +certain acts, exhibiting certain phenomena, calling forth +certain emotions. The millions of human beings who compose +it have their various thoughts, feelings, and desires. They hate, +act, and live. The social bond presses them closely together; +and from their proximity new sentiments arise which are half +superficial and do not touch the inmost soul, but which nevertheless +are unspeakably important in the actual constitution of +human nature, and work out their effects for good and for evil +on the characters of those who are subjected to their influence. +These sentiments of the world, as one may speak, differ from +the more primitive impulses and emotions of our inner nature +as the superficial phenomena of the material universe from what +we fancy is its real essence. Passing hues, transient changes +<span class="pagenum" id="Page_263">[263]</span>have their course before our eyes; a multiplex diorama is for +ever displayed; underneath it all we fancy—such is the inevitable +constitution of our thinking faculty—a primitive immovable +essence, which is modified into all the ever-changing +phenomena we see, which is the grey granite whereon they lie, +the primary substance whose <i>débris</i> they all are. Just so from +the original and primitive emotions of man, society—the +evolving capacity of combined action—brings out desires which +seem new, in a sense are new, which have no existence out of +the society itself, are coloured by its customs at the moment, +change with the fashions of the age. Such a principle is what +we may call social gaiety: the love of combined amusement +which all men feel and variously express, and which is to the +higher faculties of the soul what a gay running stream is to the +everlasting mountain—a light, altering element which beautifies +while it modifies. Poetry does not shrink from expressing such +feelings; on the contrary, their renovating cheerfulness blends +appropriately with her inspiriting delight. Each age and each +form of the stimulating imagination has a fashion of its own. +Sir Walter sings in his modernised chivalry:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Waken, lords and ladies gay,</div> + <div class="verse indent0">On the mountain dawns the day;</div> + <div class="verse indent0">All the jolly chase is here,</div> + <div class="verse indent0">With hawk and horse and hunting-spear.</div> + <div class="verse indent0">Hounds are in their couples yelling,</div> + <div class="verse indent0">Hawks are whistling, horns are knelling,</div> + <div class="verse indent0">Merrily, merrily, mingle they:</div> + <div class="verse indent0">Waken, lords and ladies gay.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Louder, louder chant the lay,</div> + <div class="verse indent0">Waken, lords and ladies gay;</div> + <div class="verse indent0">Tell them youth and mirth and glee</div> + <div class="verse indent0">Run a course as well as we.</div> + <div class="verse indent0">Time, stern huntsman, who can balk?</div> + <div class="verse indent0">Stanch as hound and fleet as hawk;</div> + <div class="verse indent0">Think of this, and rise with day,</div> + <div class="verse indent0">Gentle lords and ladies gay.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_264">[264]</span></p> + +<p class="noindent">The poet of the people, ‘<i>vilain et très vilain</i>,’ sings with the +pauper Bohemian:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Voir, c’est avoir. Allons courir!</div> + <div class="verse indent4">Vie errante</div> + <div class="verse indent4">Est chose enivrante.</div> + <div class="verse indent0">Voir, c’est avoir. Allons courir!</div> + <div class="verse indent0">Car tout voir, c’est tout conquérir.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Nous n’avons donc, exempts d’orgueil,</div> + <div class="verse indent4">De lois vaines,</div> + <div class="verse indent4">De lourdes chaines;</div> + <div class="verse indent0">Nous n’avons donc, exempts d’orgueil,</div> + <div class="verse indent0">Ni berceau, ni toit, ni cercueil.</div> + <div class="verse indent4">Mais croyez-en notre gaîté,</div> + <div class="verse indent8">Noble ou prêtre,</div> + <div class="verse indent8">Valet ou maître;</div> + <div class="verse indent4">Mais, croyez-en notre gaîté,</div> + <div class="verse indent4">Le bonheur, c’est la liberté.</div> + </div> + <div class="stanza"> + <div class="verse indent4">‘Oui, croyez-en notre gaîté,</div> + <div class="verse indent8">Noble ou prêtre,</div> + <div class="verse indent8">Valet ou maître;</div> + <div class="verse indent4">Oui, croyez-en notre gaîté,</div> + <div class="verse indent4">Le bonheur, c’est la liberté.’</div> + </div> + </div> +</div> + +<p>The forms of these poems of social amusement are, in truth, +as various as the social amusement itself. The variety of the +world, singularly various as it everywhere is, is nowhere so +various as in that. Men have more ways of amusing themselves +than of doing anything else they do. But the essence—the +characteristic—of these poems everywhere is, that they express +more or less well the lighter desires of human nature;—those +that have least of unspeakable depth, partake most of what is +perishable and earthly, and least of the immortal soul. The +objects of these desires are social accidents; excellent, perhaps, +essential, possibly—so is human nature made—in one form and +variety or another, to the well-being of the soul, yet in themselves +transitory, fleeting, and in other moods contemptible. The old +<span class="pagenum" id="Page_265">[265]</span>saying was, that to endure solitude a man must either be a +beast or a god. It is in the lighter play of social action, in that +which is neither animal nor divine, which in its half-way character +is so natural to man, that these poems of society, which +we have called poems of amusement, have their place.</p> + +<p>This species does not, however, exhaust the whole class. +Society gives rise to another sort of poems, differing from this +one as contemplation differs from desire. Society may be +thought of as an object. The varied scene of men,—their hopes, +fears, anxieties, maxims, actions,—presents a sight more interesting +to man than any other which has ever existed, or which can +exist; and it may be viewed in all moods of mind, and with the +change of inward emotion as the external object seems to +change: not that it really does so, but that some sentiments +are more favourable to clear-sightedness than others are; and +some bring before us one aspect of the subject, and fix our +attention upon it, others a different one, and bind our minds +to that likewise. Among the most remarkable of these varied +views is the world’s view of itself. The world, such as it is, +has made up its mind what it is. Childishly deceivable by +charlatans on every other subject,—imposed on by pedantry, +by new and unfounded science, by ancient and unfounded reputation, +a prey to pomposity, overrun with recondite fools, +ignorant of all else,—society knows itself. The world knows +a man of the world. A certain tradition pervades it; a <i>disciplina</i> +of the market-place teaches what the collective society +of men has ever been, and what, so long as the nature of man +is the same, it cannot and will not cease to be. Literature, +the written expression of human nature in every variety, takes +up this variety likewise. Ancient literature exhibits it from +obvious causes in a more simple manner than modern literature +can. Those who are brought up in times like the present +necessarily hear a different set of opinions, fall in with other +words, are under the shadow of a higher creed. In consequence, +they cannot have the simple <i>naïveté</i> of the old world; they +<span class="pagenum" id="Page_266">[266]</span>cannot speak with easy equanimity of the fugitiveness of life, +the necessity of death, of goodness as a mean, of sin as an +extreme. The theory of the universe has ceased to be an open +question. Still the spirit of Horace is alive, and as potent as +that of any man. His tone is that of prime ministers; his easy +philosophy is that of courts and parliaments; you may hear his +words where no other foreign words are ever heard. He is but +the extreme and perfect type of a whole class of writers, some +of whom exist in every literary age, and who give an expression +to what we may call the poetry of equanimity, that is, the +world’s view of itself; its self-satisfaction, its conviction that +you must bear what comes, not hope for much, think <i>some</i> evil, +never be excited, admire little, and then you will be at peace. +This creed does not sound attractive in description. Nothing, +it has been said, is so easy as to be ‘religious on paper:’ on the +other hand, it is rather difficult to be worldly in speculation; +the mind of man, when its daily maxims are put before it, +revolts from anything so stupid, so mean, so poor. It requires +a consummate art to reconcile men in print to that moderate and +insidious philosophy which creeps into all hearts, colours all +speech, influences all action. We may not stiffen common sense +into a creed; our very ambition forbids:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘It hears a voice within us tell</div> + <div class="verse indent0">Calm’s not life’s crown, though calm is well:</div> + <div class="verse indent0">’Tis all perhaps which man acquires;</div> + <div class="verse indent0">But ’tis not what our youth desires.’</div> + </div> + </div> +</div> + +<p class="noindent">Still a great artist may succeed in making ‘calm’ interesting. +Equanimity has its place in literature; the poetry of equipoise +is possible. Poems of society have, thus, two divisions: that +which we mentioned first, the expression of the feelings which +are called out by the accidents of society; next, the harmonised +expression of that philosophy of indifference with which the +world regards the fortunes of individuals and its own.</p> + +<p>We have said that no modern nation can produce literature +<span class="pagenum" id="Page_267">[267]</span>embodying this kind of cool reflection and delineation as it was +once produced. By way of compensation, however, it may be, +it no doubt is, easier now to produce the lyrical kind of poems of +society—the light expression of its light emotions—than it was +in ancient times. Society itself is better. There is something +hard in Paganism, which is always felt even in the softest traits +of the most delicate society in antiquity. The social influence +of women in modern times gives an interest, a little pervading +excitement, to social events. Civilisation, besides, has made +comfort possible; it has, at least in part, created a scene in +which society can be conducted. Its petty conveniences may or +may not be great benefits according to a recondite philosophy; +but there can be no doubt that for actual men and women in +actual conversation it is of the greatest importance that their +feet should not be cold; that their eyes and mouths should not +be troubled with smoke; that sofas should be good, and attractive +chairs many. Modern times have the advantage of the ancient +in the scenery of flirtation. The little boy complained that you +could not find ‘drawing-room’ in the dictionary. Perhaps even +because our reflections are deeper, our inner life less purely +pagan, our apparent life is softer and easier. Some have said, +that one reason why physical science made so little progress in +ancient times was, that people were in doubt about more interesting +things; men must have, it has been alleged, a settled +creed as to human life and human hopes, before they will attend +to shells and snails and pressure. And whether this be so or +not, perhaps a pleasant society is only possible to persons at +ease as to what is beyond society. Those only can lie on the +grass who fear no volcano underneath, and can bear to look at +the blue vault above.</p> + +<p>Among modern nations it is not difficult to say where we +should look for success in the art of social poetry. ‘Wherever,’ +said Mr. Lewes the other day, ‘the French go, they take what +they call their civilisation—that is, a <i>café</i> and a theatre.’ And +though this be a trifle severe, yet in its essence its meaning is +<span class="pagenum" id="Page_268">[268]</span>correct. The French have in some manner or other put their +mark on all the externals of European life. The essence of +every country remains little affected by their teaching; but in +all the superficial embellishments of society they have enjoined +the fashion; and the very language in which those embellishments +are spoken of, shows at once whence they were derived. +Something of this is doubtless due to the accidents of a central +position, and an early and prolonged political influence; but more +to a certain neatness of nature, a certain finish of the senses, +which enables them more easily than others to touch lightly +the light things of society, to see the <i>comme-il-faut</i>. ‘I like,’ +said a good judge, ‘to hear a Frenchman talk; he strikes a +light.’ On a hundred topics he gives the bright sharp edge, +where others have only a blunt approximation.</p> + +<p>Nor is this anticipation disappointed. Reviewers do not +advance such theories unless they correspond with known results. +For many years the French have not been more celebrated for +memoirs which professedly describe a real society than they +have been for the light social song which embodies its sentiments +and pours forth its spirit. The principle on which such +writings are composed is the taking some incident—not voluntarily +(for the incident doubtless of itself takes a hold on the +poet’s mind)—and out of that incident developing all which +there is in it. A grave form is of course inconsistent with such +art. The spirit of such things is half-mirthful; a very profound +meaning is rarely to be expected; but little incidents are not +destitute of meaning, and a delicate touch will delineate it in +words. A profound excitement likewise such poems cannot +produce; they do not address the passions or the intuitions, the +heart or the soul, but a gentle pleasure, half sympathy, half +amusement, is that at which they aim. They do not please us +equally in all moods of mind: sometimes they seem nothing +and nonsense, like society itself. We must not be too active or +too inactive, to like them; the tension of mind must not be too +great; in our highest moods the littlenesses of life are petty; +<span class="pagenum" id="Page_269">[269]</span>the mind must not be obtusely passive; light touches will not +stimulate a sluggish inaction. This dependence on the mood of +mind of the reader makes it dangerous to elucidate this sort of +art by quotation; Béranger has, however, the following:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘<i>Laideur et Beauté.</i></div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Sa trop grande beauté m’obsède;</div> + <div class="verse indent2">C’est un masque aisément trompeur.</div> + <div class="verse indent2">Oui, je voudrais qu’elle fût laide,</div> + <div class="verse indent2">Mais laide, laide à faire peur.</div> + <div class="verse indent2">Belle ainsi faut-il que je l’aime!</div> + <div class="verse indent2">Dieu, reprends ce don éclatant;</div> + <div class="verse indent2">Je le demande à l’enfer même:</div> + <div class="verse indent0">Qu’elle soit laide et que je l’aime autant.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘A ces mots m’apparaît le diable;</div> + <div class="verse indent2">C’est le père de la laideur.</div> + <div class="verse indent2">“Rendons-la,” dit-il, “effroyable,</div> + <div class="verse indent2">De tes rivaux trompons l’ardeur.</div> + <div class="verse indent2">J’aime assez ces métamorphoses.</div> + <div class="verse indent2">Ta belle ici vient en chantant;</div> + <div class="verse indent2">Perles, tombez; fanez-vous, roses:</div> + <div class="verse indent0">La voilà laide, et tu l’aimes autant.”</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘—Laide! moi? dit-elle étonnée.</div> + <div class="verse indent2">Elle s’approche d’un miroir,</div> + <div class="verse indent2">Doute d’abord, puis, consternée,</div> + <div class="verse indent2">Tombe en un morne désespoir.</div> + <div class="verse indent2">“Pour moi seul tu jurais de vivre,”</div> + <div class="verse indent2">Lui dis-je, à ses pieds me jetant;</div> + <div class="verse indent2">“A mon seul amour il te livre.</div> + <div class="verse indent0">Plus laide encore, je t’aimerais autant.”</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Ses yeux éteints fondent en larmes,</div> + <div class="verse indent2">Alors sa douleur m’attendrit.</div> + <div class="verse indent2">“Ah! rendez, rendez-lui ses charmes.”</div> + <div class="verse indent2">“—Soit!” répond Satan, qui sourit.</div> + <div class="verse indent2">Ainsi que naît la fraîche aurore,</div> + <div class="verse indent2">Sa beauté renaît à l’instant.</div> + <div class="verse indent2">Elle est, je crois, plus belle encore:</div> + <div class="verse indent0">Elle est plus belle, et moi je l’aime autant.</div> +<span class="pagenum" id="Page_270">[270]</span> </div> + <div class="stanza"> + <div class="verse indent2">‘Vite au miroir elle s’assure</div> + <div class="verse indent2">Qu’on lui rend bien tous ses appas;</div> + <div class="verse indent2">Des pleurs restent sur sa figure,</div> + <div class="verse indent2">Qu’elle essuie en grondant tout bas.</div> + <div class="verse indent2">Satan s’envole, et la cruelle</div> + <div class="verse indent2">Fuit et s’écrie en me quittant:</div> + <div class="verse indent2">“Jamais fille que Dieu fit belle</div> + <div class="verse indent0">Ne doit aimer qui peut l’aimer autant.”’</div> + </div> + </div> +</div> + +<p class="noindent">And this is even a more characteristic specimen:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘<i>La Mouche.</i></div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Au bruit de notre gaîté folle,</div> + <div class="verse indent0">Au bruit des verres, des chansons,</div> + <div class="verse indent0">Quelle mouche murmure et vole,</div> + <div class="verse indent0">Et revient quand nous la chassons? (<i>bis.</i>)</div> + <div class="verse indent0">C’est quelque dieu, je le soupçonne,</div> + <div class="verse indent0">Qu’un peu de bonheur rend jaloux.</div> + <div class="verse indent0">Ne souffrons point qu’elle bourdonne, }</div> + <div class="verse indent0">Qu’elle bourdonne autour de nous. <span style="margin-left: 1.5em;">}</span> (<i>bis.</i>)</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Transformée en mouche hideuse,</div> + <div class="verse indent0">Amis, oui, c’est, j’en suis certain,</div> + <div class="verse indent0">La Raison, déité grondeuse,</div> + <div class="verse indent0">Qu’irrite un si joyeux festin.</div> + <div class="verse indent0">L’orage approche, le ciel tonne,</div> + <div class="verse indent0">Voilà ce que dit son courroux.</div> + <div class="verse indent0">Ne souffrons point qu’elle bourdonne,</div> + <div class="verse indent0">Qu’elle bourdonne autour de nous.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘C’est la Raison qui vient me dire:</div> + <div class="verse indent0">“A ton âge on vit en reclus.</div> + <div class="verse indent0">Ne bois plus tant, cesse de rire,</div> + <div class="verse indent0">Cesse d’aimer, ne chante plus.”</div> + <div class="verse indent0">Ainsi son beffroi toujours sonne</div> + <div class="verse indent0">Aux lueurs des feux les plus doux.</div> + <div class="verse indent0">Ne souffrons point qu’elle bourdonne,</div> + <div class="verse indent0">Qu’elle bourdonne autour de nous.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘C’est la Raison, gare à Lisette!</div> + <div class="verse indent0">Son dard la menace toujours.</div> +<span class="pagenum" id="Page_271">[271]</span> <div class="verse indent0">Dieux! il perce la collerette:</div> + <div class="verse indent0">Le sang coule! accourez, Amours!</div> + <div class="verse indent0">Amours! poursuivez la félonne;</div> + <div class="verse indent0">Qu’elle expire enfin sous vos coups.</div> + <div class="verse indent0">Ne souffrons point qu’elle bourdonne,</div> + <div class="verse indent0">Qu’elle bourdonne autour de nous.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Victoire! amis, elle se noie</div> + <div class="verse indent0">Dans l’aï que Lise a versé.</div> + <div class="verse indent0">Victoire! et qu’aux mains de la Joie</div> + <div class="verse indent0">Le sceptre enfin soit replacé. (<i>bis.</i>)</div> + <div class="verse indent0">Un souffle ébranle sa couronne;</div> + <div class="verse indent0">Une mouche nous troublait tous.</div> + <div class="verse indent0">Ne craignons plus qu’elle bourdonne, }</div> + <div class="verse indent0">Qu’elle bourdonne autour de nous.’ <span style="margin-left: 1em;">}</span> (<i>bis.</i>)</div> + </div> + </div> +</div> + +<p>To make poetry out of a fly is a difficult operation. It +used to be said of the Lake school of criticism, in Mr. Wordsworth’s +early and more rigid days, that there was no such term +as ‘elegant’ in its nomenclature. The reason is that, dealing, +or attempting to deal, only with the essential aboriginal principles +of human nature, that school had no room and no occasion +for those minor contrivances of thought and language which are +necessary to express the complex accumulation of little feelings, +the secondary growth of human emotion. The underwood of +nature is ‘elegant;’ the bare ascending forest-tree despises +what is so trivial,—it is grave and solemn. To such verses, on +the other hand, as have been quoted, ‘elegance’ is essential; the +delicate finish of fleeting forms is the only excellence they +can have.</p> + +<p>The characteristic deficiencies of French literature have no +room to show themselves in this class of art. ‘Though France +herself denies,’ says a recent writer, ‘yet all other nations with +one voice proclaim her inferiority to her rivals in poetry and +romance, and in all the other elevated fields of fiction. A +French Dante, or Michael Angelo, or Cervantes, or Murillo, or +Goethe, or Shakespeare, or Milton, we at once perceive to be a +mere anomaly; a supposition which may, indeed, be proposed in +<span class="pagenum" id="Page_272">[272]</span>terms, but which in reality is inconceivable and impossible.’ In +metaphysics, the reason seems to be that the French character +is incapable of being mastered by an unseen idea, without +being so tyrannised over by it as to be incapable of artistic +development. Such a character as Robespierre’s may explain +what we mean. His entire nature was taken up and absorbed +in certain ideas; he had almost a vanity in them; he was of +them, and they were of him. But they appear in his mind, +in his speeches, in his life, in their driest and barest form; +they have no motion, life, or roundness. We are obliged to +use many metaphors remotely and with difficulty to indicate +the procedure of the imagination. In one of these metaphors +we figure an idea of imagination as a living thing, a kind of +growing plant, with a peculiar form, and ever preserving its +identity, but absorbing from the earth and air all kindred, +suitable, and, so to say, annexable materials. In a mind such +as Robespierre’s, in the type of the fanatic mind, there is no +such thing. The ideas seem a kind of dry hard capsules, never +growing, never enlarging, never uniting. Development is denied +them; they cannot expand, or ripen, or mellow. Dogma is a +dry hard husk; poetry has the soft down of the real fruit. +Ideas seize on the fanatic mind just as they do on the poetical; +they have the same imperious ruling power. The difference +is, that in the one the impelling force is immutable, iron, +tyrannical; in the other the rule is expansive, growing, free, +taking up from all around it moment by moment whatever is +fit, as in the political world a great constitution arises through +centuries, with a shape that does not vary, but with movement +for its essence and the fluctuation of elements for its vitality. +A thin poor mind like Robespierre’s seems pressed and hampered +by the bony fingers of a skeleton hand; a poet’s is expanded +and warmed at the same time that it is impelled by a pure +life-blood of imagination. The French, as we have said, are +hardly capable of this. When great remote ideas seize upon +them at all, they become fanatics. The wild, chimerical, +<span class="pagenum" id="Page_273">[273]</span>revolutionary, mad Frenchman has the stiffest of human minds. +He is under the law of his creed; he has not attained to the +higher freedom of the impelling imagination. The prosing +rhetoric of the French tragedy shows the same defect in another +form. The ideas which should have become living realities, +remain as lean abstractions. The characters are speaking +officials, jets of attenuated oratory. But exactly on this very +account the French mind has a genius for the poetry of society. +Unable to remove itself into the higher region of imagined +forms, it has the quickest detective insight into the exact +relation of surrounding superficial phenomena. There are two +ways of putting it: either, being fascinated by the present, +they cannot rise to what is not present; or being by defect of +nature unable to rise to what is not present, they are concentrated +and absorbed in that which is so. Of course there ought +not to be, but there is, a world of <i>bonbons</i>, of <i>salons</i>, of <i>esprit</i>. +Living in the present, they have the poetry of the present. The +English genius is just the opposite. Our cumbrous intellect has +no call to light artificialities. We do not excel in punctuated +detail or nicely-squared elaboration. It puts us out of patience +that others should. A respectable Englishman murmured in the +<i>Café de Paris</i>, ‘I wish I had a hunch of mutton.’ He could +not bear the secondary niceties with which he was surrounded. +Our art has the same principle. We excel in strong, noble +imagination, in solid stuff. Shakespeare is tough work; he has +the play of the rising energy, the buoyant freedom of the unbounded +mind; but no writer is so destitute of the simplifying +dexterities of the manipulating intellect.</p> + +<p>It is dangerous for a foreigner to give an opinion on <i>minutiæ</i> +of style, especially on points affecting the characteristic excellences +of national style. The French language is always neat; +all French styles somehow seem good. But Béranger appears to +have a peculiar neatness. He tells us that all his songs are +the production of a painful effort. If so, the reader should +be most grateful; <i>he</i> suffers no pain. The delicate elaboration +<span class="pagenum" id="Page_274">[274]</span>of the writer has given a singular currency to the words. +Difficult writing is rarely easy reading. It can never be so when +the labour is spent in piecing together elements not joined +by an insensible touch of imagination. The highest praise is +due to a writer whose ideas are more delicately connected by +unconscious genius than other men’s are, and yet who spends +labour and toil in giving the production a yet cunninger finish, +a still smoother connection. The characteristic aloofness of the +Gothic mind, its tendency to devote itself to what is not present, +is represented in composition by a want of care in the pettinesses +of style. A certain clumsiness pervades all tongues of +German origin. Instead of the language having been sharpened +and improved by the constant keenness of attentive minds, it +has been habitually used obtusely and crudely. Light, loquacious +Gaul has for ages been the contrast. If you take up a +pen just used by a good writer, for a moment you seem to write +rather well. A language long employed by a delicate and +critical society is a treasure of dexterous felicities. It is not, +according to the fine expression of Mr. Emerson, ‘fossil poetry;’ +it is crystallised <i>esprit</i>.</p> + +<p>A French critic has praised Béranger for having retained +the <i>refrain</i>, or burden, ‘<i>la rime de l’air</i>,’ as he calls it. Perhaps +music is more necessary as an accompaniment to the poetry +of society than it is to any other poetry. Without a sensuous +reminder, we might forget that it was poetry; especially in a +sparkling, glittering, attenuated language, we might be absorbed +as in the defined elegances of prose. In half trivial compositions +we easily forget the little central fancy. The music +prevents this: it gives oneness to the parts, pieces together the +shavings of the intellect, makes audible the flow of imagination.</p> + +<p>The poetry of society tends to the poetry of love. All poetry +tends that way. By some very subtle links, which no metaphysician +has skilfully tracked, the imagination, even in effects +and employments which seem remote, is singularly so connected. +One smiles to see the feeling recur. Half the poets can scarcely +keep away from it: in the high and dry epic you may see the +<span class="pagenum" id="Page_275">[275]</span>poet return to it. And perhaps this is not unaccountable. The +more delicate and stealing the sensuous element, the more the +mind is disposed to brood upon it; the more we dwell on it in +stillness, the more it influences the wandering, hovering faculty +which we term imagination. The first constructive effort of imagination +is beyond the limit of consciousness; the faculty works +unseen. But we know that it works in a certain soft leisure +only: and this in ordinary minds is almost confined to, in the +highest is most commonly accompanied by, the subtlest emotion +of reverie. So insinuating is that feeling, that no poet is alive +to all its influences; so potent is it, that the words of a great +poet, in our complex modern time, are rarely ever free from its +traces. The phrase ‘stealing calm,’ which most naturally and +graphically describes the state of soul in which the imagination +works, quite equally expresses, it is said, the coming in and +continuance of the not uncommon emotion. Passing, however, +from such metaphysics, there is no difficulty in believing that +the poetry of society will tend to the most romantic part of +society,—away from aunts and uncles, antiquaries and wigs, to +younger and pleasanter elements. The talk of society does so, +probably its literature will do so likewise. There are, nevertheless, +some limiting considerations, which make this tendency +less all-powerful than we might expect it to be. In the first +place, the poetry of society cannot deal with passion. Its light +touch is not competent to express eager, intense emotion. Rather, +we should say, the essential nature of the poetry of amusement +is inconsistent with those rugged, firm, aboriginal elements +which passion brings to the surface. The volcano is inconsistent +with careless talk; you cannot comfortably associate with lava. +Such songs as those of Burns are the very antithesis to the +levity of society. A certain explicitness pervades them:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Come, let me take thee to my breast,</div> + <div class="verse indent2">And pledge we ne’er shall sunder;</div> + <div class="verse indent0">And I shall spurn as vilest dust</div> + <div class="verse indent2">The warld’s wealth and grandeur.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_276">[276]</span></p> + +<p class="noindent">There is a story of his having addressed a lady in society, some +time after he came to Edinburgh, in this direct style, and being +offended that she took notice of it. The verses were in English, +and were not intended to mean anything particular, only to be +an elegant attention; but you might as well ask a young lady +to take brandy with you as compliment her in this intense +manner. The eager peasant-poet was at fault in the polished refinements +of the half-feeling drawing-room. Again, the poetry +of society can scarcely deal with affection. No poetry, except +in hints, and for moments, perhaps ever can. You might as +well tell secrets to the town-crier. The essence of poetry somehow +is publicity. It is very odd when one reads many of the +sentiments which are expressed there,—the brooding thought, +the delicate feeling, the high conception. What is the use of +telling these to the mass of men? Will the grocer feel them?—will +the greasy butcher in the blue coat feel them? Are +there not some emphatic remarks by Lord Byron on Mr. Sanders +(‘the d—d saltfish seller’ of Venice), who could not appreciate +<i>Don Juan</i>? Nevertheless, for some subtle reason or other, +poets do crave, almost more than other men, the public approbation. +To have a work of art in your imagination, and that no +one else should know of it, is a great pain. But even this +craving has its limits. Art can only deal with the universal. +Characters, sentiments, actions, must be described in what in +the old language might be called their conceptual shape. There +must always be an idea in them. If one compares a great +character in fiction, say that of Hamlet, with a well-known +character in life, we are struck almost at once by the typical +and representative nature of the former. We seem to have a +more <i>summary</i> conception of it, if the phrase may be allowed, +than we have of the people we know best in reality. Indeed, +our notion of the fictitious character rather resembles a notion +of actual persons of whom we know a little, and but a little,—of +a public man, suppose, of whom from his speeches and writings +we know something, but with whom we never exchanged a word. +<span class="pagenum" id="Page_277">[277]</span>We generalise a few traits; we do what the historian will have +to do hereafter; we <i>make</i> a man, so to speak, resembling the +real one, but more defined, more simple and comprehensible. +The objects on which affection turns are exactly the opposite. +In their essence they are individual, peculiar. Perhaps they +become known under a kind of confidence; but even if not, +nature has hallowed the details of near life by an inevitable +secrecy. You cannot expect other persons to feel them; you +cannot tell your own intellect what they are. An individuality +lurks in our nature. Each soul (as the divines speak) clings +to each soul. Poetry is impossible on such points as these: +they seem too sacred, too essential. The most that it can do +is, by hints and little marks in the interstices of a universalised +delineation, to suggest that there is something more than what +is stated, and more inward and potent than what is stated. +Affection as a settled subject is incompatible with art. And +thus the poetry of society is limited on its romantic side in +two ways: first, by the infinite, intense nature of passion, which +forces the voice of art beyond the social tone; and by the confidential, +incomprehensible nature of affection, which will not +bear to be developed for the public by the fancy in any way.</p> + +<p>Being so bounded within the ordinary sphere of their art, +poets of this world have contrived or found a substitute. In +every country there is a society which is no society. The French, +which is the most worldly of literatures, has devoted itself to the +delineation of this outside world. There is no form, comic or +serious, dramatic or lyrical, in which the subject has not been +treated: the burden is—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Lisette, ma Lisette,</div> + <div class="verse indent0">Tu m’as trompé toujours;</div> + <div class="verse indent0">Mais vive la grisette!</div> + <div class="verse indent2">Je veux, Lisette,</div> + <div class="verse indent0">Boire à nos amours.’</div> + </div> + </div> +</div> + +<p class="noindent">There is obviously no need of affection in <i>this</i> society. The +<span class="pagenum" id="Page_278">[278]</span>whole plot of the notorious novel, <i>La Dame aux Camélias</i>,—and +a very remarkable one it is,—is founded on the incongruity +of real feeling with this world, and the singular and inappropriate +consequences which result, if, by any rare chance, it does +appear there. Passion is almost <i>à fortiori</i> out of the question. +The depths of human nature have nothing to do with this life. +On this account, perhaps, it is that it harmonises so little with +the English literature and character. An Englishman can +scarcely live on the surface; his passions are too strong, his +power of <i>finesse</i> too little. Accordingly, since Defoe, who +treated the subject with a coarse matter-of-factness, there has +been nothing in our literature of this kind—nothing at least +professedly devoted to it. How far this is due to real excellence, +how far to the <i>bourgeois</i> and not very outspoken temper +of our recent writers, we need not in this place discuss. There +is no occasion to quote in this country the early poetry of +Béranger, at least not the sentimental part of it. We may +take, in preference, one of his poems written in old, or rather +in middle age:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘<i>Cinquante Ans.</i></div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Pourquoi ces fleurs? est-ce ma fête?</div> + <div class="verse indent0">Non; ce bouquet vient m’annoncer</div> + <div class="verse indent0">Qu’un demi-siècle sur ma tête</div> + <div class="verse indent0">Achève aujourd’hui de passer.</div> + <div class="verse indent0">Oh! combien nos jours sont rapides!</div> + <div class="verse indent0">Oh! combien j’ai perdu d’instants!</div> + <div class="verse indent0">Oh! combien je me sens de rides!</div> + <div class="verse indent0">Hélas! hélas! j’ai cinquante ans.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘A cet âge, tout nous échappe;</div> + <div class="verse indent0">Le fruit meurt sur l’arbre jauni.</div> + <div class="verse indent0">Mais à ma porte quelqu’un frappe;</div> + <div class="verse indent0">N’ouvrons point: mon rôle est fini.</div> + <div class="verse indent0">C’est, je gage, un docteur qui jette</div> + <div class="verse indent0">Sa carte, où s’est logé le Temps.</div> + <div class="verse indent0">Jadis, j’aurais dit: C’est Lisette.</div> + <div class="verse indent0">Hélas! hélas! j’ai cinquante ans.</div> +<span class="pagenum" id="Page_279">[279]</span> </div> + <div class="stanza"> + <div class="verse indent0">‘En maux cuisants vieillesse abonde:</div> + <div class="verse indent0">C’est la goutte qui nous meurtrit;</div> + <div class="verse indent0">La cécité, prison profonde;</div> + <div class="verse indent0">La surdité, dont chacun rit.</div> + <div class="verse indent0">Puis la raison, lampe qui baisse,</div> + <div class="verse indent0">N’a plus que des feux tremblotants.</div> + <div class="verse indent0">Enfants, honorez la vieillesse!</div> + <div class="verse indent0">Hélas! hélas! j’ai cinquante ans!</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Ciel! j’entends la Mort, qui, joyeuse,</div> + <div class="verse indent0">Arrive en se frottant les mains.</div> + <div class="verse indent0">A ma porte la fossoyeuse</div> + <div class="verse indent0">Frappe; adieu, messieurs les humains!</div> + <div class="verse indent0">En bas, guerre, famine et peste;</div> + <div class="verse indent0">En haut, plus d’astres éclatants.</div> + <div class="verse indent0">Ouvrons, tandis que Dieu me reste.</div> + <div class="verse indent0">Hélas! hélas! j’ai cinquante ans.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Mais non; c’est vous! vous, jeune amie,</div> + <div class="verse indent0">Sœur de charité des amours!</div> + <div class="verse indent0">Vous tirez mon âme endormie</div> + <div class="verse indent0">Du cauchemar des mauvais jours.</div> + <div class="verse indent0">Semant les roses de votre âge</div> + <div class="verse indent0">Partout, comme fait le printemps,</div> + <div class="verse indent0">Parfumez les rêves d’un sage.</div> + <div class="verse indent0">Hélas! hélas! j’ai cinquante ans.’</div> + </div> + </div> +</div> + +<p class="noindent">This is the last scene of the <i>grisette</i>, of whom we read in so +many songs sparkling with youth and gaiety.</p> + +<p>A certain intellectuality, however, pervades Béranger’s love-songs. +You seem to feel, to see, not merely the emotion, but +the mind, in the background viewing that emotion. You are +conscious of a considerateness qualifying and contrasting with +the effervescing champagne of the feelings described. Desire +is rarefied; sense half becomes an idea. You may trace a +similar metamorphosis in the poetry of passion itself. If we +contrast such a poem as Shelley’s <i>Epipsychidion</i> with the +natural language of common passion, we see how curiously the +intellect can take its share in the dizziness of sense. In the +<span class="pagenum" id="Page_280">[280]</span>same way, in the lightest poems of Béranger we feel that it +may be infused, may interpenetrate the most buoyant effervescence.</p> + +<p>Nothing is more odd than to contrast the luxurious and +voluptuous nature of much of Béranger’s poetry with the circumstances +of his life. He never in all his productive time had +more than 80<i>l.</i> a year; the smallest party of pleasure made him +live, he tells us himself, most ascetically for a week; so far +from leading the life of a Sybarite, his youth was one of anxiety +and privation. A more worldly poet has probably never written, +but no poet has shown in life so philosophic an estimate of +this world’s goods. His origin is very unaristocratic. He was +born in August 1780, at the house of his grandfather, a poor +old tailor. Of his mother we hear nothing. His father was a +speculative, sanguine man, who never succeeded. His principal +education was given him by an aunt, who taught him to read +and to write, and perhaps generally incited his mind. His +school-teaching tells of the philosophy of the revolutionary time. +By way of primary school for the town of Péronne, a patriotic +member of the National Assembly had founded an <i>institut +d’enfants</i>. ‘It offered,’ we are told, ‘at once the image of a +club and that of a camp; the boys wore a military uniform; at +every public event they named deputations, delivered orations, +voted addresses: letters were written to the citizen Robespierre +and the citizen Tallien.’ Naturally, amid such great affairs +there was no time for mere grammar; they did not teach <i>Latin</i>. +Nor did Béranger ever acquire any knowledge of that language; +and he may be said to be destitute of what is in the usual sense +called culture. Accordingly it has in these days been made +a matter of wonder by critics, whom we may think pedantic, +that one so destitute should be able to produce such works. +But a far keener judge has pronounced the contrary. Goethe, +who certainly did not undervalue the most elaborate and artful +cultivation, at once pronounced Béranger to have ‘a nature +most happily endowed, firmly grounded in himself, purely developed +<span class="pagenum" id="Page_281">[281]</span>from himself, and quite in harmony with himself.’ In +fact, as these words mean, Béranger, by happiness of nature or +self-attention, has that <i>centrality</i> of mind, which is the really +valuable result of colleges and teaching. He puts things +together; he refers things to a principle; rather, they group +themselves in his intelligence insensibly round a principle. +There is nothing <i>distrait</i> in his genius; the man has attained +to be himself; a cool oneness, a poised personality pervades +him. ‘The unlearned,’ it has been said, ‘judge at random.’ +Béranger is not unlearned in this sense. There is no one who +judges more simply, smoothly, and uniformly. His ideas refer +to an exact measure. He has mastered what comes before him. +And though doubtless unacquainted with foreign and incongruous +literatures, he has mastered his own literature, which was +shaped by kindred persons, and has been the expression of +analogous natures; and this has helped him in expressing +himself.</p> + +<p>In the same way, his poor youth and boyhood have given a +reality to his productions. He seems to have had this in mind +in praising the ‘practical education which I have received.’ +He was bred a printer; and the highest post he attained was a +clerkship at the university, worth, as has been said, 80<i>l.</i> per +annum. Accordingly he has everywhere a sympathy with the +common people, an unsought familiarity with them and their +life. Sybarite poetry commonly wants this. The aristocratic +nature is superficial; it relates to a life protected from simple +wants, depending on luxurious artifices. ‘Mamma,’ said the +simple-minded nobleman, ‘when poor people have no bread, +why do not they eat buns? they are much better.’ An over-perfumed +softness pervades the poetry of society. You see this in +the songs of Moore, the best of the sort we have; all is beautiful, +soft, half-sincere. There is a little falsetto in the tone, everything +reminds you of the drawing-room and the <i>pianoforte</i>; +and not only so—for all poetry of society must in a measure do +this—but it seems fit for no other scene. Naturalness is the +<span class="pagenum" id="Page_282">[282]</span>last word of praise that would be suitable. In the scented air +we forget that there is a <i>pavé</i> and a multitude. Perhaps France +is of all countries which have ever existed the one in which we +might seek an exception from this luxurious limitation. A certain +<i>égalité</i> may pervade its art as its society. There is no +such difference as with us between the shoeblack and the gentleman. +A certain refinement is very common; an extreme refinement +possibly rare. Béranger was able to write his poems +in poverty: they are popular with the poor.</p> + +<p>A success even greater than what we have described as +having been achieved by Béranger in the first class of the +poems of society—that of amusement—has been attained by +him in the second class, expressive of epicurean speculation. +Perhaps it is one of his characteristics that the two are for ever +running one into another. There is animation in his thinking; +there is meaning in his gaiety. It requires no elaborate explanation +to make evident the connection between scepticism +and luxuriousness. Every one thinks of the Sadducee as in cool +halls and soft robes; no one supposes that the Sybarite believes. +Pain not only purifies the mind, but deepens the nature. A +simple, happy life is animal; it is pleasant, and it perishes. All +writers who have devoted themselves to the explanation of this +world’s view of itself are necessarily in a certain measure Sadducees. +The world is Sadducee itself; it cannot be anything +else without recognising a higher creed, a more binding law, a +more solemn reality—without ceasing to be the world. Equanimity +is incredulous; impartiality does not care; an indifferent +politeness is sceptical. Though not a single speculative opinion +is expressed, we may feel this in <i>Roger Bontemps</i>:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘<i>Roger Bontemps.</i></div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Aux gens atrabilaires</div> + <div class="verse indent0">Pour exemple donné,</div> + <div class="verse indent0">En un temps de misères</div> + <div class="verse indent0">Roger Bontemps est né.</div> +<span class="pagenum" id="Page_283">[283]</span> <div class="verse indent0">‘Vivre obscur à sa guise,</div> + <div class="verse indent0">Narguer les mécontents:</div> + <div class="verse indent0">Eh gai! c’est la devise</div> + <div class="verse indent0">Du gros Roger Bontemps.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Du chapeau de son père</div> + <div class="verse indent0">Coiffé dans les grands jours,</div> + <div class="verse indent0">De roses ou de lierre</div> + <div class="verse indent0">Le rajeunir toujours;</div> + <div class="verse indent0">Mettre un manteau de bure,</div> + <div class="verse indent0">Vieil ami de vingt ans:</div> + <div class="verse indent0">Eh gai! c’est la parure</div> + <div class="verse indent0">Du gros Roger Bontemps.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Posséder dans sa hutte</div> + <div class="verse indent0">Une table, un vieux lit,</div> + <div class="verse indent0">Des cartes, une flûte,</div> + <div class="verse indent0">Un broc que Dieu remplit,</div> + <div class="verse indent0">Un portrait de maîtresse,</div> + <div class="verse indent0">Un coffre et rien dedans:</div> + <div class="verse indent0">Eh gai! c’est la richesse</div> + <div class="verse indent0">Du gros Roger Bontemps.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Aux enfans de la ville</div> + <div class="verse indent0">Montrer de petits jeux;</div> + <div class="verse indent0">Etre un faiser habile</div> + <div class="verse indent0">De contes graveleux;</div> + <div class="verse indent0">Ne parler que de danse</div> + <div class="verse indent0">Et d’almanachs chantants:</div> + <div class="verse indent0">Eh gai! c’est la science</div> + <div class="verse indent0">Du gros Roger Bontemps.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Faute de vin d’élite,</div> + <div class="verse indent0">Sabler ceux du canton;</div> + <div class="verse indent0">Préférer Marguerite</div> + <div class="verse indent0">Aux dames du grand ton;</div> + <div class="verse indent0">De joie et de tendresse</div> + <div class="verse indent0">Remplir tous ses instants:</div> + <div class="verse indent0">Eh gai! c’est la sagesse</div> + <div class="verse indent0">Du gros Roger Bontemps.</div> +<span class="pagenum" id="Page_284">[284]</span> </div> + <div class="stanza"> + <div class="verse indent0">‘Dire au Ciel: Je me fie,</div> + <div class="verse indent0">Mon père, à ta bonté;</div> + <div class="verse indent0">De ma philosophie</div> + <div class="verse indent0">Pardonne la gaîté;</div> + <div class="verse indent0">Que ma saison dernière</div> + <div class="verse indent0">Soit encore un printemps:</div> + <div class="verse indent0">Eh gai! c’est la prière</div> + <div class="verse indent0">Du gros Roger Bontemps.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Vous, pauvres pleins d’envie,</div> + <div class="verse indent0">Vous, riches désireux,</div> + <div class="verse indent0">Vous, dont le char dévie</div> + <div class="verse indent0">Après un cours heureux;</div> + <div class="verse indent0">Vous, qui perdrez peut-être</div> + <div class="verse indent0">Des titres éclatants,</div> + <div class="verse indent0">Eh gai! prenez pour maître</div> + <div class="verse indent0">Le gros Roger Bontemps.’</div> + </div> + </div> +</div> + +<p class="noindent">At the same time, in Béranger the scepticism is not extreme. +The skeleton is not paraded. That the world is a passing show, +a painted scene, is admitted; you seem to know that it is all +acting and rouge and illusion: still the pleasantness of the acting +is dwelt on, the rouge is never rubbed off, the dream runs +lightly and easily. No nightmare haunts you, you have no uneasy +sense that you are about to awaken. Persons who require +a sense of reality may complain; pain is perhaps necessary to +sharpen their nerves, a tough effort to harden their consciousness: +but if you pass by this objection of the threshold, if you +admit the possibility of a superficial and fleeting world, you will +not find a better one than Béranger’s world. Suppose all the +world were a <i>restaurant</i>, his is a good <i>restaurant</i>; admit that +life is an effervescing champagne, his is the best for the moment.</p> + +<p>In several respects Béranger contrasts with Horace, the poet +whom in general he most resembles. The song of <i>Roger Bontemps</i> +suggests one of the most obvious differences. It is +essentially democratic. As we have said before, Béranger is the +poet of the people; he himself says, <i>Le peuple c’est ma muse</i>. +Throughout Horace’s writings, however much he may speak, +<span class="pagenum" id="Page_285">[285]</span>and speak justly, of the simplicity of his tastes, you are always +conscious that his position is exceptional. Everybody cannot +be the friend of Mæcenas; every cheerful man of the world +cannot see the springs of the great world. The intellect of +most self-indulgent men must satisfy itself with small indulgences. +Without a hard ascent you can rarely see a great +view. Horace had the almost unequalled felicity of watching +the characters and thoughts and tendencies of the governors +of the world, the nicest manipulation of the most ingenious +statesmen, the inner tastes and predilections which are the +origin of the most important transactions; and yet had the ease +and pleasantness of the common and effortless life. So rare a +fortune cannot be a general model; the gospel of Epicureanism +must not ask a close imitation of one who had such very special +advantages. Béranger gives the acceptors of that creed a +commoner type. Out of nothing but the most ordinary advantages—the +garret, the almost empty purse, the not over-attired +<i>grisette</i>—he has given them a model of the sparkling and +quick existence for which their fancy is longing. You cannot +imagine commoner materials. In another respect Horace and +Béranger are remarkably contrasted. Béranger, sceptical and +indifferent as he is, has a faith in, and zeal for, liberty. It +seems odd that he should care for that sort of thing; but he +does care for it. Horace probably had a little personal shame +attaching to such ideas. No regimental officer of our own time +can have ‘joined’ in a state of more crass ignorance, than did +the stout little student from Athens in all probability join the +army of Brutus; the legionaries must have taken the measure +of him, as the sergeants of our living friends. Anyhow he was +not partial to such reflections; zeal for political institutions is +quite as foreign to him as any other zeal. A certain hope in +the future is characteristic of Béranger—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Qui découvrit un nouveau monde?</div> + <div class="verse indent0">Un fou qu’on raillait en tout lieu.’</div> + </div> + </div> +</div> + +<p class="noindent">Modern faith colours even bystanding scepticism. Though +<span class="pagenum" id="Page_286">[286]</span>probably with no very accurate ideas of the nature of liberty, +Béranger believes that it is a great good, and that France +will have it.</p> + +<p>The point in which Béranger most resembles Horace is that +which is the most essential in the characters of them both—their +geniality. This is the very essence of the poems of society; +it springs in the verses of amusement, it harmonises with acquiescing +sympathy the poems of indifference. And yet few +qualities in writing are so rare. A certain malevolence enters +into literary ink; the point of the pen pricks. Pope is the very +best example of this. With every desire to imitate Horace, he +cannot touch any of his subjects, or any kindred subjects, +without infusing a bitter ingredient. It is not given to the +children of men to be philosophers without envy. Lookers-on +can hardly bear the spectacle of the great world. If you watch +the carriages rolling down to the House of Lords, you will try +to depreciate the House of Lords. Idleness is cynical. Both +Béranger and Horace are exceptions to this. Both enjoy the +roll of the wheels; both love the glitter of the carriages; neither +is angry at the sun. Each knows that he is as happy as he can +be—that he is all that he can be in his contemplative philosophy. +In his means of expression for the purpose in hand, the Frenchman +has the advantage. The Latin language is clumsy. Light +pleasure was an exotic in the Roman world; the terms in which +you strive to describe it suit rather the shrill camp and droning +law-court. In English, as we hinted just now, we have this too. +Business is in our words; a too heavy sense clogs our literature; +even in a writer so apt as Pope at the <i>finesse</i> of words, you feel +that the solid Gothic roots impede him. It is difficult not to be +cumbrous. The horse may be fleet and light, but the wheels +are ponderous and the road goes heavily. Béranger certainly +has not this difficulty; nobody ever denied that a Frenchman +could be light, that the French language was adapted for +levity.</p> + +<p>When we ascribed an absence of bitterness and malevolence +<span class="pagenum" id="Page_287">[287]</span>to Béranger, we were far from meaning that he is not a satirist. +Every light writer in a measure must be so. Mirth is the +imagery of society; and mirth must make fun of somebody. +The nineteenth century has not had many shrewder critics than +its easy natured poet. Its intense dulness particularly strikes +him. He dreads the dreariness of the Academy; pomposity +bores him; formalism tires him; he thinks, and may well think, +it dreary to have</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Pour grands hommes des journalistes,</div> + <div class="verse indent0">Pour amusement l’Opéra.’</div> + </div> + </div> +</div> + +<p class="noindent">But skilful as is the mirth, its spirit is genial and good-natured. +‘You have been making fun of me, Sydney, for twenty years,’ +said a friend to the late Canon of St. Paul’s, ‘and I do not think +you have said a single thing I should have wished you not to +say.’ So far as its essential features are concerned, the nineteenth +century may say the same of its musical satirist. Perhaps, +however, the Bourbons might a little object. Clever people +have always a <i>little</i> malice against the stupid.</p> + +<p>There is no more striking example of the degree in which +the gospel of good works has penetrated our modern society, +than that Béranger has talked of ‘utilising his talent.’ The +epicurean poet considers that he has been a political missionary. +Well may others be condemned to the penal servitude +of industry, if the lightest and idlest of skilful men boasts +of being subjected to it. If Béranger thinks it necessary to +think that he has been useful, others may well think so too; let +us accept the heavy doctrine of hard labour; there is no other +way to heave off the rubbish of this world. The mode in which +Béranger is anxious to prove that he made his genius of use, is +by diffusing a taste for liberty, and expressing an enthusiasm +for it; and also, as we suppose, by quizzing those rulers of +France who have not shared either the taste or the enthusiasm. +Although, however, such may be the idea of the poet +himself, posterity will scarcely confirm it. Political satire is +<span class="pagenum" id="Page_288">[288]</span>the most ephemeral kind of literature. The circumstances to +which it applies are local and temporary; the persons to whom +it applies die. A very few months will make unintelligible +what was at first strikingly plain. Béranger has illustrated +this by an admission. There was a delay in publishing the +last volume of his poems, many of which relate to the years or +months immediately preceding the Revolution of 1830; the +delay was not long, as the volume appeared in the first month +of 1833, yet he says that many of the songs relate to the passing +occurrences of a period ‘<i>déjà loin de nous</i>.’ On so shifting +a scene as that of French political life, the jests of each +act are forgotten with the act itself; the eager interest of each +moment withdraws the mind from thinking of or dwelling on +anything past. And in all countries administration is ephemeral; +what relates to it is transitory. Satires on its detail +are like the jests of a public office; the clerks change, oblivion +covers their peculiarities; the point of the joke is forgotten. +There are some considerable exceptions to the saying that +foreign literary opinion is a ‘contemporary posterity’; but in +relation to satires on transitory transactions it is exactly expressive. +No Englishman will now care for many of Béranger’s +songs which were once in the mouths of all his countrymen, +which coloured the manners of revolutions, perhaps influenced +their course. The fame of a poet may have a reference to +politics; but it will be only to the wider species, to those social +questions which never die, the elements of that active human +nature which is the same age after age. Béranger can +hardly hope for this. Even the songs which relate to liberty +can hardly hope for this immortality. They have the vagueness +which has made French aspirations for freedom futile. So +far as they express distinct feeling, their tendency is rather +anti-aristocratic than in favour of simple real liberty. And +an objection to mere rank, though a potent, is neither a very +agreeable nor a very poetical sentiment. Moreover, when the +love of liberty is to be imaginatively expressed, it requires to +<span class="pagenum" id="Page_289">[289]</span>an Englishman’s ear a sound bigger and more trumpet-tongued +than the voice of Béranger.</p> + +<p>On a deeper view, however, an attentive student will discover +a great deal that is most instructive in the political +career of the not very business-like poet. His life has been contemporaneous +with the course of a great change; and throughout +it the view which he has taken of the current events is +that which sensible men took at the time, and which a sensible +posterity (and these events will from their size attract +attention enough to insure their being viewed sensibly) is +likely to take. Béranger was present at the taking of the +Bastille, but he was then only nine years old; the accuracy of +opinion which we are claiming for him did not commence so +early. His mature judgment begins with the career of Napoleon; +and no one of the thousands who have written on that subject +has viewed it perhaps more justly. He had no love for the +despotism of the Empire, was alive to the harshness of its administration, +did not care too much for its glory, must have +felt more than once the social exhaustion. At the same time, +no man was penetrated more profoundly, no literary man half +so profoundly, with the popular admiration for the genius of the +Empire. His own verse has given the truest and most lasting +expression of it:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘<i>Les Souvenirs du Peuple.</i></div> + </div> + <div class="stanza"> + <div class="verse indent2">‘On parlera de sa gloire</div> + <div class="verse indent2">Sous le chaume bien longtemps.</div> + <div class="verse indent2">L’humble toit, dans cinquante ans,</div> + <div class="verse indent0">Ne connaîtra plus d’autre histoire.</div> + <div class="verse indent2">Là viendront les villageois,</div> + <div class="verse indent2">Dire alors à quelque vieille:</div> + <div class="verse indent2">“Par des récits d’autrefois,</div> + <div class="verse indent2">Mère, abrégez notre veille.</div> + <div class="verse indent2">Bien, dit-on, qu’il nous ait nui,</div> + <div class="verse indent2">Le peuple encor le révère,</div> + <div class="verse indent4">Oui, le révère.</div> + <div class="verse indent2">Parlez-nous de lui, grand’mère;</div> + <div class="verse indent4">Parlez-nous de lui.” (<i>bis.</i>)</div> +<span class="pagenum" id="Page_290">[290]</span> </div> + <div class="stanza"> + <div class="verse indent2">‘“Mes enfants, dans ce village,</div> + <div class="verse indent2">Suivi de rois, il passa.</div> + <div class="verse indent2">Voilà bien longtemps de ça:</div> + <div class="verse indent0">Je venais d’entrer en ménage.</div> + <div class="verse indent2">A pied grimpant le coteau</div> + <div class="verse indent2">Où pour voir je m’étais mise,</div> + <div class="verse indent2">Il avait petit chapeau</div> + <div class="verse indent2">Avec redingote grise.</div> + <div class="verse indent2">Près de lui je me troublai;</div> + <div class="verse indent2">Il me dit: ‘Bonjour, ma chère,</div> + <div class="verse indent4">Bonjour, ma chère.’”</div> + <div class="verse indent0">—“Il vous a parlé, grand’mère!</div> + <div class="verse indent4">Il vous a parlé!”</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘“L’an d’après, moi, pauvre femme,</div> + <div class="verse indent2">A Paris étant un jour,</div> + <div class="verse indent2">Je le vis avec sa cour:</div> + <div class="verse indent0">Il se rendait à Notre-Dame.</div> + <div class="verse indent2">Tous les cœurs étaient contents;</div> + <div class="verse indent2">On admirait son cortége.</div> + <div class="verse indent2">Chacun disait: ‘Quel beau temps!</div> + <div class="verse indent2">Le ciel toujours le protége.’</div> + <div class="verse indent2">Son sourire était bien doux,</div> + <div class="verse indent2">D’un fils Dieu le rendait père,</div> + <div class="verse indent4">Le rendait père.”</div> + <div class="verse indent0">—“Quel beau jour pour vous, grand’mère!</div> + <div class="verse indent4">Quel beau jour pour vous!”</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘“Mais, quand la pauvre Champagne</div> + <div class="verse indent2">Fut en proie aux étrangers,</div> + <div class="verse indent2">Lui, bravant tous les dangers,</div> + <div class="verse indent0">Semblait seul tenir la campagne.</div> + <div class="verse indent2">Un soir, tout comme aujourd’hui,</div> + <div class="verse indent2">J’entends frapper à la porte.</div> + <div class="verse indent2">J’ouvre. Bon Dieu! c’était lui,</div> + <div class="verse indent2">Suivi d’une faible escorte.</div> + <div class="verse indent2">Il s’asseoit où me voilà,</div> + <div class="verse indent2">S’écriant: ‘Oh! quelle guerre!</div> + <div class="verse indent4">Oh! quelle guerre!”</div> + <div class="verse indent0">—“Il s’est assis là, grand’mère!</div> + <div class="verse indent4">Il s’est assis là!”</div> +<span class="pagenum" id="Page_291">[291]</span> </div> + <div class="stanza"> + <div class="verse indent2">‘“‘J’ai faim,’ dit-il; et bien vite</div> + <div class="verse indent2">Je sers piquette et pain bis;</div> + <div class="verse indent2">Puis il sèche ses habits,</div> + <div class="verse indent0">Même à dormir le feu l’invite.</div> + <div class="verse indent2">Au réveil, voyant mes pleurs,</div> + <div class="verse indent2">Il me dit: ‘Bonne espérance!</div> + <div class="verse indent2">Je cours, de tous ses malheurs,</div> + <div class="verse indent2">Sous Paris, venger la France.’</div> + <div class="verse indent2">Il part; et, comme un trésor,</div> + <div class="verse indent2">J’ai depuis gardé son verre,</div> + <div class="verse indent4">Gardé son verre.”</div> + <div class="verse indent4">“Vous l’avez encor, grand’mère!</div> + <div class="verse indent4">Vous l’avez encor!”</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘“Le voici. Mais à sa perte</div> + <div class="verse indent2">Le héros fut entraîné.</div> + <div class="verse indent2">Lui, qu’un pape a couronné,</div> + <div class="verse indent0">Est mort dans une île déserte.</div> + <div class="verse indent2">Longtemps aucun ne l’a cru;</div> + <div class="verse indent2">On disait: ‘Il va paraître;</div> + <div class="verse indent2">Par mer il est accouru;</div> + <div class="verse indent2">L’étranger va voir son maître.’</div> + <div class="verse indent2">Quand d’erreur on nous tira,</div> + <div class="verse indent2">Ma douleur fut bien amère!</div> + <div class="verse indent4">Fut bien amère!”</div> + <div class="verse indent2">—“Dieu vous bénira, grand’mère;</div> + <div class="verse indent4">Dieu vous bénira.”’</div> + </div> + </div> +</div> + +<p>This is a great exception to the transitoriness of political +poetry. Such a character as that of Napoleon displayed on so +large a stage, so great a genius amid such scenery of action, +insures an immortality. ‘The page of universal history’ which +he was always coveting, he has attained; and it is a page which, +from its singularity and its errors, its shame and its glory, will +distract the attention from other pages. No one who has ever +had in his mind the idea of Napoleon’s character can forget it. +Nothing too can be more natural than that the French should +remember it. His character possessed the primary imagination, +the elementary conceiving power, in which they are deficient. +So far from being restricted to the poetry of society, he would +<span class="pagenum" id="Page_292">[292]</span>not have even appreciated it. A certain bareness marks his +mind; his style is curt; the imaginative product is left rude; +there is the distinct abstraction of the military diagram. The +tact of light and passing talk, the detective imagination which +is akin to that tact, and discovers the quick essence of social +things,—he never had. In speaking of his power over popular +fancies, Béranger has called him ‘the greatest poet of modern +times.’ No genius can be more unlike his own, and therefore +perhaps it is that he admires it so much. During the Hundred +Days, Béranger says he was never under the illusion, then not +rare, that the Emperor could become a constitutional monarch. +The lion, he felt, would not change his skin. After the return +of the Bourbons, he says, doubtless with truth, that his ‘<i>instinct +du peuple</i>’ told him they could never ally themselves with +liberal principles, or unite with that new order of society which, +though dating from the Revolution, had acquired in five-and-twenty +years a half-prescriptive right. They and their followers +came in to <i>take</i> possession, and it was impossible they could +unite with what <i>was</i> in possession. During the whole reign of the +hereditary Bourbon dynasty, Béranger was in opposition. Representing +the natural sentiments of the new Frenchman, he could +not bear the natural tendency of the ruling power to the half-forgotten +practices of old France. The legitimate Bourbons +were by their position the chieftains of the party advocating +their right by birth; they could not be the kings of a people; +and the poet of the people was against them. After the genius +of Napoleon, all other governing minds would seem tame and +contracted; and Charles X. was not a man to diminish the +inevitable feeling. Béranger despised him. As the poet warred +with the weapons of poetry, the Government retorted with the +penalties of State. He was turned out of his petty clerkship, +he was twice imprisoned; but these things only increased his +popularity; and a firm and genial mind, so far from being +moved, sang songs at La Force itself. The Revolution of 1830 +was willing to make his fortune.</p> + +<p><span class="pagenum" id="Page_293">[293]</span></p> + +<blockquote> + +<p>‘Je l’ai traitée,’ he says, ‘comme une puissance qui peut avoir des +caprices auxquels il faut être en mesure de résister. Tous ou presque +tous mes amis ont passé au ministère: j’en ai même encore un ou deux +qui restent suspendus à ce mât de cocagne. Je me plais à croire qu’ils +y sont accrochés par la basque, malgré les efforts qu’ils font pour descendre. +J’aurais donc pu avoir part à la distribution des emplois. +Malheureusement je n’ai pas l’amour des sinécures, et tout travail +obligé m’est devenu insupportable, hors peut-être encore celui d’expéditionnaire. +Des médisants out prétendu que je faisais de la vertu. +Fi donc! je faisais de la paresse. Ce défaut m’a tenu lieu de bien des +qualités; aussi je le recommande à beaucoup de nos honnêtes gens. +Il expose pourtant à de singuliers reproches. C’est à cette paresse si +douce, que des censeurs rigides ont attribué l’éloignement où je me +suis tenu de ceux de mes honorables amis qui ont eu le malheur d’arriver +au pouvoir. Faisant trop d’honneur à ce qu’ils veulent bien +appeler ma bonne tête, et oubliant trop combien il y a loin du simple +bon sens à la science des grandes affaires, ces censeurs prétendent que +mes conseils eussent éclairé plus d’un ministre. A les croire, tapi +derrière le fauteuil de velours de nos hommes d’état, j’aurais conjuré +les vents, dissipé les orages, et fait nager la France dans un océan de +délices. Nous aurions tous de la liberté à revendre ou plutôt à donner, +car nous n’en savons pas bien encore le prix. Eh! messieurs mes deux +ou trois amis, qui prenez un chansonnier pour un magicien, on ne +vous a donc pas dit que le pouvoir est une cloche qui empêche ceux +qui la mettent en branle d’entendre aucun autre son? Sans doute des +ministres consultent quelquefois ceux qu’ils ont sous la main: consulter +est un moyen de parler de soi qu’on néglige rarement. Mais il +ne suffirait pas de consulter de bonne foi des gens qui conseilleraient +de même. Il faudrait encore exécuter: ceci est la part du caractère. +Les intentions les plus pures, le patriotisme le plus éclairé ne le donnent +pas toujours. Qui n’a vu de hauts personnages quitter un donneur +d’avis avec une pensée courageuse, et, l’instant d’après, revenir +vers lui, de je ne sais quel lieu de fascination, avec l’embarras d’un +démenti donné aux résolutions les plus sages? “Oh!” disent-ils, “nous +n’y serons plus repris! quelle galère!” Le plus honteux ajoute: “Je +voudrais bien vous voir à ma place!” Quand un ministre dit cela, +soyez sûr qu’il n’a plus la tête à lui. Cependant il en est un, mais un +seul, qui, sans avoir perdu la tête, a répété souvent ce mot de la meilleure +foi du monde; aussi ne l’adressait-il jamais à un ami.’</p> + +</blockquote> + +<p>The statesman alluded to in the last paragraph is Manuel, +<span class="pagenum" id="Page_294">[294]</span>his intimate friend, from whom he declares he could never have +been separated, but whose death prevented his obtaining political +honours. Nobody can read the above passage without +feeling its tone of political sense. An enthusiasm for, yet half +distrust of, the Revolution of July seems as sound a sentiment +as could be looked for even in the most sensible contemporary. +What he has thought of the present dynasty we do not know. +He probably has as little concurred in the silly encomiums of +its mere partisans as in the wild execrations of its disappointed +enemies. His opinion could not have been either that of the +English who <i>fêted</i> Louis Napoleon in 1855, or of those who +despised him in 1851. The political fortunes of France during +the last ten years must have been a painful scene of observation +to one who remembered the taking of the Bastille. If +there be such a thing as failure in the world, this looks like it.</p> + +<p>Although we are very far from thinking that Béranger’s +claims on posterity are founded on his having utilised his talent +in favour of liberty, it is very natural that he should think or +half-think himself that it is so. His power over the multitude +must have given him great pleasure; it is something to be able +to write mottoes for a revolution; to write words for people to +use, and hear people use those words. The same sort of pleasure +which Horace derived from his nearness to the centre of great +action, Béranger has derived from the power which his thorough +sympathy with his countrymen has given him over them. A +political satire may be ephemeral from the rapid oblivion of its +circumstances; but it is not unnatural that the author, inevitably +proud of its effect, may consider it of higher worth than +mere verses of society.</p> + +<p>This shrewd sense gives a solidity to the verses of Béranger +which the social and amusing sort of poetry commonly wants; +but nothing can redeem it from the reproach of wanting <i>back</i> +thought. This is inevitable in such literature; as it professes +to delineate for us the light essence of a fugitive world, it cannot +be expected to dwell on those deep and eternal principles +<span class="pagenum" id="Page_295">[295]</span>on which that world is based. It ignores them as light talk +ignores them. The most opposite thing to the poetry of society +is the poetry of inspiration. There exists, of course, a kind of +imagination which detects the secrets of the universe—which +fills us sometimes with dread, sometimes with hope—which +awakens the soul, which makes pure the feelings, which explains +nature, reveals what is above nature, chastens ‘the deep +heart of man.’ Our senses teach us what the world is; our intuitions +where it is. We see the blue and gold of the world, +its lively amusements, its gorgeous if superficial splendour, its +currents of men; we feel its light spirits, we enjoy its happiness; +we enjoy it, and we are puzzled. What is the object of all +this? Why do we do all this? What is the universe <i>for</i>? Such +a book as Béranger’s suggests this difficulty in its strongest form. +It embodies the essence of all that pleasure-loving, pleasure-giving, +unaccountable world in which men spend their lives,—which +they are compelled to live in, but which the moment you +get out of it seems so odd that you can hardly believe it is +real. On this account, as we were saying before, there is no +book the impression of which varies so much in different moods +of mind. Sometimes no reading is so pleasant; at others you +half-despise and half-hate the idea of it; it seems to sum up and +make clear the littleness of your own nature. Few can bear the +theory of their amusements; it is essential to the pride of man +to believe that he is industrious. We are irritated at literary +laughter, and wroth at printed mirth. We turn angrily away +to that higher poetry which gives the outline within which all +these light colours are painted. From the capital of levity, and +its self-amusing crowds; from the elastic <i>vaudeville</i> and the +grinning actors; from <i>chansons</i> and <i>cafés</i> we turn away to the +solemn in nature, to the blue over-arching sky: the one remains, +the many pass; no number of seasons impairs the bloom of +those hues, they are as soft to-morrow as to-day. The immeasurable +depth folds us in. ‘Eternity,’ as the original +thinker said, ‘is everlasting.’ We breathe a deep breath. And +<span class="pagenum" id="Page_296">[296]</span>perhaps we have higher moments. We comprehend the ‘unintelligible +world;’ we see into ‘the life of things;’ we fancy +we know whence we come and whither we go; words we have +repeated for years have a meaning for the first time; texts of +old Scripture seem to apply to <i>us</i>.... And—and—Mr. +Thackeray would say, You come back into the town, and order +dinner at a <i>restaurant</i>, and read Béranger once more.</p> + +<p>And though this is true—though the author of <i>Le Dieu des +Bonnes Gens</i> has certainly no claim to be called a profound +divine—though we do not find in him any proper expression, +scarcely any momentary recognition, of those intuitions which +explain in a measure the scheme and idea of things, and form +the back-thought and inner structure of such minds as ours,—his +sense and sympathy with the people enable him, perhaps +compel him, to delineate those essential conditions which constitute +the structure of exterior life, and determine with inevitable +certainty the common life of common persons. He has +no call to deal with heaven or the universe, but he knows the +earth; he is restricted to the boundaries of time, but he understands +time. He has extended his delineations beyond what in +this country would be considered correct; <i>Les Cinq Étages</i> can +scarcely be quoted here; but a perhaps higher example of the +same kind of art may be so:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘<i>Le Vieux Vagabond.</i></div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Dans ce fossé cessons de vivre;</div> + <div class="verse indent2">Je finis vieux, infirme et las;</div> + <div class="verse indent2">Les passants vont dire: “Il est ivre.”</div> + <div class="verse indent2">Tant mieux! ils ne me plaindront pas.</div> + <div class="verse indent2">J’en vois qui détournent la tête;</div> + <div class="verse indent2">D’autres me jettent quelques sous.</div> + <div class="verse indent2">Courez vite, allez à la fête:</div> + <div class="verse indent0">Vieux vagabond, je puis mourir sans vous.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Oui, je meurs ici de vieillesse,</div> + <div class="verse indent2">Parce qu’on ne meurt pas de faim.</div> + <div class="verse indent2">J’espérais voir de ma détresse</div> + <div class="verse indent2">L’hôpital adoucir la fin;</div> +<span class="pagenum" id="Page_297">[297]</span> <div class="verse indent2">Mais tout est plein dans chaque hospice,</div> + <div class="verse indent2">Tant le peuple est infortuné.</div> + <div class="verse indent2">La rue, hélas! fut ma nourrice:</div> + <div class="verse indent0">Vieux vagabond, mourons où je suis né.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Aux artisans, dans mon jeune âge,</div> + <div class="verse indent2">J’ai dit: “Qu’on m’enseigne un métier.”</div> + <div class="verse indent2">“Va, nous n’avons pas trop d’ouvrage,”</div> + <div class="verse indent2">Répondaient-ils, “va mendier.”</div> + <div class="verse indent2">Riches, qui me disiez: “Travaille,”</div> + <div class="verse indent2">J’eus bien des os de vos repas;</div> + <div class="verse indent2">J’ai bien dormi sur votre paille:</div> + <div class="verse indent0">Vieux vagabond, je ne vous maudis pas.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘J’aurais pu voler, moi, pauvre homme;</div> + <div class="verse indent2">Mais non: mieux vaut tendre la main.</div> + <div class="verse indent2">Au plus, j’ai dérobé la pomme</div> + <div class="verse indent2">Qui mûrit au bord du chemin.</div> + <div class="verse indent2">Vingt fois pourtant on me verrouille</div> + <div class="verse indent2">Dans les cachots, de par le roi.</div> + <div class="verse indent2">De mon seul bien on me dépouille:</div> + <div class="verse indent0">Vieux vagabond, le soleil est à moi.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Le pauvre a-t-il une patrie?</div> + <div class="verse indent2">Que me font vos vins et vos blés,</div> + <div class="verse indent2">Votre gloire et votre industrie,</div> + <div class="verse indent2">Et vos orateurs assemblés?</div> + <div class="verse indent2">Dans vos murs ouverts à ses armes</div> + <div class="verse indent2">Lorsque l’étranger s’engraissait,</div> + <div class="verse indent2">Comme un sot j’ai versé des larmes:</div> + <div class="verse indent0">Vieux vagabond, sa main me nourrissait.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Comme un insecte fait pour nuire,</div> + <div class="verse indent2">Hommes, que ne m’écrasiez-vous!</div> + <div class="verse indent2">Ah! plutôt vous deviez m’instruire</div> + <div class="verse indent2">A travailler au bien de tous.</div> + <div class="verse indent2">Mis à l’abri du vent contraire,</div> + <div class="verse indent2">Le ver fût devenu fourmi;</div> + <div class="verse indent2">Je vous aurais chéris en frère:</div> + <div class="verse indent0">Vieux vagabond, je meurs votre ennemi.’</div> + </div> + </div> +</div> + +<p>Pathos in such a song as this enters into poetry. We sympathise +<span class="pagenum" id="Page_298">[298]</span>with the essential lot of man. Poems of this kind are +doubtless rare in Béranger. His commoner style is lighter and +more cheerful; but no poet who has painted so well the light +effervescence of light society can, when he likes, paint so well +the solid, stubborn forms with which it is encompassed. The +genial, firm sense of a large mind sees and comprehends all of +human life, which lies within the sphere of sense. He is an +epicurean, as all merely sensible men by inevitable consequence +are; and as an epicurean, he prefers to deal with the superficial +and gay forms of life; but he can deal with others when he +chooses to be serious. Indeed, there is no melancholy like the +melancholy of the epicurean. He is alive to the fixed conditions +of earth, but not to that which is above earth. He muses on +the temporary, as such; he admits the skeleton, but not the soul. +It is wonderful that Béranger is so cheerful as he is.</p> + +<p>We may conclude as we began. In all his works, in lyrics of +levity, of politics, of worldly reflection,—Béranger, if he had not +a single object, has attained a uniform result. He has given us +an idea of the essential French character, such as we fancy it +must be, but can never for ourselves hope to see that it is. We +understand the nice tact, the quick intelligence, the gay precision; +the essence of the drama we know—the spirit of what we +have seen. We know his feeling:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘J’aime qu’un Russe soit Russe,</div> + <div class="verse indent0">Et qu’un Anglais soit Anglais;</div> + <div class="verse indent0">Si l’on est Prussien en Prusse,</div> + <div class="verse indent0">En France soyons Français.’</div> + </div> + </div> +</div> + +<p class="noindent">He has acted accordingly: he has delineated to us the essential +Frenchman.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_299">[299]</span></p> + +<h2 class="nobreak" id="MR_CLOUGHS_POEMS"><i>MR. CLOUGH’S +POEMS.</i>⁠<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a><br> +<span class="smaller">(1862.)</span></h2> + +</div> + +<p>No one can be more rigid than we are in our rules as to the +publication of remains and memoirs. It is very natural that +the friends of a cultivated man who seemed about to do something, +but who died before he did it, should desire to publish +to the world the grounds of their faith, and the little symptoms +of his immature excellence. But though they act very naturally, +they act very unwisely. In the present state of the world +there are too many half-excellent people: there is a superfluity +of persons who have all the knowledge, all the culture, all the +requisite taste,—all the tools, in short, of achievement, but who +are deficient in the latent impulse and secret vigour which +alone can turn such instruments to account. They have all +the outward and visible signs of future success; they want the +invisible spirit, which can only be demonstrated by trial and +victory. Nothing, therefore, is more tedious or more worthless +than the posthumous delineation of the possible successes of one +who did not succeed. The dreadful remains of nice young +persons which abound among us prove almost nothing as to +the future fate of those persons, if they had survived. We can +only tell that any one is a man of genius by his having produced +some work of genius. Young men must practise themselves +in youthful essays; and to some of their friends these may seem +works not only of fair promise, but of achieved excellence. The +cold world of critics and readers will not, however, think so; +that world well understands the distinction between promise +and performance, and sees that these laudable <i>juvenilia</i> differ +<span class="pagenum" id="Page_300">[300]</span>from good books as much as legitimate bills of exchange differ +from actual cash.</p> + +<p>If we did not believe that Mr. Clough’s poems, or at least +several of them, had real merit, not as promissory germs, but as +completed performances, it would not seem to us to be within +our province to notice them. Nor, if Mr. Clough were now +living among us, would he wish us to do so. The marked +peculiarity, and, so to say, the <i>flavour</i> of his mind, was a sort of +truthful scepticism, which made him anxious never to overstate +his own assurance of anything; which disinclined him to overrate +the doings of his friends; and which absolutely compelled +him to underrate his own past writings, as well as his capability +for future literary success. He could not have borne to have +his poems reviewed with ‘nice remarks’ and sentimental epithets +of insincere praise. He was equal to his precept:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Where are the great, whom thou wouldst wish to praise thee?</div> + <div class="verse indent0">Where are the pure, whom thou wouldst choose to love thee?</div> + <div class="verse indent0">Where are the brave, to stand supreme above thee,</div> + <div class="verse indent0">Whose high commands would cheer, whose chiding raise thee?</div> + <div class="verse indent2">Seek, seeker, in thyself; submit to find</div> + <div class="verse indent2">In the stones, bread, and life in the blank mind.’</div> + </div> + </div> +</div> + +<p class="noindent">To offer petty praise and posthumous compliments to a stoic of +this temper, is like buying sugar-plums for St. Simon Stylites. +We venture to write an article on Mr. Clough, because we +believe that his poems depict an intellect in a state which is +always natural ‘to such a being as man in such a world as the +present,’ which is peculiarly natural to us just now; and because +we believe that many of these poems are very remarkable for +true vigour and artistic excellence, although they certainly have +defects and shortcomings, which would have been lessened, if +not removed, if their author had lived longer and had written +more.</p> + +<p>In a certain sense there are two great opinions about everything. +There are two about the universe itself. The world as +we know it is this. There is a vast, visible, indisputable sphere, +<span class="pagenum" id="Page_301">[301]</span>of which we never lose the consciousness, of which no one +seriously denies the existence, about the most important part of +which most people agree tolerably and fairly. On the other +hand, there is the invisible world, about which men are not +agreed at all, which all but the faintest minority admit to exist +somehow and somewhere, but as to the nature or locality of +which there is no efficient popular demonstration, no such compulsory +argument as will <i>force</i> the unwilling conviction of any +one disposed to denial. As our minds rise, as our knowledge +enlarges, as our wisdom grows, as our instincts deepen, our +conviction of this invisible world is daily strengthened, and our +estimate of its nature is continually improved. But—and +this is the most striking peculiarity of the whole subject—the +more we improve, the higher we rise, the nobler we conceive +the unseen world which is in us and about us, in which we +live and move, the more unlike that world becomes to the +world which we <i>do</i> see. The divinities of Olympus were in +a very plain and intelligible sense part and parcel of this +earth; they were better specimens than could be found below, +but they belonged to extant species; they were better editions +of visible existences; they were like the heroines whom young +men imagine after seeing the young ladies of their vicinity—they +were better and handsomer, but they were of the same +sort; they had never been seen, but they might have been seen +any day. So too of the God with whom the Patriarch wrestled: +he might have been wrestled with even if he was not; he was +that sort of person. If we contrast with these the God of +whom Christ speaks—the God who has not been seen at any +time, whom no man hath seen or can see, who is infinite in +nature, whose ways are past finding out, the transition is palpable. +We have passed from gods—from an invisible world +which is similar to, which is a <i>natural appendix</i> to, the world +in which we live,—and we have come to believe in an invisible +world, which is altogether unlike that which we see, which is +certainly not opposed to our experience, but is altogether +<span class="pagenum" id="Page_302">[302]</span>beyond and unlike our experience; which belongs to another +set of things altogether; which is, as we speak, transcendental. +The ‘possible’ of early barbarism is like the reality of early +barbarism; the ‘may be,’ the ‘great perhaps,’ of late civilisation +is most unlike the earth, whether barbaric or civilised.</p> + +<p>Two opinions as to the universe naturally result from this +fundamental contrast. There are plenty of minds like that of +Voltaire, who have simply no sense or perception of the invisible +world whatever, who have no ear for religion, who are in the +technical sense unconverted, whom no conceivable process could +convert without altering what to bystanders and ordinary observers +is their identity. They are, as a rule, acute, sensible, +discerning, and humane; but the first observation which the +most ordinary person would make as to them is, that they +are ‘limited;’ they understand palpable existence; they elaborate +it, and beautify and improve it; but an admiring +bystander, who can do none of these things, who can beautify +nothing, who, if he tried, would only make what is ugly uglier, +is conscious of a latent superiority, which he can hardly help +connecting with his apparent inferiority. We cannot write +Voltaire’s sentences; we cannot make things as clear as he +made them; but we do not much care for our deficiency. Perhaps +we think ‘things ought not to be so plain as all that.’ There +is a hidden, secret, unknown side to this universe, which these +picturesque painters of the visible, these many-handed manipulators +of the palpable, are not aware of, which would spoil their +dexterity if it were displayed to them. Sleep-walkers can +tread safely on the very edge of a precipice; but those who +see, cannot. On the other hand, there are those whose minds +have not only been converted, but in some sense <i>inverted</i>. +They are so occupied with the invisible world as to be absorbed +in it entirely; they have no true conception of that which +stands plainly before them; they never look coolly at it, and +are cross with those who do; they are wrapt up in their own +faith as to an unseen existence; they rush upon mankind with +<span class="pagenum" id="Page_303">[303]</span>‘Ah, there it is! there it is!—don’t you see it?’ and so incur +the ridicule of an age.</p> + +<p>The best of us try to avoid both fates. We strive, more or +less, to ‘make the best of both worlds.’ We know that the +invisible world cannot be duly discerned, or perfectly appreciated. +We know that we see as in a glass darkly; but still +we look on the glass. We frame to ourselves some image which +we know to be incomplete, which probably is in part untrue, +which we try to improve day by day, of which we do not deny +the defects,—but which nevertheless is our ‘all;’ which we +hope, when the accounts are taken, may be found not utterly +<i>unlike</i> the unknown reality. This is, as it seems, the best religion +for finite beings, living, if we may say so, on the very +edge of two dissimilar worlds, on the very line on which the +infinite, unfathomable sea surges up, and just where the queer +little bay of this world ends. We count the pebbles on the +shore, and image to ourselves as best we may the secrets of the +great deep.</p> + +<p>There are, however, some minds (and of these Mr. Clough’s +was one) which will not accept what appears to be an intellectual +destiny. They struggle against the limitations of mortality, +and will not condescend to use the natural and needful +aids of human thought. They will not <i>make their image</i>. They +struggle after an ‘actual abstract.’ They feel, and they rightly +feel, that every image, every translation, every mode of conception +by which the human mind tries to place before itself the +Divine mind, is imperfect, halting, changing. They feel, from +their own experience, that there is no one such mode of representation +which will suit their own minds at all times, and they +smile with bitterness at the notion that they could contrive an +image which will suit all other minds. They could not become +fanatics or missionaries, or even common preachers without forfeiting +their natural dignity, and foregoing their very essence. +To cry in the streets, to uplift their voice in Israel, to be ‘pained +with hot thoughts,’ to be ‘preachers of a dream,’ would reverse +<span class="pagenum" id="Page_304">[304]</span>their whole cast of mind. It would metamorphose them into +something which omits every striking trait for which they were +remarked, and which contains every trait for which they were +not remarked. On the other hand, it would be quite as opposite +to their whole nature to become followers of Voltaire. +No one knows more certainly and feels more surely that there +is an invisible world, than those very persons who decline to +make an image or representation of it, who shrink with a nervous +horror from every such attempt when it is made by any +others. All this inevitably leads to what common, practical +people term a ‘curious’ sort of mind. You do not know how +to describe these ‘universal negatives,’ as they seem to be. +They will not fall into place in the ordinary intellectual world +any how. If you offer them any known religion, they ‘won’t +have that;’ if you offer them no religion, they will not have +that either; if you ask them to accept a new and as yet unrecognised +religion, they altogether refuse to do so. They seem +not only to believe in an ‘unknown God,’ but in a God whom +no man can ever know. Mr. Clough has expressed, in a sort of +lyric, what may be called their essential religion:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘O Thou whose image in the shrine</div> + <div class="verse indent0">Of human spirits dwells divine!</div> + <div class="verse indent0">Which from that precinct once conveyed,</div> + <div class="verse indent0">To be to outer day displayed,</div> + <div class="verse indent0">Doth vanish, part, and leave behind</div> + <div class="verse indent0">Mere blank and void of empty mind,</div> + <div class="verse indent0">Which wilful fancy seeks in vain</div> + <div class="verse indent0">With casual shapes to fill again!</div> + </div> + <div class="stanza"> + <div class="verse indent0">O Thou, that in our bosom’s shrine</div> + <div class="verse indent0">Dost dwell, unknown because divine!</div> + <div class="verse indent0">I thought to speak, I thought to say,</div> + <div class="verse indent0">“The light is here,” “Behold the way,”</div> + <div class="verse indent0">“The voice was thus” and “Thus the word,”</div> + <div class="verse indent0">And “Thus I saw,” and “That I heard,”—</div> + <div class="verse indent0">But from the lips that half essayed</div> + <div class="verse indent0">The imperfect utterance fell unmade.</div> +<span class="pagenum" id="Page_305">[305]</span> </div> + <div class="stanza"> + <div class="verse indent0">O Thou, in that mysterious shrine</div> + <div class="verse indent0">Enthroned, as I must say, divine!</div> + <div class="verse indent0">I will not frame one thought of what</div> + <div class="verse indent0">Thou mayest either be or not.</div> + <div class="verse indent0">I will not prate of “thus” and “so,”</div> + <div class="verse indent0">And be profane with “yes” and “no,”</div> + <div class="verse indent0">Enough that in our soul and heart</div> + <div class="verse indent0">Thou, whatso’er Thou mayst be, art.’</div> + </div> + </div> +</div> + +<p class="noindent">It was exceedingly natural that Mr. Clough should incline +to some such creed as this, with his character and in his circumstances. +He had by nature, probably, an exceedingly real +mind, in the good sense of that expression and the bad sense. +The actual visible world as it was, and as he saw it, exercised +over him a compulsory influence. The hills among which he +had wandered, the cities he had visited, the friends whom he +knew,—these were his world. Many minds of the poetic sort +easily melt down these palpable facts into some impalpable ether +of their own. To such a mind as Shelley’s the ‘solid earth’ is +an immaterial fact; it is not even a cumbersome difficulty—it +is a preposterous imposture. Whatever may exist, all that <i>clay</i> +does not exist; it would be too absurd to think so. Common +persons can make nothing of this dreaminess; and Mr. Clough, +though superficial observers set him down as a dreamer, could +not make much either. To him, as to the mass of men, the +vulgar, outward world was a primitive fact. ‘Taxes <i>is</i> true,’ +as the miser said. Reconcile what you have to say with green +peas, for green peas are certain; such was Mr. Clough’s idea. +He could not dissolve the world into credible ideas and then +believe those ideas, as many poets have done. He could not +catch up a creed as ordinary men do. He had a <i>straining</i>, inquisitive, +critical mind; he scrutinised every idea before he +took it in; he did not allow the moral forces of life to act as +they should; he was not content to gain a belief ‘by going on +living.’ He said,</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘<i>Action will furnish belief</i>; but will that belief be the true one?</div> + <div class="verse indent0">This is the point, you know.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_306">[306]</span></p> + +<p class="noindent">He felt the coarse facts of the plain world so thoroughly that +he could not readily take in anything, which did not seem in +accordance with them and like them. And what common idea +of the invisible world seems in the least in accordance with +them or like them?</p> + +<p>A journal-writer in one of his poems has expressed this:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Comfort has come to me here in the dreary streets of the city,</div> + <div class="verse indent0">Comfort—how do you think?—with a barrel-organ to bring it.</div> + <div class="verse indent0">Moping along the streets, and cursing my day as I wandered,</div> + <div class="verse indent0">All of a sudden my ear met the sound of an English psalm-tune.</div> + <div class="verse indent0">Comfort me it did, till indeed I was very near crying.</div> + <div class="verse indent0">Ah, there is some great truth, partial very likely, but needful,</div> + <div class="verse indent0">Lodged, I am strangely sure, in the tones of the English psalm-tune:</div> + <div class="verse indent0">Comfort it was at least; and I must take without question</div> + <div class="verse indent0">Comfort, however it come, in the dreary streets of the city.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘What with trusting myself, and seeking support from within me,</div> + <div class="verse indent0">Almost I could believe I had gained a religious assurance,</div> + <div class="verse indent0">Formed in my own poor soul a great moral basis to rest on.</div> + <div class="verse indent0">Ah, but indeed I see, I feel it factitious entirely;</div> + <div class="verse indent0">I refuse, reject, and put it utterly from me;</div> + <div class="verse indent0">I will look straight out, see things, not try to evade them;</div> + <div class="verse indent0">Fact shall be fact for me, and the Truth the Truth as ever,</div> + <div class="verse indent0">Flexible, changeable, vague, and multiform, and doubtful.—</div> + <div class="verse indent0">Off, and depart to the void, thou subtle, fanatical tempter!’</div> + </div> + </div> +</div> + +<p>Mr. Clough’s fate in life had been such as to exaggerate +this naturally peculiar temper. He was a pupil of Arnold’s; +one of his best, most susceptible and favourite pupils. Some +years since there was much doubt and interest as to the effect +of Arnold’s teaching. His sudden death, so to say, cut his life +in the middle, and opened a tempting discussion as to the effect +of his teaching when those taught by him should have become +men and not boys. The interest which his own character then +awakened, and must always awaken, stimulated the discussion, +and there was much doubt about it. But now we need doubt +no longer. The Rugby ‘men’ are <i>real</i> men, and the world can +pronounce its judgment. Perhaps that part of the world which +<span class="pagenum" id="Page_307">[307]</span>cares for such things has pronounced it. Dr. Arnold was almost +indisputably an admirable master for a common English +boy,—the small, apple-eating animal whom we know. He +worked, he pounded, if the phrase may be used, into the boy a +belief, or at any rate a floating, confused conception, that there +are great subjects, that there are strange problems, that knowledge +has an indefinite value, that life is a serious and solemn +thing. The influence of Arnold’s teaching upon the majority +of his pupils was probably very vague, but very good. To +impress on the ordinary Englishman a general notion of the +importance of what is intellectual and the reality of what is +supernatural, is the greatest benefit which can be conferred +upon him. The common English mind is too coarse, sluggish, +and worldly to take such lessons too much to heart. It is improved +by them in many ways, and is not harmed by them at +all. But there are a few minds which are very likely to think +too much of such things. A susceptible, serious, intellectual +boy may be injured by the incessant inculcation of the awfulness +of life and the magnitude of great problems. It is not +desirable to take this world too much <i>au sérieux</i>; most persons +will not; and the one in a thousand who will, should not. Mr. +Clough was one of those who will. He was one of Arnold’s +favourite pupils, because he gave heed so much to Arnold’s +teaching; and exactly because he gave heed to it, was it bad +for him. He required quite another sort of teaching: to be +told to take things easily; not to try to be wise overmuch; to +be ‘something beside critical;’ to go on living quietly and +obviously, and see what truth would come to him. Mr. Clough +had to his latest years what may be noticed in others of Arnold’s +disciples,—a fatigued way of looking at great subjects. +It seemed as if he had been put into them before his time, had +seen through them, heard all which could be said about them, +had been bored by them, and had come to want something else.</p> + +<p>A still worse consequence was, that the faith, the doctrinal +teaching which Arnold impressed on the youths about him, was +<span class="pagenum" id="Page_308">[308]</span>one personal to Arnold himself, which arose out of the peculiarities +of his own character, which can only be explained by +them. As soon as an inquisitive mind was thrown into a new +intellectual atmosphere, and was obliged to naturalise itself in it, +to consider the creed it had learned with reference to the facts +which it encountered and met, much of that creed must fade +away. There were inevitable difficulties in it, which only the +personal peculiarities of Arnold prevented his perceiving, and +which everyone else must soon perceive. The new intellectual +atmosphere into which Mr. Clough was thrown was peculiarly +likely to have this disenchanting effect. It was the Oxford of +Father Newman; an Oxford utterly different from Oxford as it +is, or from the same place as it had been twenty years before. +A complete estimate of that remarkable thinker cannot be given +here; it would be no easy task even now, many years after his +influence has declined, nor is it necessary for the present purpose. +Two points are quite certain of Father Newman, and +they are the only two which are at present material. He was +undeniably a consummate master of the difficulties of the creeds +of other men. With a profoundly religious organisation which +was hard to satisfy, with an imagination which could not help +setting before itself simply and exactly what different creeds +would come to and mean in life, with an analysing and most +subtle intellect which was sure to detect the weak point in an +argument if a weak point there was, with a manner at once grave +and fascinating,—he was a nearly perfect religious disputant, +whatever may be his deficiencies as a religious teacher. The +most accomplished theologian of another faith would have looked +anxiously to the joints of his harness before entering the lists +with an adversary so prompt and keen. To suppose that a +youth fresh from Arnold’s teaching, with a hasty faith in a +scheme of thought radically inconsistent, should be able to +endure such an encounter, was absurd. Arnold flattered himself +that he was a principal opponent of Mr. Newman; but he +was rather a principal fellow-labourer. There was but one +<span class="pagenum" id="Page_309">[309]</span>quality in a common English boy which would have enabled him +to resist such a reasoner as Mr. Newman. We have a heavy +apathy on exciting topics, which enables us to leave dilemmas +unsolved, to forget difficulties, to go about our pleasure or our +business, and to leave the reasoner to pursue his logic: ‘any +how he is very <i>long</i>’—<i>that</i> we comprehend. But it was exactly +this happy apathy, this commonplace indifference, that Arnold +prided himself on removing. He objected strenuously to Mr. +Newman’s creed, but he prepared anxiously the very soil in which +that creed was sure to grow. A multitude of such minds as +Mr. Clough’s, from being Arnoldites, became Newmanites.</p> + +<p>A second quality in Mr. Newman is at least equally clear. +He was much better skilled in finding out the difficulties of +other men’s creeds than in discovering and stating a distinct +basis for his own. In most of his characteristic works he does +not even attempt it. His argument is essentially an argument +<i>ad hominem</i>; an argument addressed to the present creed of the +person with whom he is reasoning. He says: ‘Give up what +you hold already, or accept what I now say; for that which you +already hold involves it.’ Even in books where he is especially +called on to deal with matters of first principle, the result is unsatisfactory. +We have heard it said that he has in later life +accounted for the argumentative vehemence of his book <i>against</i> +the Church of Rome by saying: ‘I did it as a duty; I <i>put</i> myself +into a state of mind to write that book.’ And this is just +the impression which his arguments give. His elementary principles +seem <i>made</i>, not born. Very likely he would admit the +fact, and yet defend his practice. He would say: ‘Such a +being as man is, in such a world as this is, <i>must</i> do so; he +must make a venture for his religion; he may see a greater +probability that the doctrine of the Church is true than that it +is false; he may see before he believes in her that she has +greater evidence than any other creed; but he must do the rest +for himself. <i>By means of his will</i> he must put himself into +a new state of mind; he must cast in his lot with the Church +<span class="pagenum" id="Page_310">[310]</span>here and hereafter; <i>then</i> his belief will gradually strengthen; +he will in time become sure of what she says.’ He undoubtedly, +in the time of his power, persuaded many young men to try +some such process as this. The weaker, the more credulous, +and the more fervent, were able to persevere; those who had not +distinct perceptions of real truth, who were dreamy and fanciful +by nature, persevered without difficulty. But Mr. Clough could +not do so; he felt it was ‘something factitious.’ He began to +speak of the ‘ruinous force of the will,’ and ‘our terrible notions +of duty.’ He ceased to be a Newmanite.</p> + +<p>Thus Mr. Clough’s career and life were exactly those most +likely to develop and foster a morbid peculiarity of his intellect. +He had, as we have explained, by nature an unusual difficulty +in forming a creed as to the unseen world; he could not get the +visible world out of his head; his strong grasp of plain facts +and obvious matters was a difficulty to him. Too easily one +great teacher inculcated a remarkable creed; then another great +teacher took it away; then this second teacher made him believe +for a time some of his own artificial faith; then it would +not do. He fell back on that vague, impalpable, unembodied +religion which we have attempted to describe.</p> + +<p>He has himself given in a poem, now first published, a very +remarkable description of this curious state of mind. He has +prefixed to it the characteristic motto, ‘<i>Il doutait de tout, même +de l’amour</i>.’ It is the delineation of a certain love-passage +in the life of a hesitating young gentleman, who was in Rome +at the time of the revolution of 1848; who could not make up +his mind about the revolution, who could not make up his mind +whether he liked Rome, who could not make up his mind +whether he liked the young lady, who let her go away without +him, who went in pursuit of her, and could not make out which +way to look for her,—who, in fine, has some sort of religion, but +cannot himself tell what it is. The poem was not published in +the author’s lifetime, and there are some lines which we are persuaded +he would have further polished, and some parts which he +<span class="pagenum" id="Page_311">[311]</span>would have improved, if he had seen them in print. It is written +in conversational hexameters, in a tone of semi-satire and half-belief. +Part of the commencement is a good example of them:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Rome disappoints me much; I hardly as yet understand, but</div> + <div class="verse indent0"><i>Rubbishy</i> seems the word that most exactly would suit it.</div> + <div class="verse indent0">AU the foolish destructions, and all the sillier savings,</div> + <div class="verse indent0">All the incongruous things of past incompatible ages,</div> + <div class="verse indent0">Seem to be treasured up here to make fools of present and future.</div> + <div class="verse indent0">Would to Heaven the old Goths had made a cleaner sweep of it!</div> + <div class="verse indent0">Would to Heaven some new ones would come and destroy these churches!</div> + <div class="verse indent0">However, one can live in Rome as also in London.</div> + <div class="verse indent0">Rome is better than London, because it is other than London.</div> + <div class="verse indent0">It is a blessing, no doubt, to be rid, at least for a time, of</div> + <div class="verse indent0">All one’s friends and relations,—yourself (forgive me!) included,—</div> + <div class="verse indent0">All the <i>assujettissement</i> of having been what one has been,</div> + <div class="verse indent0">What one thinks one is, or thinks that others suppose one;</div> + <div class="verse indent0">Yet, in despite of all, we turn like fools to the English.</div> + <div class="verse indent0">Vernon has been my fate; who is here the same that you knew him,—</div> + <div class="verse indent0">Making the tour, it seems, with friends of the name of Trevellyn.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Rome disappoints me still; but I shrink and adapt myself to it.</div> + <div class="verse indent0">Somehow a tyrannous sense of a superincumbent oppression</div> + <div class="verse indent0">Still, wherever I go, accompanies ever, and makes me</div> + <div class="verse indent0">Feel like a tree (shall I say?) buried under a ruin of brickwork.</div> + <div class="verse indent0">Rome, believe me, my friend, is like its own Monte Testaceo,</div> + <div class="verse indent0">Merely a marvellous mass of broken and castaway wine-pots.</div> + <div class="verse indent0">Ye Gods! what do I want with this rubbish of ages departed,</div> + <div class="verse indent0">Things that Nature abhors, the experiments that she has failed in?</div> + <div class="verse indent0">What do I find in the Forum? An archway and two or three pillars.</div> + <div class="verse indent0">Well, but St. Peter’s? Alas, Bernini has filled it with sculpture!</div> + <div class="verse indent0">No one can cavil, I grant, at the size of the great Coliseum.</div> + <div class="verse indent0">Doubtless the notion of grand and capacious and massive amusement,</div> + <div class="verse indent0">This the old Romans had; but tell me, is this an idea?</div> + <div class="verse indent0">Yet of solidity much, but of splendour little is extant:</div> + <div class="verse indent0">“Brickwork I found thee, and marble I left thee!” their Emperor vaunted;</div> + <div class="verse indent0">“Marble I thought thee, and brickwork I find thee!” the Tourist may answer.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_312">[312]</span></p> + +<p class="noindent">As he goes on, he likes Rome rather better, but hazards the +following imprecation on the Jesuits:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Luther, they say, was unwise; he didn’t see how things were going;</div> + <div class="verse indent0">Luther was foolish,—but, O great God! what call you Ignatius?</div> + <div class="verse indent0">O my tolerant soul, be still! but you talk of barbarians,</div> + <div class="verse indent0">Alaric, Attila, Genseric;—why, they came, they killed, they</div> + <div class="verse indent0">Ravaged, and went on their way; but these vile, tyrannous Spaniards,</div> + <div class="verse indent0">These are here still,—how long, O ye heavens, in the country of Dante?</div> + <div class="verse indent0">These, that fanaticised Europe, which now can forget them, release not</div> + <div class="verse indent0">This, their choicest of prey, this Italy; here you see them,—</div> + <div class="verse indent0">Here, with emasculate pupils and gimcrack churches of Gesù,</div> + <div class="verse indent0">Pseudo-learning and lies, confessional-boxes and postures,—</div> + <div class="verse indent0">Here, with metallic beliefs and regimental devotions,—</div> + <div class="verse indent0">Here, overcrusting with slime, perverting, defacing, debasing</div> + <div class="verse indent0">Michael Angelo’s dome, that had hung the Pantheon in heaven,</div> + <div class="verse indent0">Raphael’s Joys and Graces, and thy clear stars, Galileo!’</div> + </div> + </div> +</div> + +<p>The plot of the poem is very simple, and certainly is not +very exciting. The moving force, as in most novels of verse or +prose, is the love of the hero for the heroine; but this love assuredly +is not of a very impetuous and overpowering character. +The interest of this story is precisely that it is not overpowering. +The over-intellectual hero, over-anxious to be composed, +will not submit himself to his love; over-fearful of what is +voluntary and factitious, he will not make an effort and cast in +his lot with it. He states his view of the subject better than +we can state it:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘I am in love, meantime, you think; no doubt you would think so.</div> + <div class="verse indent0">I am in love, you say, with those letters, of course, you would say so.</div> + <div class="verse indent0">I am in love, you declare. I think not so; yet I grant you</div> + <div class="verse indent0">It is a pleasure indeed to converse with this girl. Oh, rare gift,</div> + <div class="verse indent0">Rare felicity, this! she can talk in a rational way, can</div> + <div class="verse indent0">Speak upon subjects that really are matters of mind and of thinking,</div> + <div class="verse indent0">Yet in perfection retain her simplicity; never, one moment,</div> + <div class="verse indent0">Never, however you urge it, however you tempt her, consents to</div> + <div class="verse indent0">Step from ideas and fancies and loving sensations to those vain</div> +<span class="pagenum" id="Page_313">[313]</span> <div class="verse indent0">Conscious understandings that vex the minds of mankind.</div> + <div class="verse indent0">No, though she talk, it is music; her fingers desert not the keys; ’tis</div> + <div class="verse indent0">Song, though you hear in the song the articulate vocables sounded,</div> + <div class="verse indent0">Syllables singly and sweetly the words of melodious meaning.</div> + <div class="verse indent4">I am in love, you say; I do not think so, exactly.</div> + <div class="verse indent0">There are two different kinds, I believe, of human attraction:</div> + <div class="verse indent0">One which simply disturbs, unsettles, and makes you uneasy,</div> + <div class="verse indent0">And another that poises, retains, and fixes and holds you.</div> + <div class="verse indent0">I have no doubt, for myself, in giving my voice for the latter.</div> + <div class="verse indent0">I do not wish to be moved, but growing where I was growing,</div> + <div class="verse indent0">There more truly to grow, to live where as yet I had languished.</div> + <div class="verse indent0">I do not like being moved: for the will is excited; and action</div> + <div class="verse indent0">Is a most dangerous thing; I tremble for something factitious,</div> + <div class="verse indent0">Some malpractice of heart and illegitimate process;</div> + <div class="verse indent0">We are so prone to these things, with our terrible notions of duty.</div> + <div class="verse indent0">Ah, let me look, let me watch, let me wait, unhurried, unprompted!</div> + <div class="verse indent0">Bid me not venture on aught that could alter or end what is present!</div> + <div class="verse indent0">Say not, Time flies, and Occasion, that never returns, is departing!</div> + <div class="verse indent0">Drive me not out, ye ill angels with fiery swords, from my Eden,</div> + <div class="verse indent0">Waiting, and watching, and looking! Let love be its own inspiration!</div> + <div class="verse indent0">Shall not a voice, if a voice there must be, from the airs that environ,</div> + <div class="verse indent0">Yea, from the conscious heavens, without our knowledge or effort,</div> + <div class="verse indent0">Break into audible words? And love be its own inspiration?’</div> + </div> + </div> +</div> + +<p>It appears, however, that even this hesitating hero would +have come to the point at last. In a book, at least, the hero +has nothing else to do. The inevitable restrictions of a pretty +story hem him in; to wind up the plot, he must either propose +or die, and usually he prefers proposing. Mr. Claude—for such +is the name of Mr. Clough’s hero—is evidently on his road +towards the inevitable alternative, when his fate intercepts him +by the help of a person who meant nothing less. There is a sister +of the heroine, who is herself engaged to a rather quick person, +and who cannot make out anyone’s conducting himself differently +from her George Vernon. She writes:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Mr. Claude, you must know, is behaving a little bit better;</div> + <div class="verse indent0">He and Papa are great friends; but he really is too <i>shilly-shally</i>,—</div> + <div class="verse indent0">So unlike George! Yet I hope that the matter is going on fairly.</div> +<span class="pagenum" id="Page_314">[314]</span> <div class="verse indent0">I shall, however, get George, before he goes, to say something.</div> + <div class="verse indent0">Dearest Louise, how delightful to bring young people together!’</div> + </div> + </div> +</div> + +<p class="noindent">As the heroine says, ‘dear Georgina’ wishes for nothing so +much as to show her adroitness. George Vernon does interfere, +and Mr. Claude may describe for himself the change it makes +in his fate:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Tibur is beautiful too, and the orchard slopes, and the Anio</div> + <div class="verse indent0">Falling, falling yet, to the ancient lyrical cadence;</div> + <div class="verse indent0">Tibur and Anio’s tide; and cool from Lucretilis ever,</div> + <div class="verse indent0">With the Digentian stream, and with the Bandusian fountain,</div> + <div class="verse indent0">Folded in Sabine recesses, the valley and villa of Horace:—</div> + <div class="verse indent0">So not seeing I sung; so seeing and listening say I,</div> + <div class="verse indent0">Here as I sit by the stream, as I gaze at the cell of the Sibyl,</div> + <div class="verse indent0">Here with Albunea’s home and the grove of Tiburnus beside me;⁠<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a>⁠</div> + <div class="verse indent0">Tivoli beautiful is, and musical, O Teverone,</div> + <div class="verse indent0">Dashing from mountain to plain, thy parted impetuous waters!</div> + <div class="verse indent0">Tivoli’s waters and rocks; and fair under Monte Gennaro,</div> + <div class="verse indent0">(Haunt even yet, I must think, as I wander and gaze, of the shadows,</div> + <div class="verse indent0">Faded and pale, yet immortal, of Faunus, the Nymphs, and the Graces,)</div> + <div class="verse indent0">Fair in itself, and yet fairer with human completing creations,</div> + <div class="verse indent0">Folded in Sabine recesses, the valley and villa of Horace:—</div> + <div class="verse indent0">So not seeing I sung; so now—Nor seeing, nor hearing,</div> + <div class="verse indent0">Neither by waterfall lulled, nor folded in sylvan embraces,</div> + <div class="verse indent0">Neither by cell of the Sibyl, nor stepping the Monte Gennaro,</div> + <div class="verse indent0">Seated on Anio’s bank, nor sipping Bandusian waters,</div> + <div class="verse indent0">But on Montorio’s height, looking down on the tile-clad streets, the</div> + <div class="verse indent0">Cupolas, crosses, and domes, the bushes and kitchen-gardens,</div> + <div class="verse indent0">Which, by the grace of the Tibur, proclaim themselves Rome of the Roman,—</div> + <div class="verse indent0">But on Montorio’s height, looking forth to the vapoury mountains,</div> + <div class="verse indent0">Cheating the prisoner Hope with illusions of vision and fancy,—</div> + <div class="verse indent0">But on Montorio’s height, with these weary soldiers by me,</div> + <div class="verse indent0">Waiting till Oudinot enter, to reinstate Pope and Tourist.</div> + <div class="center">...</div> +<span class="pagenum" id="Page_315">[315]</span> <div class="verse indent0">Yes, on Montorio’s height for a last farewell of the city,—</div> + <div class="verse indent0">So it appears; though then I was quite uncertain about it.</div> + <div class="verse indent0">So, however, it was. And now to explain the proceeding.</div> + <div class="verse indent4">I was to go, as I told you, I think, with the people to Florence.</div> + <div class="verse indent0">Only the day before, the foolish family Vernon</div> + <div class="verse indent0">Made some uneasy remarks, as we walked to our lodging together,</div> + <div class="verse indent0">As to intentions, forsooth, and so forth. I was astounded,</div> + <div class="verse indent0">Horrified quite; and obtaining just then, as it happened, an offer</div> + <div class="verse indent0">(No common favour) of seeing the great Ludovisi collection,</div> + <div class="verse indent0">Why, I made this a pretence, and wrote that they must excuse me.</div> + <div class="verse indent0">How could I go? Great Heavens! to conduct a permitted flirtation.</div> + <div class="verse indent0">Under those vulgar eyes, the observed of such observers!</div> + <div class="verse indent0">Well, but I now, by a series of fine diplomatic inquiries,</div> + <div class="verse indent0">Find from a sort of relation, a good and sensible woman,</div> + <div class="verse indent0">Who is remaining at Rome with a brother too ill for removal,</div> + <div class="verse indent0">That it was wholly unsanctioned, unknown,—not, I think, by Georgina:</div> + <div class="verse indent0">She, however, ere this,—and that is the best of the story,—</div> + <div class="verse indent0">She and the Vernon, thank Heaven, are wedded and gone—honeymooning.</div> + <div class="verse indent0">So—on Montorio’s height for a last farewell of the city.</div> + <div class="verse indent0">Tibur I have not seen, nor the lakes that of old I had dreamt of;</div> + <div class="verse indent0">Tibur I shall not see, nor Anio’s waters, nor deep en-</div> + <div class="verse indent0">Folded in Sabine recesses the valley and villa of Horace;</div> + <div class="verse indent0">Tibur I shall not see;—but something better I shall see.</div> + <div class="verse indent0">Twice I have tried before, and failed in getting the horses;</div> + <div class="verse indent0">Twice I have tried and failed: this time it shall not be a failure.’</div> + </div> + </div> +</div> + +<p class="noindent">But, of course, he does not reach Florence till the heroine +and her family are gone; and he hunts after them through +North Italy, not very skilfully, and then he returns to Rome; +and he reflects, certainly not in a very dignified or heroic +manner:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘I cannot stay at Florence, not even to wait for a letter.</div> + <div class="verse indent0">Galleries only oppress me. Remembrance of hope I had cherished</div> + <div class="verse indent0">(Almost more than as hope, when I passed through Florence the first time)</div> + <div class="verse indent0">Lies like a sword in my soul. I am more a coward than ever,</div> + <div class="verse indent0">Chicken-hearted, past thought. The <i>cafés</i> and waiters distress me.</div> + <div class="verse indent0">All is unkind, and, alas! I am ready for any one’s kindness.</div> +<span class="pagenum" id="Page_316">[316]</span> <div class="verse indent0">Oh, I knew it of old, and knew it, I thought, to perfection,</div> + <div class="verse indent0">If there is any one thing in the world to preclude all kindness,</div> + <div class="verse indent0">It is the need of it,—it is this sad, self-defeating dependence.</div> + <div class="verse indent0">Why is this, Eustace? Myself, were I stronger, I think I could tell you.</div> + <div class="verse indent0">But it is odd when it comes. So plumb I the deeps of depression,</div> + <div class="verse indent0">Daily in deeper, and find no support, no will, no purpose.</div> + <div class="verse indent0">All my old strengths are gone. And yet I shall have to do something.</div> + <div class="verse indent0">Ah, the key of our life, that passes all wards, opens all locks,</div> + <div class="verse indent0">Is not <i>I will</i>, but <i>I must</i>. I must,—I must,—and I do it.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘After all, do I know that I really cared so about her?</div> + <div class="verse indent0">Do whatever I will, I cannot call up her image;</div> + <div class="verse indent0">For when I close my eyes, I see, very likely, St. Peter’s,</div> + <div class="verse indent0">Or the Pantheon façade, or Michael Angelo’s figures,</div> + <div class="verse indent0">Or, at a wish, when I please, the Alban hills and the Forum,—</div> + <div class="verse indent0">But that face, those eyes,—ah no, never anything like them;</div> + <div class="verse indent0">Only, try as I will, a sort of featureless outline,</div> + <div class="verse indent0">And a pale blank orb, which no recollection will add to.</div> + <div class="verse indent0">After all, perhaps there was something factitious about it;</div> + <div class="verse indent0">I have had pain, it is true: I have wept, and so have the actors.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘At the last moment I have your letter, for which I was waiting;</div> + <div class="verse indent0">I have taken my place, and see no good in inquiries.</div> + <div class="verse indent0">Do nothing more, good Eustace, I pray you. It only will vex me.</div> + <div class="verse indent0">Take no measures. Indeed, should we meet, I could not be certain;</div> + <div class="verse indent0">All might be changed, you know. Or perhaps there was nothing to be changed.</div> + <div class="verse indent0">It is a curious history, this; and yet I foresaw it;</div> + <div class="verse indent0">I could have told it before. The Fates, it is clear, are against us;</div> + <div class="verse indent0">For it is certain enough I met with the people you mention;</div> + <div class="verse indent0">They were at Florence the day I returned there, and spoke to me even;</div> + <div class="verse indent0">Stayed a week, saw me often; departed, and whither I know not.</div> + <div class="verse indent0">Great is Fate, and is best. I believe in Providence partly.</div> + <div class="verse indent0">What is ordained is right, and all that happens is ordered.</div> + <div class="verse indent0">Ah, no, that isn’t it. But yet I retain my conclusion.</div> + <div class="verse indent0">I will go where I am led, and will not dictate to the chances.</div> + <div class="verse indent0">Do nothing more, I beg. If you love me, forbear interfering.’</div> + </div> + </div> +</div> + +<p class="noindent">And the heroine, like a sensible, quiet girl, sums up:</p> + +<p><span class="pagenum" id="Page_317">[317]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘You have heard nothing; of course, I know you can have heard nothing.</div> + <div class="verse indent0">Ah, well, more than once I have broken my purpose, and sometimes,</div> + <div class="verse indent0">Only too often, have looked for the little lake-steamer to bring him.</div> + <div class="verse indent0">But it is only fancy,—I do not really expect it.</div> + <div class="verse indent0">Oh, and you see I know so exactly how he would take it:</div> + <div class="verse indent0">Finding the chances prevail against meeting again, he would banish</div> + <div class="verse indent0">Forthwith every thought of the poor little possible hope, which</div> + <div class="verse indent0">I myself could not help, perhaps, thinking only too much of;</div> + <div class="verse indent0">He would resign himself, and go. I see it exactly.</div> + <div class="verse indent0">So I also submit, although in a different manner.</div> + <div class="verse indent0">Can you not really come? We go very shortly to England.’</div> + </div> + </div> +</div> + +<p class="noindent">And there, let us hope, she found a more satisfactory lover and +husband.</p> + +<p>The same defect which prevented Mr. Claude from obtaining +his bride will prevent this poem from obtaining universal +popularity. The public like stories which come to something; +Mr. Arnold teaches that a great poem must be founded on a +great action, and this one is founded on a long inaction. But +Art has many mansions. Many poets, whose cast of thought +unfits them for very diffused popularity, have yet a concentrated +popularity which suits them and which lasts. Henry Taylor has +wisely said ‘that a poet does not deserve the name who would +not rather be read a thousand times by one man, than a single +time by a thousand.’ This repeated perusal, this testing by +continual repetition and close contact, is the very test of intellectual +poetry; unless such poetry can identify itself with +our nature, and dissolve itself into our constant thought, it is +nothing, or less than nothing; it is an ineffectual attempt to +confer a rare pleasure; it teazes by reminding us of that pleasure, +and tires by the effort which it demands from us. But if +a poem really possesses this capacity of intellectual absorption—if +it really is in matter of fact accepted, apprehended, delighted +in, and retained by a large number of cultivated and thoughtful +minds,—its non-recognition by what is called the public is no +<span class="pagenum" id="Page_318">[318]</span>more against it than its non-recognition by the coal-heavers. +The half-educated and busy crowd, whom we call the public, have +no more right to impose their limitations on highly educated +and meditative thinkers, than the uneducated and yet more +numerous crowd have to impose their still narrower limitations +on the half-educated. The coal-heaver will not read any books +whatever; the mass of men will not read an intellectual poem: +it can hardly ever be otherwise. But timid thinkers must not +dread to have a secret and rare faith. But little deep poetry is +very popular, and no severe art. Such poetry as Mr. Clough’s, +especially, can never be so; its subjects would forbid it, even if +its treatment were perfect: but it may have a better fate; it +may have a tenacious hold on the solitary, the meditative, and +the calm. It is this which Mr. Clough would have wished; he +did not desire to be liked by ‘inferior people’—at least he +would have distrusted any poem of his own which they did +like.</p> + +<p>The artistic skill of these poems, especially of the poem +from which we have extracted so much, and of a long vacation +pastoral published in the Highlands, is often excellent, and +occasionally fails when you least expect it. There was an odd +peculiarity in Mr. Clough’s mind; you never could tell whether +it was that he would not show himself to the best advantage, or +whether he <i>could</i> not; it is certain that he very often did not, +whether in life or in books. His intellect moved with a great +difficulty, and it had a larger inertia than any other which we +have ever known. Probably there was an awkwardness born +with him, and his shyness and pride prevented him from curing +that awkwardness as most men would have done. He felt he +might fail, and he knew that he hated to fail. He neglected, +therefore, many of the thousand petty trials which fashion and +form the accomplished man of the world. Accordingly, when +at last he wanted to do something, or was obliged to attempt +something, he had occasionally a singular difficulty. He could +not get his matter out of him.</p> + +<p><span class="pagenum" id="Page_319">[319]</span></p> + +<p>In poetry he had a further difficulty, arising from perhaps +an over-cultivated taste. He was so good a disciple of Wordsworth, +he hated so thoroughly the common sing-song metres of +Moore and Byron, that he was apt to try to write what will +seem to many persons to have scarcely a metre at all. It is +quite true that the metre of intellectual poetry should not be +so pretty as that of songs, or so plain and impressive as that of +vigorous passion. The rhythm should pervade it and animate +it, but should not protrude itself upon the surface, or intrude +itself upon the attention. It should be a latent charm, though +a real one. Yet, though this doctrine is true, it is nevertheless +a dangerous doctrine. Most writers need the strict fetters of +familiar metre; as soon as they are emancipated from this, they +fancy that <i>any</i> words of theirs are metrical. If a man will +read any expressive and favourite words of his own often enough, +he will come to believe that they are rhythmical; probably they +have a rhythm as he reads them; but no notation of pauses +and accents could tell the reader how to read them in that +manner; and when read in any other mode they may be prose +itself. Some of Mr. Clough’s early poems, which are placed at +the beginning of this volume, are perhaps examples, more or +less, of this natural self-delusion. Their writer could read them +as verse, but that was scarcely his business; and the common +reader fails.</p> + +<p>Of one metre, however, the hexameter, we believe the most +accomplished judges, and also common readers, agree that Mr. +Clough possessed a very peculiar mastery. Perhaps he first +showed in English its <i>flexibility</i>. Whether any consummate +poem of great length and sustained dignity can be written in +this metre, and in our language, we do not know. Until a +great poet has written his poem, there are commonly no lack of +plausible arguments that seem to prove he cannot write it; but +Mr. Clough has certainly shown that, in the hands of a skilful +and animated artist, it is capable of adapting itself to varied +descriptions of life and manners, to noble sentiments, and to +<span class="pagenum" id="Page_320">[320]</span>changing thoughts. It is perhaps the most flexible of English +metres. Better than any others, it changes from grave to gay +without desecrating what should be solemn, or disenchanting +that which should be graceful. And Mr. Clough was the first +to prove this, by writing a noble poem, in which it was +done.</p> + +<p>In one principal respect Mr. Clough’s two poems in hexameters, +and especially the Roman one, from which we made so +many extracts, are very excellent. Somehow or other he +makes you understand what the people of whom he is writing +precisely were. You may object to the means, but you cannot +deny the result. By fate he was thrown into a vortex of +theological and metaphysical speculation, but his genius was +better suited to be the spectator of a more active and moving +scene. The play of mind upon mind; the contrasted view +which contrasted minds take of great subjects; the odd irony +of life which so often thrusts into conspicuous places exactly +what no one would expect to find in those places,—these were +his subjects. Under happy circumstances, he might have produced +on such themes something which the mass of readers +would have greatly liked; as it is, he has produced a little +which meditative readers will much value, and which they will +long remember.</p> + +<p>Of Mr. Clough’s character it would be out of place to say +anything, except in so far as it elucidates his poems. The sort +of conversation for which he was most remarkable rises again in +the <i>Amours de Voyage</i>, and gives them to those who knew him +in life a very peculiar charm. It would not be exact to call the +best lines a pleasant cynicism; for cynicism has a bad name, and +the ill-nature and other offensive qualities which have given it +that name were utterly out of Mr. Clough’s way. Though without +much fame, he had no envy. But he had a strong realism. +He saw what it is considered cynical to see—the absurdities of +many persons, the pomposities of many creeds, the splendid zeal +with which missionaries rush on to teach what they do not +<span class="pagenum" id="Page_321">[321]</span>know, the wonderful earnestness with which most incomplete +solutions of the universe are thrust upon us as complete and +satisfying. ‘<i>Le fond de la Providence</i>,’ says the French novelist, +‘<i>c’est l’ironie</i>.’ Mr. Clough would not have said that; but he +knew what it meant, and what was the portion of truth contained +in it. Undeniably this <i>is</i> an <i>odd</i> world, whether it +should have been so or no; and all our speculations upon it +should begin with some admission of its strangeness and singularity. +The habit of dwelling on such thoughts as these will +not of itself make a man happy, and may make unhappy one +who is inclined to be so. Mr. Clough in his time felt more than +most men the weight of the unintelligible world; but such +thoughts make an instructive man. Several survivors may think +they owe much to Mr. Clough’s quiet question, ‘Ah, then, you +think—?’ Many pretending creeds, and many wonderful demonstrations, +passed away before that calm inquiry. He had a +habit of putting your own doctrine concisely before you, so that +you might see what it came to, and that you did not like it. +Even now that he is gone, some may feel the recollection of his +society a check on unreal theories and half-mastered thoughts. +Let us part from him in his own words:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Some future day, when what is now is not,</div> + <div class="verse indent0">When all old faults and follies are forgot,</div> + <div class="verse indent0">And thoughts of difference passed like dreams away,</div> + <div class="verse indent0">We’ll meet again, upon some future day.</div> + </div> + <div class="stanza"> + <div class="verse indent0">When all that hindered, all that vexed our love,</div> + <div class="verse indent0">As tall rank weeds will climb the blade above,</div> + <div class="verse indent0">When all but it has yielded to decay,</div> + <div class="verse indent0">We’ll meet again, upon some future day.</div> + </div> + <div class="stanza"> + <div class="verse indent0">When we have proved, each on his course alone,</div> + <div class="verse indent0">The wider world, and learnt what’s now unknown,</div> + <div class="verse indent0">Have made life clear, and worked out each a way,</div> + <div class="verse indent0">We’ll meet again,—we shall have much to say.</div> +<span class="pagenum" id="Page_322">[322]</span> </div> + <div class="stanza"> + <div class="verse indent0">With happier mood, and feelings born anew,</div> + <div class="verse indent0">Our boyhood’s bygone fancies we’ll review,</div> + <div class="verse indent0">Talk o’er old talks, play as we used to play,</div> + <div class="verse indent0">And meet again, on many a future day.</div> + </div> + <div class="stanza"> + <div class="verse indent0">Some day, which oft our hearts shall yearn to see,</div> + <div class="verse indent0">In some far year, though distant yet to be,</div> + <div class="verse indent0">Shall we indeed,—ye winds and waters, say!—</div> + <div class="verse indent0">Meet yet again, upon some future day?’</div> + </div> + </div> +</div> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_323">[323]</span></p> + +<h2 class="nobreak" id="HENRY_CRABB_ROBINSON"><i>HENRY CRABB +ROBINSON.</i>⁠<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a><br> +<span class="smaller">(1869.)</span></h2> + +</div> + +<p>Perhaps I should be ashamed to confess it, but I own I opened +the three large volumes of Mr. Robinson’s memoirs with much +anxiety. Their bulk, in the first place, appalled me; but that +was by no means my greatest apprehension. I knew I had a +hundred times heard Mr. Robinson say, that he hoped something +he would leave behind would ‘be published and be worth publishing.’ +I was aware too—for it was no deep secret—that for +half a century or more he had kept a diary, and that he had +been preserving correspondence besides; and I was dubious +what sort of things these would be, and what—to use Carlyle’s +words—any human editor could make of them. Even when +Mr. Robinson used to talk so, I used to shudder; for the men +who have tried to be memoir-writers and failed, are as numerous, +or nearly so, as those who have tried to be poets and failed. +A specific talent is as necessary for the one as for the other. +But as soon as I had read a little of the volumes, all these +doubts passed away. I saw at once that Mr. Robinson had +an excellent power of narrative-writing, and that the editor +of his remains had made a most judicious use of excellent +materials.</p> + +<p>Perhaps more than anything it was the modesty of my old +friend (I think I may call Mr. Robinson my old friend, for +though he <i>thought</i> me a modern youth, I <i>did</i> know him twenty +years)—perhaps, I say, it was his modesty which made me nervous +about his memoirs more than anything else. I have so +often heard him say (and say it with a vigour of emphasis which +<span class="pagenum" id="Page_324">[324]</span>is rarer in our generation even than in his),—‘Sir, I have no +literary talent. I cannot write. I never <i>could</i> write anything, +and I never <i>would</i> write anything,’—that being so taught, and +so vehemently, I came to believe. And there was this to justify +my creed. The notes Mr. Robinson used to scatter about him—and +he was fond of writing rather elaborate ones—were not +always very good. At least they were too long for the busy race +of the present generation, and introduced Schiller and Goethe +where they need not have appeared. But in these memoirs +(especially in the Reminiscences and the Diary; for the moment +he gets to a letter the style is worse) the words flow with +such an effectual simplicity, that even Southey, the great +master of such prose, could hardly have written better. Possibly +it was his real interest in his old stories which preserved +Mr. Robinson; in his letters he was not so interested and he +fell into words and amplifications; but in those ancient anecdotes, +which for years were his life and being, the style, as it +seems to me, could scarcely be mended even in a word. And +though, undoubtedly, the book is much too long in the latter +half, I do not blame Dr. Sadler, the editor and biographer, for +it, or indeed blame anyone. Mr. Robinson had led a very long +and very varied life, and some of his old friends had an interest +in one part of his reminiscences and some in another. An unhappy +editor entrusted with ‘a deceased’s papers,’ cannot really +and in practice omit much that any surviving friends much +want to have put in. One man calls with a letter ‘in which my +dear and honoured friend gave me advice that was of such inestimable +value, I hope, I cannot but think you will find room +for it.’ And another calls with memoranda of a dinner—a +most ‘superior occasion,’ as they say in the North—at which, he +reports, ‘there was conversation to which I never, or scarcely +ever, heard anything equal. There were A. B. and C. D. and +E. F., all masters, as you remember, of the purest conversational +eloquence; surely I need not hesitate to believe that you +will say something of that dinner.’ And so an oppressed biographer +<span class="pagenum" id="Page_325">[325]</span>has to serve up the crumbs of ancient feasts, though +well knowing in his heart that they are crumbs, and though he +feels, too, that the critics will attack him, and cruelly say it is +his fault. But remembering this, and considering that Mr. +Robinson wrote a diary beginning in 1811, going down to 1867, +and occupying thirty-five closely written volumes, and that +there were ‘Reminiscences’ and vast unsorted papers, I think +Dr. Sadler has managed admirably well. His book is brief +to what it might have been, and all his own part is written +with delicacy, feeling, and knowledge. He quotes, too, from +Wordsworth by way of motto—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘A man he seems of cheerful yesterdays</div> + <div class="verse indent0">And confident to-morrows; with a face</div> + <div class="verse indent0">Not worldly minded, for it bears too much</div> + <div class="verse indent0">A nation’s impress,—gaiety and health,</div> + <div class="verse indent0">Freedom and hope;—but keen withal and shrewd:</div> + <div class="verse indent0">His gestures note,—and, hark, his tones of voice</div> + <div class="verse indent0">Are all vivacious as his mien and looks.’</div> + </div> + </div> +</div> + +<p class="noindent">It was a happy feeling for Mr. Robinson’s character that selected +these lines to stand at the beginning of his memoirs.</p> + +<p>And yet in one material respect—in this case perhaps the +most material respect—Dr. Sadler has failed, and not in the +least from any fault of his. Sydney Smith used to complain +that ‘no one had ever made him his trustee or executor;’ being +really a very sound and sensible man of business, he felt that it +was a kind of imputation on him, and that he was not appreciated. +But some one more justly replied, ‘But how could <i>you</i>, +Sydney Smith, expect to be made an executor? Is there any +one who wants their “remains” to be made fun of?’ Now every +trustee of biographical papers is exactly in this difficulty, that +he cannot make fun. The melancholy friends who left the +papers would not at all like it. And, besides, there grows upon +every such biographer an ‘official’ feeling—a confused sense of +vague responsibilities—a wish not to impair the gravity of the +occasion or to offend anyone by levity. But there are some +<span class="pagenum" id="Page_326">[326]</span>men who cannot be justly described quite gravely; and Crabb +Robinson is one of them. A certain grotesqueness was a part +of him, and, unless you liked it, you lost the very best of him. +He is called, and properly called, in these memoirs Mr. Robinson; +but no well-judging person ever called him so in life. He +was always called ‘old Crabb,’ and that is the only name which +will ever bring up his curious image to me. He was, in the +true old English sense of the word, a ‘character;’ one whom +a very peculiar life, certainly, and perhaps also a rather peculiar +nature to begin with, had formed and moulded into something +so exceptional and singular that it did not seem to belong to +ordinary life, and almost caused a smile when you saw it moving +there. ‘An aberrant form,’ I believe, the naturalists call the seal +and such things in natural history; odd shapes that can only be +explained by a long past, and which swim with a certain incongruity +in their present <i>milieu</i>. Now ‘old Crabb’ was (to me +at least) just like that. You watched with interest and pleasure +his singular gestures, and his odd way of saying things, +and muttered, as if to keep up the recollection, ‘And <i>this</i> is +the man who was the friend of Goethe, and is the friend of +Wordsworth!’ There was a certain animal oddity about ‘old +Crabb,’ which made it a kind of mental joke to couple him with +such great names, and yet he was to his heart’s core thoroughly +coupled with them. If you leave out all his strange ways (I +do not say Dr. Sadler has quite left them out, but to some extent +he has been obliged, by place and decorum, to omit them), +you lose the life of the man. You cut from the Ethiopian his +skin, and from the leopard his spots. I well remember poor +Clough, who was then fresh from Oxford, and was much puzzled +by the corner of London to which he had drifted, looking at +‘old Crabb’ in a kind of terror for a whole breakfast time, and +muttering in mute wonder, almost to himself, as he came +away, ‘Not at all the regular patriarch.’ And certainly no one +could accuse Mr. Robinson of an insipid regularity either in +face or nature.</p> + +<p><span class="pagenum" id="Page_327">[327]</span></p> + +<p>Mr. Robinson was one of the original founders of University +College, and was for many years both on its senate and council; +and as he lived near the college he was fond of collecting at +breakfast all the elder students—especially those who had any +sort of interest in literature. Probably he never appeared to so +much advantage, or showed all the best of his nature, so well as +in those parties. Like most very cheerful old people, he at +heart preferred the company of the very young; and a set of +young students, even after he was seventy, suited him better as +society than a set of grave old men. Sometimes, indeed, he +would invite—I do not say some of his contemporaries, few of +them even in 1847 were up to breakfast parties, but persons of +fifty and sixty—those whom young students call old gentlemen. +And it was amusing to watch the consternation of some of them +at the surprising youth and levity of their host. They shuddered +at the freedom with which we treated him. Middle-aged men, +of feeble heads and half-made reputations, have a nice dislike +to the sharp arguments and the unsparing jests of ‘boys at +college;’ they cannot bear the rough society of those who, never +having tried their own strength, have not yet acquired a fellow-feeling +for weakness. Many such persons, I am sure, were half +hurt with Mr. Robinson for not keeping those ‘impertinent +boys’ more at a just distance; but Mr. Robinson liked fun and +movement, and disliked the sort of dignity which shelters +stupidity. There was little to gratify the unintellectual part of +man at these breakfasts, and what there was was not easy to be +got at. Your host, just as you were sitting down to breakfast, +found he had forgotten to make the tea, then he could not find +his keys, then he rang the bell to have them searched for; but +long before the servant came he had gone off into ‘Schiller-Goethe,’ +and could not the least remember what he had wanted. +The more astute of his guests used to breakfast before they +came, and then there was much interest in seeing a steady +literary man, who did not understand the region, in agonies at +having to hear three stories before he got his tea, one again +<span class="pagenum" id="Page_328">[328]</span>between his milk and his sugar, another between his butter and +his toast, and additional zest in making a stealthy inquiry that +was sure to intercept the coming delicacies by bringing on +Schiller and Goethe.</p> + +<p>It is said in these memoirs that Mr. Robinson’s parents were +very good-looking, and that when married they were called the +handsome couple. But in his old age very little regular beauty +adhered to him, if he ever had any. His face was pleasing from +its animation, its kindness, and its shrewdness, but the nose was +one of the most slovenly which nature had ever turned out, and +the chin of excessive length, with portentous power of extension. +But, perhaps, for the purpose of a social narrator (and in later +years this was Mr. Robinson’s position), this oddity of feature +was a gift. It was said, and justly said, that Lord Brougham +used to punctuate his sentences with his nose; just at the end of +a long parenthesis he <i>could</i>, and did, turn up his nose, which +served to note the change of subject as well, or better, than a +printed mark. Mr. Robinson was not so skilful as this, but he +made a very able use of the chin at a conversational crisis, and +just at the point of a story pushed it out, and then very slowly +drew it in again, so that you always knew when to laugh, and +the oddity of the gesture helped you in laughing.</p> + +<p>Mr. Robinson had known nearly every literary man worth +knowing in England and Germany for fifty years and more. He +had studied at Jena in the ‘great time,’ when Goethe, and +Schiller, and Wieland were all at their zenith; he had lived with +Charles Lamb and his set, and Rogers and his set, besides an +infinite lot of little London people; he had taught Madame de +Staël German philosophy in Germany, and helped her in business +afterwards in England; he was the real friend of Wordsworth, +and had known Coleridge and Southey almost from their +‘coming out’ to their death. And he was not a mere literary +man. He had been a <i>Times</i> correspondent in the days of +Napoleon’s early German battles, now more than ‘seventy years +since;’ he had been off Corunna in Sir John Moore’s time; and +<span class="pagenum" id="Page_329">[329]</span>last, but almost first it should have been, he was an English +barrister, who had for years a considerable business, and who +was full of picturesque stories about old judges. Such a varied +life and experience belong to very few men, and his social nature—at +once accessible and assailant—was just the one to take +advantage of it. He seemed to be lucky all through: in +childhood he remembered when John Gilpin came out; then +he had seen—he could not hear—John Wesley preach; then +he had heard Erskine, and criticised him intelligently, in some +of the finest of the well-known ‘State trials;’ and so on during +all his vigorous period.</p> + +<p>I do not know that it would be possible to give a better +idea of Mr. Robinson’s best conversations than by quoting +almost at random from the earlier part of these memoirs:—</p> + +<blockquote> + +<p>‘At the Spring assizes of 1791, when I had nearly attained my +sixteenth year, I had the delight of hearing Erskine. It was a high +enjoyment, and I was able to profit by it. The subject of the trial +was the validity of a will—Braham <i>v.</i> Rivett. Erskine came down +specially retained for the plaintiff, and Mingay for the defendant. +The trial lasted two days. The title of the heir being admitted, the +proof of the will was gone into at once. I have a recollection of many +of the circumstances after more than fifty-four years; but of nothing +do I retain so perfect a recollection as of the figure and voice of +Erskine. There was a charm in his voice, a fascination in his eye; +and so completely had he won my affection, that I am sure had the +verdict been given against him I should have burst out crying. Of the +facts and of the evidence, I do not pretend to recollect anything +beyond my impressions and sensations. My pocket-book records that +Erskine was engaged two and a half hours in opening the case, and +Mingay two hours and twenty minutes in his speech in defence. E.’s +reply occupied three hours. The testatrix was an old lady in a state +of imbecility. The evil spirit of the case was an attorney. Mingay +was loud and violent, and gave Erskine an opportunity of turning +into ridicule his imagery and illustrations. For instance, M. having +compared R. to the Devil going into the Garden of Eden, E. drew a +closer parallel than M. intended. Satan’s first sight of Eve was related +in Milton’s words—</p> + +<p><span class="pagenum" id="Page_330">[330]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘“Grace was in all her steps, heaven in her eye,</div> + <div class="verse indent0">In every gesture dignity and love;”</div> + </div> + </div> +</div> + +<p class="noindent">and then a picture of idiotcy from Swift was contrasted. But the +sentence that weighed on my spirits was a pathetic exclamation—“If, +gentlemen, you should by your verdict annihilate an instrument so +solemnly framed, <i>I should retire a troubled man from this court</i>.” +And as he uttered the word <i>court</i>, he beat his breast and I had a +difficulty in not crying out. When in bed the following night I +awoke several times in a state of excitement approaching fever—the +words “<i>troubled man from this court</i>” rang in my ears.</p> + +<p>‘A new trial was granted, and ultimately the will was set aside. +I have said I profited by Erskine. I remarked his great artifice, if I +may call it so; and in a small way I afterwards practised it. It lay +in his frequent repetitions. He had one or two leading arguments +and main facts on which he was constantly dwelling. But then he +had marvellous skill in varying his phraseology, so that no one was +sensible of tautology in the expressions. Like the doubling of a hare, +he was perpetually coming to his old place. Other great advocates I +have remarked were ambitious of a great variety of arguments.</p> + +<p>‘About the same time that I thus first heard the most perfect +of forensic orators, I was also present at an exhibition equally admirable, +and which had a powerful effect upon my mind. It was, I believe, +in October 1790, and not long before his death, that I heard John +Wesley in the great round meeting-house at Colchester. He stood in +a wide pulpit, and on each side of him stood a minister, and the two +held him up, having their hands under his armpits. His feeble voice +was barely audible. But his reverend countenance, especially his long +white locks, formed a picture never to be forgotten. There was a +vast crowd of lovers and admirers. It was for the most part pantomime, +but the pantomime went to the heart. Of the kind I never +saw anything comparable to it in after life.’</p> + +</blockquote> + +<p class="noindent">And again:—</p> + +<blockquote> + +<p>‘It was at the Summer Circuit that Rolfe made his first appearance. +He had been at the preceding Sessions. I have a pleasure in +recollecting that I at once foresaw that he would become a distinguished +man. In my Diary I wrote, “Our new junior, Mr. Rolfe, +made his appearance. His manners are genteel; his conversation easy +and sensible. He is a very acceptable companion, but I fear a dangerous +rival.” And my brother asking me who the new man was, I said, +<span class="pagenum" id="Page_331">[331]</span>“I will venture to predict that you will live to see that young man +attain a higher rank than any one you ever saw upon the circuit.” +It is true he is not higher than Leblanc, who was also a puisne judge, +but Leblanc was never Solicitor-General; nor, probably, is Rolfe yet +at the end of his career. One day, when some one remarked, “Christianity +is part and parcel of the law of the land,” Rolfe said to me, +“Were you ever employed to draw an indictment against a man for +not loving his neighbour as himself?”</p> + +<p>‘Rolfe is, by universal repute, if not the very best, at least one of +the best judges on the Bench. He is one of the few with whom I +have kept up an acquaintance.’⁠<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a>⁠</p> + +</blockquote> + +<p>Of course, these stories came over and over again. It is +the excellence of a reminiscent to have a few good stories, and +his misfortune that people will remember what he says. In +Mr. Robinson’s case an unskilled person could often see the +anecdote somewhere impending, and there was often much +interest in trying whether you could ward it off or not. There +was one great misfortune which had happened to his guests, +though he used to tell it as one of the best things that had +ever happened to himself. He had picked up a certain bust of +Wieland by Schadow, which it appears had been lost, and in +the finding of which Goethe, even Goethe, rejoiced. After a +very long interval I still shudder to think how often I have +heard that story; it was one which no skill or care could long +avert, for the thing stood opposite our host’s chair, and the +sight of it was sure to recall him. Among the ungrateful +students to whom he was so kind, the first question always +asked of anyone who had breakfasted at his house was, ‘Did +you undergo the <i>bust</i>?’</p> + +<p>A reader of these memoirs would naturally and justly think +<span class="pagenum" id="Page_332">[332]</span>that the great interest of Mr. Robinson’s conversation was the +strength of the past memory; but quite as amusing or more so +was the present weakness. He never could remember names, +and was very ingenious in his devices to elude the defect. There +is a story in these Memoirs:—</p> + +<blockquote> + +<p>‘I was engaged to dine with Mr. Wansey at Walthamstow. When +I arrived there I was in the greatest distress, through having forgotten +his name. And it was not till after half an hour’s worry that +I recollected he was a Unitarian, which would answer as well; for I +instantly proceeded to Mr. Cogan’s. Having been shown into a room, +young Mr. Cogan came—“Your commands, sir?”—“Mr. Cogan, I +have taken the liberty to call on you in order to know where I am +to dine to-day.” He smiled. I went on: “The truth is, I have accepted +an invitation to dine with a gentleman, a recent acquaintance, +whose name I have forgotten; but I am sure you can tell me, for +he is a Unitarian, and the Unitarians are very few here.”’</p> + +</blockquote> + +<p class="noindent">And at his breakfasts it was always the same; he was always in +difficulty as to some person’s name or other, and he had regular +descriptions which recurred, like Homeric epithets, and which +he expected you to apply to the individual. Thus poor Clough +always appeared—‘That admirable and accomplished man. +You know whom I mean. The one who never says anything.’ +And of another living poet he used to say: ‘Probably the most +able, and certainly the most consequential, of all the young +persons I know. You know which it is. The one with whom +I could never <i>presume</i> to be intimate. The one whose father +I knew so many years.’ And another particular friend of my +own always occurred as—‘That great friend of yours that has +been in Germany—that most accomplished and interesting person—that +most able and excellent young man. Sometimes I +like him, and sometimes I <i>hate</i> him. You,’ turning to me, +‘know whom I mean, you villain!’ And certainly I did know; +for I had heard the same adjectives, and been referred to in the +same manner very many times.</p> + +<p>Of course, a main part of Mr. Robinson’s conversation was +<span class="pagenum" id="Page_333">[333]</span>on literary subjects; but of this, except when it related to persons +whom he had known, or sonnets to ‘the conception of +which he was privy,’ I do not think it would be just to speak +very highly. He spoke sensibly and clearly—he could not on +any subject speak otherwise; but the critical faculty is as special +and as peculiar almost as the poetical; and Mr. Robinson +in serious moments was quite aware of it, and he used to deny +that he had the former faculty more than the latter. He used +to read much of Wordsworth to me; but I doubt—though +many of his friends will think I am a great heretic—I doubt +if he read the best poems; and even those he did read (and he +read very well) rather suffered from coming in the middle of +a meal, and at a time when you wanted to laugh, and not to +meditate. Wordsworth was a solitary man, and it is only in +solitude that his best poems, or indeed any of his characteristic +poems, can be truly felt or really apprehended. There are +some at which I never look, even now, without thinking of the +wonderful and dreary faces which Clough used to make while +Mr. Robinson was reading them. To Clough certain of Wordsworth’s +poems were part of his inner being, and he suffered at +hearing them obtruded at meal times, just as a High Churchman +would suffer at hearing the collects of the Church. Indeed, +these poems were among the collects of Clough’s Church.</p> + +<p>Still less do I believe that there is any special value in the +expositions of German philosophy in these volumes, or that there +was any in those which Mr. Robinson used to give on such matters +in conversation. They are clear, no doubt, and accurate; +but they are not the expositions of a born metaphysician. He +speaks in these Memoirs of his having a difficulty in concentrating +his ‘attention on works of speculation.’ And such books as +Kant can only be really mastered, can perhaps only be usefully +studied, by those who have an unusual facility in concentrating +their mind on impalpable abstractions, and an uncommon inclination +to do so. Mr. Robinson had neither; and I think the +critical philosophy had really very little effect on him, and had, +<span class="pagenum" id="Page_334">[334]</span>during the busy years which had elapsed since he studied it, +very nearly run off him. There was something very curious in +the sudden way that anything mystical would stop in him. At +the end of a Sunday breakfast, after inflicting on you much +which was transcendental in Wordsworth or Goethe, he would +say, as we left him, with an air of relish, ‘Now I am going to +run down to Essex Street to hear Madge. I shall not be in +time for the prayers; but I do not so much care about that; +what I do like is the sermon; it is so clear.’ Mr. Madge was a +Unitarian of the old school, with as little mystical and transcendental +in his nature as any one who ever lived. There was +a living piquancy in the friend of Goethe—the man who <i>would</i> +explain to you his writings—being also the admirer of ‘Madge;’ +it was like a proser, lengthily eulogising Kant to you, and then +saying, ‘Ah! but I do love Condillac; he is so clear.’</p> + +<p>But, on the other hand, I used to hold—I was reading law +at the time, and so had some interest in the matter—that Mr. +Robinson much underrated his legal knowledge, and his practical +power as a lawyer. What he used to say was, ‘I never knew +any law, sir, but I knew the practice.... I left the bar +because I feared my incompetence might be discovered. I was +a tolerable junior; but I was rising to be a leader, which I was +unfit to be; and so I retired, not to disgrace myself by some +fearful mistake.’ In these Memoirs he says that he retired +when he had made the sum of money which he thought enough +for a bachelor with few wants and not a single expensive taste. +The simplicity of his tastes is certain; very few Englishmen +indeed could live with so little show or pretence. But the idea +of his gross incompetence is absurd. No one who was incompetent +ever said so. There are, I am sure, plenty of substantial +and well-satisfied men at the English bar who do not know +nearly as much law as Mr. Robinson knew, and who have not +a tithe of his sagacity, but who believe in themselves and in +whom their clients believe. On the other hand, Mr. Robinson +had many great qualifications for success at the bar. He was a +<span class="pagenum" id="Page_335">[335]</span>really good speaker: when over seventy I have heard him make +a speech that good speakers in their full vigour would be glad +to make. He had a good deal of the actor in his nature, which +is thought, and I fancy justly thought, to be necessary to the +success of all great advocates, and perhaps of all great orators. +He was well acquainted with the petty technicalities which intellectual +men in middle life in general cannot learn, for he had +passed some years in an attorney’s office. Above all, he was a +very thinking man, and had an ‘idea of business’—that inscrutable +something which at once and altogether distinguishes +the man who is safe in the affairs of life from those who are +unsafe. I do not suppose he knew much black-letter law; but +there are plenty of judges on the bench who, unless they are +much belied, also know very little—perhaps none. And a +man who can intelligently read Kant, like Mr. Robinson, need +not fear the book-work of English law. A very little serious +study would have taught him law enough to lead the Norfolk +circuit. He really had a sound, moderate, money-making business, +and only a little pains was wanted to give him more.</p> + +<p>The real reason why he did not take the trouble, I fancy, was +that, being a bachelor, he was a kind of amateur in life, and +did not really care. He could not spend what he had on himself, +and used to give away largely, though in private. And +even more, as with most men who have not thoroughly worked +when young, daily, regular industry was exceedingly trying to +him. No man could be less idle; far from it, he was always doing +something; but then he was doing what he chose. Sir Walter +Scott, one of the best workers of his time, used always to say +that ‘he had no temptation to be idle, but the greatest temptation, +when one thing was wanted of him, to go and do something +else.’ Perhaps the only persons who, not being forced by +mere necessity, really conquer this temptation, are those who +were early broken to the yoke, and are fixed to the furrow by +habit. Mr. Robinson loitered in Germany, so he was not one +of these.</p> + +<p><span class="pagenum" id="Page_336">[336]</span></p> + +<p>I am not regretting this. It would be a base idolatry of +practical life, to require every man to succeed in it as far as he +could, and to devote to it all his mind. The world certainly does +not need it; it pays well, and it will never lack good servants. +There will always be enough of sound, strong men to be working +barristers and judges, let who will object to become so. But I +own I think a man ought to be able to be a ‘Philistine’ if +he chooses; there is a sickly incompleteness about people too +fine for the world, and too nice to work their way in it. And +when a man like Mr. Robinson had a real sagacity for affairs, +it is for those who respect his memory to see that his reputation +does not suffer from his modesty, and that his habitual +self-depreciations—which, indeed, extended to his powers of +writing as well as to those of acting—are not taken to be +exactly true.</p> + +<p>In fact, Mr. Robinson was usefully occupied in University +College business and University Hall business, and other such +things. But there is no special need to write on them in connection +with his name; and it would need a good deal of writing +to make them intelligible to those who do not know them now. +And the greater part of his life was spent in society where his +influence was always manly and vigorous. I do not mean that +he was universally popular; it would be defacing his likeness to +say so. ‘I am a man,’ he once told me, ‘to whom a great +number of persons entertain the very strongest objection.’ Indeed +he had some subjects on which he could hardly bear opposition. +Twice he nearly quarrelled with me: once for writing +in favour of Louis Napoleon, which, as he had caught in Germany +a thorough antipathy to the first Napoleon, seemed to +him quite wicked; and next for my urging that Hazlitt was a +much greater writer than Charles Lamb—a harmless opinion +which I still hold, but which Mr. Robinson met with this outburst: +‘You, sir, you prefer the works of that scoundrel, that +odious, that malignant writer, to the exquisite essays of that +angelic creature!’ I protested that there was no evidence that +<span class="pagenum" id="Page_337">[337]</span>angels could write particularly well; but it was in vain, and it +was some time before he forgave me. Some persons who casually +encountered peculiarities like these, did not always understand +them. In his last years, too, augmenting infirmities almost +disqualified Mr. Robinson for general society, and quite disabled +him from showing his old abilities in it. Indeed, I think +that these Memoirs will give almost a new idea of his power to +many young men who had only seen him casually, and at times +of feebleness. After ninety it is not easy to make new friends. +And, in any case, this book will always have a great charm for +those who knew Mr. Robinson well when they were themselves +young, because it will keep alive for them the image of his +buoyant sagacity, and his wise and careless kindness.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_338">[338]</span></p> + +<h2 class="nobreak" id="WORDSWORTH_TENNYSON_AND_BROWNING"><i>WORDSWORTH, +TENNYSON, AND BROWNING; OR, PURE, ORNATE, AND GROTESQUE ART IN +ENGLISH POETRY.⁠<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a>⁠</i><br> +<span class="smaller">(1864.)</span></h2> + +</div> + +<p>We couple these two books together, not because of their likeness, +for they are as dissimilar as books can be; nor on account +of the eminence of their authors, for in general two great +authors are too much for one essay; but because they are the +best possible illustration of something we have to say upon +poetical art—because they may give to it life and freshness. +The accident of contemporaneous publication has here brought +together two books very characteristic of modern art, and we +want to show how they are characteristic.</p> + +<p>Neither English poetry nor English criticism have ever +recovered the <i>eruption</i> which they both made at the beginning +of this century into the fashionable world. The poems of Lord +Byron were received with an avidity that resembles our present +avidity for sensation novels, and were read by a class which at +present reads little but such novels. Old men who remember +those days may be heard to say, ‘We hear nothing of poetry +now-a-days; it seems quite down.’ And ‘down’ it certainly +is, if for poetry it be a descent to be no longer the favourite +excitement of the more frivolous part of the ‘upper’ world. +That stimulating poetry is now little read. A stray schoolboy +may still be detected in a wild admiration for the <i>Giaour</i> or +<span class="pagenum" id="Page_339">[339]</span>the <i>Corsair</i> (and it is suitable to his age, and he should not be +reproached for it), but the <i>real</i> posterity—the quiet students +of a past literature—never read them or think of them. A line +or two linger on the memory; a few telling strokes of occasional +and felicitous energy are quoted, but this is all. As wholes, +these exaggerated stories were worthless; they taught nothing, +and therefore they are forgotten. If now-a-days a dismal poet +were, like Byron, to lament the fact of his birth, and to hint +that he was too good for the world, the <i>Saturday Reviewers</i> +would say that ‘they doubted if he <i>was</i> too good; that a sulky +poet was a questionable addition to a tolerable world; that +he need not have been born, as far as they were concerned.’ +Doubtless, there is much in Byron besides his dismal exaggeration, +but it was that exaggeration which made ‘the sensation’ +which gave him a wild moment of dangerous fame. As so often +happens, the cause of his momentary fashion is the cause also of +his lasting oblivion. Moore’s former reputation was less excessive, +yet it has not been more permanent. The prettiness of +a few songs preserves the memory of his name, but as a poet to +<i>read</i> he is forgotten. There is nothing to read in him; no +exquisite thought, no sublime feeling, no consummate description +of true character. Almost the sole result of the poetry +of that time is the harm which it has done. It degraded for +a time the whole character of the art. It said by practice, +by a most efficient and successful practice, that it was the aim, +the <i>duty</i> of poets, to catch the attention of the passing, the +fashionable, the busy world. If a poem ‘fell dead,’ it was +nothing; it was composed to please the ‘London’ of the year, +and if that London did not like it, why, it had failed. It fixed +upon the minds of a whole generation, it engraved in popular +memory and tradition, a vague conviction that poetry is but +one of the many <i>amusements</i> for the enjoying classes, for the +lighter hours of all classes. The mere notion, the bare idea, +that poetry is a deep thing, a teaching thing, the most surely +<span class="pagenum" id="Page_340">[340]</span>and wisely elevating of human things, is even now to the coarse +public mind nearly unknown.</p> + +<p>As was the fate of poetry, so inevitably was that of criticism. +The science that expounds which poetry is good and which is +bad, is dependent for its popular reputation on the popular +estimate of poetry itself. The critics of that day had <i>a</i> day, +which is more than can be said for some since; they professed +to tell the fashionable world in what books it would find new +pleasure, and therefore they were read by the fashionable world. +Byron counted the critic and poet equal. The <i>Edinburgh +Review</i> penetrated among the young, and into places of female +resort where it does not go now. As people ask, ‘Have you read +<i>Henry Dunbar</i>? and what do you think of it?’ so they then +asked, ‘Have you read the <i>Giaour</i>? and what do you think of +it?’ Lord Jeffrey, a shrewd judge of the world, employed +himself in telling it what to think; not so much what it ought +to think, as what at bottom it did think, and so by dexterous +sympathy with current society he gained contemporary fame +and power. Such fame no critic must hope for now. His +articles will not penetrate where the poems themselves do not +penetrate. When poetry was noisy, criticism was loud; now +poetry is a still small voice, and criticism must be smaller and +stiller. As the function of such criticism was limited, so was its +subject. For the great and (as time now proves) the <i>permanent</i> +part of the poetry of his time—for Shelley and for Wordsworth—Lord +Jeffrey had but one word. He said⁠<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a> ‘It won’t do.’ +And it will not do to amuse a drawing-room.</p> + +<p>The doctrine that poetry is a light amusement for idle +hours, a metrical species of sensational novel, did not indeed +become popular without gainsayers. Thirty years ago, Mr. +Carlyle most rudely contradicted it. But perhaps this is about +all that he has done. He has denied, but he has not disproved. +He has contradicted the floating paganism, but he has not +<span class="pagenum" id="Page_341">[341]</span>founded the deep religion. All about and around us a <i>faith</i> in +poetry struggles to be extricated, but it is not extricated. +Some day, at the touch of the true word, the whole confusion +will by magic cease; the broken and shapeless notions will +cohere and crystallize into a bright and true theory. But this +cannot be yet.</p> + +<p>But though no complete theory of the poetic art as yet be +possible for us, though perhaps only our children’s children will +be able to speak on this subject with the assured confidence +which belongs to accepted truth, yet something of some certainty +may be stated on the easier elements, and something +that will throw light on these two new books. But it will be +necessary to assign reasons, and the assigning of reasons is +a dry task. Years ago, when criticism only tried to show how +poetry could be made a good amusement, it was not impossible +that criticism itself should be amusing. But now it must at +least be serious, for we believe that poetry is a serious and a +deep thing.</p> + +<p>There should be a word in the language of literary art to +express what the word ‘picturesque’ expresses for the fine arts. +<i>Picturesque</i> means fit to be put into a picture; we want a +word <i>literatesque</i>, ‘fit to be put into a book.’ An artist goes +through a hundred different country scenes, rich with beauties, +charms and merits, but he does not paint any of them. He +leaves them alone; he idles on till he finds the hundred-and-first—a +scene which many observers would not think much of, +but which <i>he</i> knows by virtue of his art will look well on canvas, +and this he paints and preserves. Susceptible observers, +though not artists, feel this quality too; they say of a scene, +‘How picturesque!’ meaning by this a quality distinct from +that of beauty, or sublimity, or grandeur—meaning to speak +not only of the scene as it is in itself, but also of its fitness +for imitation by art; meaning not only that it is good, but +that its goodness is such as ought to be transferred to paper; +meaning not simply that it fascinates, but also that its fascination +<span class="pagenum" id="Page_342">[342]</span>is such as ought to be copied by man. A fine and insensible +instinct has put language to this subtle use; it expresses +an idea without which fine art criticism could not go on, +and it is very natural that the language of pictorial art should +be better supplied with words than that of literary criticism, +for the eye was used before the mind, and language embodies +primitive sensuous ideas, long ere it expresses, or need express, +abstract and literary ones.</p> + +<p>The reason why a landscape is ‘picturesque’ is often said to +be, that such landscape represents an ‘idea.’ But this explanation, +though, in the minds of some who use it, it is near +akin to the truth, fails to explain that truth to those who did +not know it before; the word ‘idea’ is so often used in these +subjects when people do not know anything else to say; it +represents so often a kind of intellectual insolvency, when +philosophers are at their wits’ end, that shrewd people will +never readily on any occasion give it credit for meaning anything. +A wise explainer must, therefore, look out for other +words to convey what he has to say. <i>Landscapes</i>, like everything +else in nature, divide themselves as we look at them into +a sort of rude classification. We go down a river, for example, +and we see a hundred landscapes on both sides of it, resembling +one another in much, yet differing in something; with +trees here, and a farmhouse there, and shadows on one side, +and a deep pool far on, a collection of circumstances most +familiar in themselves, but making a perpetual novelty by the +magic of their various combinations. We travel so for miles +and hours, and then we come to a scene which also has these +various circumstances and adjuncts, but which combines them +best, which makes the best whole of them, which shows them +in their best proportion at a single glance before the eye. Then +we say, ‘This is the place to paint the river; this is the picturesque +point!’ Or, if not artists or critics of art, we feel +without analysis or examination that somehow this bend or +sweep of the river shall in future be <i>the river to us</i>: that it is +<span class="pagenum" id="Page_343">[343]</span>the image of it which we will retain in our mind’s eye, by which +we will remember it, which we will call up when we want to +describe or think of it. Some fine countries, some beautiful +rivers, have not this picturesque quality: they give us elements +of beauty, but they do not combine them together; we go on +for a time delighted, but <i>after</i> a time somehow we get wearied; +we feel that we are taking in nothing and learning nothing; we +get no collected image before our mind; we see the accidents +and circumstances of that sort of scenery, but the summary +scene we do not see; we find <i>disjecta membra</i>, but no form; +various and many and faulty approximations are displayed +in succession; but the absolute perfection in that country’s +or river’s scenery—its <i>type</i>—is withheld. We go away from +such places in part delighted, but in part baffled; we have been +puzzled by pretty things; we have beheld a hundred different +inconsistent specimens of the same sort of beauty; but the +rememberable idea, the full development, the characteristic +individuality of it, we have not seen.</p> + +<p>We find the same sort of quality in all parts of painting. +We see a portrait of a person we know, and we say, ‘It is like—yes, +like, of course, but it is not <i>the man</i>;’ we feel it could +not be anyone else, but still, somehow it fails to bring home +to us the individual as we know him to be. <i>He</i> is not there. +An accumulation of features like his are painted, but his +essence is not painted; an approximation more or less excellent +is given, but the characteristic expression, the <i>typical</i> form, +of the man is withheld.</p> + +<p>Literature—the painting of words—has the same quality, +but wants the analogous word. The word ‘<i>literatesque</i>’ would +mean, if we possessed it, that perfect combination in the +<i>subject-matter</i> of literature, which suits the <i>art</i> of literature. +We often meet people, and say of them, sometimes meaning +well and sometimes ill, ‘How well so-and-so would do in a +book!’ Such people are by no means the best people; but they +are the most effective people—the most rememberable people. +<span class="pagenum" id="Page_344">[344]</span>Frequently, when we first know them, we like them because +they explain to us so much of our experience; we have known +many people ‘like that,’ in one way or another, but we did not +seem to understand them; they were nothing to us, for their +traits were indistinct; we forgot them, for they hitched on to +nothing, and we could not classify them. But when we see the +<i>type</i> of the genus, at once we seem to comprehend its character; +the inferior specimens are explained by the perfect embodiment; +the approximations are definable when we know the +ideal to which they draw near. There are an infinite number +of classes of human beings, but in each of these classes there +is a distinctive type which, if we could expand it in words, +would define the class. We cannot expand it in formal terms +any more than a landscape, or a species of landscape; but we +have an art, an art of words, which can draw it. Travellers +and others often bring home, in addition to their long journals—which, +though so living to them, are so dead, so inanimate, +so undescriptive to all else—a pen-and-ink sketch, rudely done +very likely, but which, perhaps, even the more for the blots and +strokes, gives a distinct notion, an emphatic image, to all who +see it. We say at once, <i>now</i> we know the sort of thing. The +sketch has <i>hit</i> the mind. True literature does the same. It +describes sorts, varieties, and permutations, by delineating the +type of each sort, the ideal of each variety, the central, the +marking trait of each permutation.</p> + +<p>On this account, the greatest artists of the world have ever +shown an enthusiasm for reality. To care for notions and +abstractions; to philosophise; to reason out conclusions; to +care for schemes of thought, are signs in the artistic mind of +secondary excellence. A Schiller, a Euripides, a Ben Jonson, +cares for <i>ideas</i>—for the parings of the intellect, and the distillation +of the mind; a Shakespeare, a Homer, a Goethe, finds +his mental occupation, the true home of his natural thoughts, +in the real world—‘which is the world of all of us’—where the +face of nature, the moving masses of men and women, are +<span class="pagenum" id="Page_345">[345]</span>ever changing, ever multiplying, ever mixing one with the +other. The reason is plain—the business of the poet, of the +artist, is with <i>types</i>; and those types are mirrored in reality. +As a painter must not only have a hand to execute, but an +eye to distinguish—as he must go here and there through the +real world to catch the picturesque man, the picturesque scene, +which is to live on his canvas—so the poet must find in that +reality, the <i>literatesque</i> man, the <i>literatesque</i> scene which +nature intends for him, and which will live in his page. Even +in reality he will not find this type complete, or the characteristics +perfect; but there he will find, at least, something, +some hint, some intimation, some suggestion; whereas, in +the stagnant home of his own thoughts he will find nothing +pure, nothing as it is, nothing which does not bear his own +mark, which is not somehow altered by a mixture with +himself.</p> + +<p>The first conversation of Goethe and Schiller illustrates this +conception of the poet’s art. Goethe was at that time prejudiced +against Schiller, we must remember, partly from what +he considered the outrages of the <i>Robbers</i>, partly because of +the philosophy of Kant. Schiller’s ‘Essay on <i>Grace and Dignity</i>,’ +he tells us—</p> + +<blockquote> + +<p class="noindent">‘Was yet less of a kind to reconcile me. The philosophy of Kant, +which exalts the dignity of mind so highly, while appearing to restrict +it, Schiller had joyfully embraced: it unfolded the extraordinary +qualities which Nature had implanted in him; and in the lively feeling +of freedom and self-direction, he showed himself unthankful to +the Great Mother, who surely had not acted like a step-dame towards +him. Instead of viewing her as self-subsisting, as producing with a +living force, and according to appointed laws, alike the highest and +the lowest of her works, he took her up under the aspect of some +empirical native qualities of the human mind. Certain harsh passages +I could even directly apply to myself: they exhibited my confession +of faith in a false light; and I felt that if written without +particular attention to me, they were still worse; for, in that case, +the vast chasm which lay between us gaped but so much the more +distinctly.’</p> + +</blockquote> + +<p><span class="pagenum" id="Page_346">[346]</span></p> + +<p>After a casual meeting at a Society for Natural History, they +walked home, and Goethe proceeds:</p> + +<blockquote> + +<p>‘We reached his house; the talk induced me to go in. I then +expounded to him, with as much vivacity as possible, the <i>Metamorphosis +of Plants</i>,⁠<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a> drawing out on paper, with many characteristic +strokes, a symbolic plant for him, as I proceeded. He heard and saw +all this, with much interest and distinct comprehension; but when I +had done, he shook his head and said: “This is no experiment, this +is an idea.” I stopped with some degree of irritation; for the point +which separated us was most luminously marked by this expression. +The opinions in <i>Dignity and Grace</i> again occurred to me; the old +grudge was just awakening; but I smothered it, and merely said: “I +was happy to find that I had got ideas without knowing it, nay, that +I saw them before my eyes.”</p> + +<p>‘Schiller had much more prudence and dexterity of management +than I; he was also thinking of his periodical the <i>Horen</i>, about this +time, and of course rather wished to attract than repel me. Accordingly, +he answered me like an accomplished Kantite; and as my +stiff-necked Realism gave occasion to many contradictions, much battling +took place between us, and at last a truce, in which neither +party would consent to yield the victory, but each held himself invincible. +Positions like the following grieved me to the very soul: +<i>How can there ever be an experiment, that shall correspond with an +idea? The specific quality of an idea is, that no experiment can +reach it or agree with it.</i> Yet if he held as an idea, the same thing +which I looked upon as an experiment, there must certainly, I +thought, be some community between us—some ground whereon both +of us might meet!’</p> + +</blockquote> + +<p>With Goethe’s natural history, or with Kant’s philosophy, +we have here no concern; but we can combine the expressions +of the two great poets into a nearly complete description of +poetry. The ‘symbolic plant’ is the <i>type</i>, of which we speak, +the ideal at which inferior specimens aim, the class characteristic +in which they all share, but which none shows forth fully. +<span class="pagenum" id="Page_347">[347]</span>Goethe was right in searching for this in reality and nature; +Schiller was right in saying that it was an ‘idea,’ a transcending +notion to which approximations could be found in experience, +but only approximations—which could not be found there itself. +Goethe, as a poet, rightly felt the primary necessity of outward +suggestion and experience; Schiller, as a philosopher, +rightly felt its imperfection.</p> + +<p>But in these delicate matters, it is easy to misapprehend. +There is, undoubtedly, a sort of poetry which is produced as it +were out of the author’s mind. The description of the poet’s +own moods and feelings is a common sort of poetry—perhaps +the commonest sort. But the peculiarity of such cases is, that +the poet does not describe himself <i>as</i> himself: autobiography +is not his object; he takes himself as a specimen of human +nature; he describes, not himself, but a distillation of himself: +he takes such of his moods as are most characteristic, as most +typify certain moods of certain men, or certain moods of all +men; he chooses preponderant feelings of special sorts of men, +or occasional feelings of men of all sorts; but with whatever +other difference and diversity, the essence is that such self-describing +poets describe what is <i>in</i> them, but not <i>peculiar</i> to +them,—what is generic, not what is special and individual. +Gray’s <i>Elegy</i> describes a mood which Gray felt more than other +men, but which most others, perhaps all others, feel too. It +is more popular, perhaps, than any English poem, because that +sort of feeling is the most diffused of high feelings, and because +Gray added to a singular nicety of fancy an habitual proneness +to a <i>contemplative</i>—a discerning but unbiassed—meditation +on death and on life. Other poets cannot hope for such +success: a subject so popular, so grave, so wise, and yet so +suitable to the writer’s nature, is hardly to be found. But the +same ideal, the same unautobiographical character is to be found +in the writings of meaner men. Take sonnets of Hartley Coleridge, +for example:—</p> + +<p><span class="pagenum" id="Page_348">[348]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">I.<br>TO A FRIEND.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘When we were idlers with the loitering rills,</div> + <div class="verse indent0">The need of human love we little noted:</div> + <div class="verse indent0">Our love was nature; and the peace that floated</div> + <div class="verse indent0">On the white mist, and dwelt upon the hills,</div> + <div class="verse indent0">To sweet accord subdued our wayward wills:</div> + <div class="verse indent0">One soul was ours, one mind, one heart devoted,</div> + <div class="verse indent0">That, wisely doating, ask’d not why it doated,</div> + <div class="verse indent0">And ours the unknown joy, which knowing kills.</div> + <div class="verse indent0">But now I find, how dear thou wert to me;</div> + <div class="verse indent0">That man is more than half of nature’s treasure,</div> + <div class="verse indent0">Of that fair Beauty which no eye can see,</div> + <div class="verse indent0">Of that sweet music which no ear can measure;</div> + <div class="verse indent0">And now the streams may sing for others’ pleasure,</div> + <div class="verse indent0">The hills sleep on in their eternity.’</div> + </div> + </div> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">II.<br>TO THE SAME.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘In the great city we are met again,</div> + <div class="verse indent0">Where many souls there are, that breathe and die,</div> + <div class="verse indent0">Scarce knowing more of nature’s potency,</div> + <div class="verse indent0">Than what they learn from heat, or cold, or rain,</div> + <div class="verse indent0">The sad vicissitude of weary pain;—</div> + <div class="verse indent0">For busy man is lord of ear and eye,</div> + <div class="verse indent0">And what hath nature, but the vast, void sky,</div> + <div class="verse indent0">And the thronged river toiling to the main?</div> + <div class="verse indent0">Oh! say not so, for she shall have her part</div> + <div class="verse indent0">In every smile, in every tear that falls,</div> + <div class="verse indent0">And she shall hide her in the secret heart,</div> + <div class="verse indent0">Where love persuades, and sterner duty calls:</div> + <div class="verse indent0">But worse it were than death, or sorrow’s smart,</div> + <div class="verse indent0">To live without a friend within these walls.’</div> + </div> + </div> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">III.<br>TO THE SAME.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘We parted on the mountains, as two streams</div> + <div class="verse indent0">From one clear spring pursue their several ways;</div> + <div class="verse indent0">And thy fleet course hath been through many a maze</div> + <div class="verse indent0">In foreign lands, where silvery Padus gleams</div> + <div class="verse indent0">To that delicious sky, whose glowing beams</div> +<span class="pagenum" id="Page_349">[349]</span> <div class="verse indent0">Brightened the tresses that old Poets praise;</div> + <div class="verse indent0">Where Petrarch’s patient love, and artful lays,</div> + <div class="verse indent0">And Ariosto’s song of many themes,</div> + <div class="verse indent0">Moved the soft air. But I, a lazy brook,</div> + <div class="verse indent0">As close pent up within my native dell,</div> + <div class="verse indent0">Have crept along from nook to shady nook,</div> + <div class="verse indent0">Where flow’rets blow, and whispering Naiads dwell.</div> + <div class="verse indent0">Yet now we meet, that parted were so wide,</div> + <div class="verse indent0">O’er rough and smooth to travel side by side.’</div> + </div> + </div> +</div> + +<p>The contrast of instructive and enviable locomotion with +refining but instructive meditation is not special and peculiar +to these two, but general and universal. It was set down by +Hartley Coleridge because he was the most meditative and refining +of men.</p> + +<p>What sort of literatesque types are fit to be described in +the sort of literature called poetry, is a matter on which much +might be written. Mr. Arnold, some years since, put forth a +theory that the art of poetry could only delineate <i>great actions</i>. +But though, rightly interpreted and understood—using the +word action so as to include high and sound activity in contemplation—this +definition may suit the highest poetry, it certainly +cannot be stretched to include many inferior sorts and even +many good sorts. Nobody in their senses would describe Gray’s +<i>Elegy</i> as the delineation of a ‘great action;’ some kinds of +mental contemplation may be energetic enough to deserve this +name, but Gray would have been frightened at the very word. +He loved scholarlike calm and quiet inaction; his very greatness +depended on his <i>not</i> acting, on his ‘wise passiveness,’ on +his indulging the grave idleness which so well appreciates so +much of human life. But the best answer—the <i>reductio ad +absurdum</i>—of Mr. Arnold’s doctrine, is the mutilation which +it has caused him to make of his own writings. It has forbidden +him, he tells us, to reprint <i>Empedocles</i>—a poem undoubtedly +containing defects and even excesses, but containing also these +lines:—</p> + +<p><span class="pagenum" id="Page_350">[350]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘And yet what days were those Parmenides!</div> + <div class="verse indent0">When we were young, when we could number friends</div> + <div class="verse indent0">In all the Italian cities like ourselves,</div> + <div class="verse indent0">When with elated hearts we join’d your train,</div> + <div class="verse indent0">Ye Sun-born virgins! on the road of Truth.</div> + <div class="verse indent0">Then we could still enjoy; then neither thought</div> + <div class="verse indent0">Nor outward things were clos’d and dead to us,</div> + <div class="verse indent0">But we receiv’d the shock of mighty thoughts</div> + <div class="verse indent0">On simple minds with a pure natural joy;</div> + <div class="verse indent0">And if the sacred load oppress’d our brain,</div> + <div class="verse indent0">We had the power to feel the pressure eas’d,</div> + <div class="verse indent0">The brow unbound, the thoughts flow free again,</div> + <div class="verse indent0">In the delightful commerce of the world.</div> + <div class="verse indent0">We had not lost our balance then, nor grown</div> + <div class="verse indent0">Thought’s slaves, and dead to every natural joy.</div> + <div class="verse indent0">The smallest thing could give us pleasure then—</div> + <div class="verse indent0">The sports of the country people;</div> + <div class="verse indent0">A flute note from the woods;</div> + <div class="verse indent0">Sunset over the sea:</div> + <div class="verse indent0">Seed-time and harvest;</div> + <div class="verse indent0">The reapers in the corn;</div> + <div class="verse indent0">The vinedresser in his vineyard;</div> + <div class="verse indent0">The village-girl at her wheel.</div> + <div class="verse indent0">Fulness of life and power of feeling, ye</div> + <div class="verse indent0">Are for the happy, for the souls at ease,</div> + <div class="verse indent0">Who dwell on a firm basis of content.</div> + <div class="verse indent0">But he who has outliv’d his prosperous days,</div> + <div class="verse indent0">But he, whose youth fell on a different world</div> + <div class="verse indent0">From that on which his exil’d age is thrown;</div> + <div class="verse indent0">Whose mind was fed on other food, was train’d</div> + <div class="verse indent0">By other rules than are in vogue to-day;</div> + <div class="verse indent0">Whose habit of thought is fix’d, who will not change,</div> + <div class="verse indent0">But in a world he loves not must subsist</div> + <div class="verse indent0">In ceaseless opposition, be the guard</div> + <div class="verse indent0">Of his own breast, fetter’d to what he guards,</div> + <div class="verse indent0">That the world win no mastery over him;</div> + <div class="verse indent0">Who has no friend, no fellow left, not one;</div> + <div class="verse indent0">Who has no minute’s breathing space allow’d</div> + <div class="verse indent0">To nurse his dwindling faculty of joy;—</div> + <div class="verse indent0">Joy and the outward world must die to him</div> + <div class="verse indent0">As they are dead to me.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_351">[351]</span></p> + +<p>What freak of criticism can induce a man who has written +such poetry as this, to discard it, and say it is not poetry? Mr. +Arnold is privileged to speak of his own poems, but no other +critic could speak so and not be laughed at.</p> + +<p>We are disposed to believe that no very sharp definition can +be given—at least in the present state of the critical art—of +the boundary line between poetry and other sorts of imaginative +delineation. Between the undoubted dominions of the two +kinds there is a debatable land; everybody is agreed that the +‘Œdipus at Colonus’ is poetry: everyone is agreed that the +wonderful appearance of Mrs. Veal is <i>not</i> poetry. But the exact +line which separates grave novels in verse like <i>Aylmer’s Field</i> or +<i>Enoch Arden</i>, from grave novels not in verse like <i>Silas Marner</i> +or <i>Adam Bede</i>, we own we cannot draw with any confidence. +Nor, perhaps, is it very important; whether a narrative is +thrown into verse or not, certainly depends in part on the taste +of the age, and in part on its mechanical helps. Verse is the +only mechanical help to the memory in rude times, and there is +little writing till a cheap something is found to write upon, and +a cheap something to write with. Poetry—verse, at least—is +the literature of <i>all work</i> in early ages; it is only later ages +which write in what <i>they</i> think a natural and simple prose. +There are other casual influences in the matter too; but they +are not material now. We need only say here that poetry, +because it has a more marked rhythm than prose, must be more +intense in meaning and more concise in style than prose. People +expect a ‘marked rhythm’ to imply something worth marking; +if it fails to do so they are disappointed. They are displeased +at the visible waste of a powerful instrument; they call it +‘doggerel,’ and rightly call it, for the metrical expression of full +thought and eager feeling—the burst of metre—incident to +high imagination, should not be wasted on petty matters which +prose does as well,—which it does better—which it suits by its +very limpness and weakness, whose small changes it follows +more easily, and to whose lowest details it can fully and without +<span class="pagenum" id="Page_352">[352]</span>effort degrade itself. Verse, too, should be <i>more concise</i>, for +long-continued rhythm tends to jade the mind, just as brief +rhythm tends to attract the attention. Poetry should be memorable +and emphatic, intense, and <i>soon over</i>.</p> + +<p>The great divisions of poetry, and of all other literary art, +arise from the different modes in which these <i>types</i>—these +characteristic men, these characteristic feelings—may be variously +described. There are three principal modes which we +shall attempt to describe—the <i>pure</i>, which is sometimes, but not +very wisely, called the classical; the <i>ornate</i>, which is also unwisely +called romantic; and the <i>grotesque</i>, which might be called +the mediæval. We will describe the nature of these a little. +Criticism, we know, must be brief—not, like poetry, because its +charm is too intense to be sustained—but, on the contrary, +because its interest is too weak to be prolonged; but elementary +criticism, if an evil, is a necessary evil; a little while spent +among the simple principles of art is the first condition, the +absolute pre-requisite, for surely apprehending and wisely judging +the complete embodiments and miscellaneous forms of actual +literature.</p> + +<p>The definition of <i>pure</i> literature is, that it describes the type +in its simplicity—we mean, with the exact amount of accessory +circumstance which is necessary to bring it before the mind in +finished perfection, and no more than that amount. The <i>type</i> +needs some accessories from its nature—a picturesque landscape +does not consist wholly of picturesque features. There is a +setting of surroundings—as the Americans would say, of fixings—without +which the reality is not itself. By a traditional +mode of speech, as soon as we see a picture in which a complete +effect is produced by detail so rare and so harmonised as to +escape us, we say, How ‘classical’! The whole which is to be +seen appears at once and through the detail, but the detail itself +is not seen: we do not think of that which gives us the idea; +we are absorbed in the idea itself. Just so in literature, the pure +art is that which works with the fewest strokes; the fewest, that +<span class="pagenum" id="Page_353">[353]</span>is, for its purpose, for its aim is to call up and bring home to +men an idea, a form, a character, and if that idea be twisted, +that form be involved, that character perplexed, many strokes +of literary art will be needful. Pure art does not mutilate its +object; it represents it as fully as is possible with the slightest +effort which is possible: it shrinks from no needful circumstances, +as little as it inserts any which are needless. The precise peculiarity +is not merely that no incidental circumstance is inserted +which does not tell on the main design: no art is fit to be called +art which permits a stroke to be put in without an object; but +that only the minimum of such circumstance is inserted at all. +The form is sometimes said to be bare, the accessories are sometimes +said to be invisible, because the appendages are so choice +that the shape only is perceived.</p> + +<p>The English literature undoubtedly contains much impure +literature; impure in its style, if not in its meaning: but it also +contains one great, one nearly perfect, model of the pure style +in the literary expression of typical <i>sentiment</i>; and one not +perfect, but gigantic and close approximation to perfection in +the pure delineation of objective character. Wordsworth, perhaps, +comes as near to choice purity of style in sentiment as is +possible; Milton, with exceptions and conditions to be explained, +approaches perfection by the strenuous purity with +which he depicts character.</p> + +<p>A wit once said, that ‘<i>pretty</i> women had more features +than <i>beautiful</i> women,’ and though the expression may be +criticised, the meaning is correct. Pretty women seem to +have a great number of attractive points, each of which attracts +your attention, and each one of which you remember afterwards; +yet these points have not grown together, their features +have not linked themselves into a single inseparable whole. +But a beautiful woman is a whole as she is; you no more take +her to pieces than a Greek statue; she is not an aggregate of +divisible charms, she is a charm in herself. Such ever is the +dividing test of pure art; if you catch yourself admiring its +<span class="pagenum" id="Page_354">[354]</span>details, it is defective; you ought to think of it as a single whole +which you must remember, which you must admire, which somehow +subdues you while you admire it, which is a ‘possession’ to +you ‘for ever.’</p> + +<p>Of course, no individual poem embodies this ideal perfectly; +of course, every human word and phrase has its imperfections, +and if we choose an instance to illustrate that ideal, the instance +has scarcely a fair chance. By contrasting it with the +ideal, we suggest its imperfections; by protruding it as an example, +we turn on its defectiveness the microscope of criticism. +Yet these two sonnets of Wordsworth may be fitly read in this +place, not because they are quite without faults, or because +they are the very best examples of their kind of style; but +because they are luminous examples; the compactness of the +sonnet and the gravity of the sentiment, hedging in the thoughts, +restraining the fancy, and helping to maintain a singleness of +expression.</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘THE TROSACHS.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘There’s not a nook within this solemn Pass,</div> + <div class="verse indent0">But were an apt Confessional for one</div> + <div class="verse indent0">Taught by his summer spent, his autumn gone,</div> + <div class="verse indent0">That Life is but a tale of morning grass</div> + <div class="verse indent0">Withered at eve. From scenes of art which chase</div> + <div class="verse indent0">That thought away, turn, and with watchful eyes</div> + <div class="verse indent0">Feed it ’mid Nature’s old felicities,</div> + <div class="verse indent0">Rocks, rivers, and smooth lakes more clear than glass</div> + <div class="verse indent0">Untouched, unbreathed upon. Thrice happy guest,</div> + <div class="verse indent0">If from a golden perch of aspen spray</div> + <div class="verse indent0">(October’s workmanship to rival May)</div> + <div class="verse indent0">The pensive warbler of the ruddy breast</div> + <div class="verse indent0">That moral sweeten by a heaven-taught lay,</div> + <div class="verse indent0">Lulling the year, with all its cares, to rest!’</div> + </div> + </div> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="center">‘COMPOSED UPON WESTMINSTER BRIDGE,<br>SEPT. 3, 1802.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Earth has not anything to show more fair:</div> + <div class="verse indent0">Dull would he be of soul who could pass by</div> + <div class="verse indent0">A sight so touching in its majesty:</div> +<span class="pagenum" id="Page_355">[355]</span> <div class="verse indent0">This city now doth, like a garment, wear</div> + <div class="verse indent0">The beauty of the morning; silent, bare,</div> + <div class="verse indent0">Ships, towers, domes, theatres, and temples lie</div> + <div class="verse indent0">Open unto the fields and to the sky;</div> + <div class="verse indent0">All bright and glittering in the smokeless air.</div> + <div class="verse indent0">Never did sun more beautifully steep</div> + <div class="verse indent0">In his first splendour, valley, rock, or hill;</div> + <div class="verse indent0">Ne’er saw I, never felt, a calm so deep!</div> + <div class="verse indent0">The river glideth at his own sweet will:</div> + <div class="verse indent0">Dear God! The very houses seem asleep;</div> + <div class="verse indent0">And all that mighty heart is lying still!’</div> + </div> + </div> +</div> + +<p>Instances of barer style than this may easily be found +instances of colder style—few better instances of purer style. +Not a single expression (the invocation in the concluding +couplet of the second sonnet perhaps excepted) can be spared, +yet not a single expression rivets the attention. If, indeed, we +take out the phrase—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘The city now doth, like a garment, wear</div> + <div class="verse indent0">The beauty of the morning,’</div> + </div> + </div> +</div> + +<p class="noindent">and the description of the brilliant yellow of autumn—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘October’s workmanship to rival May,’</div> + </div> + </div> +</div> + +<p class="noindent">they have independent value, but they are not noticed in the +sonnet when we read it through; they fall into place there, +and being in their place, are not seen. The great subjects of +the two sonnets, the religious aspect of beautiful but grave +nature—the religious aspect of a city about to awaken and be +alive, are the only ideas left in our mind. To Wordsworth has +been vouchsafed the last grace of the self-denying artist; you +think neither of him nor his style, but you cannot help thinking +of—you <i>must</i> recall—the exact phrase, the <i>very</i> sentiment he +wished.</p> + +<p>Milton’s purity is more eager. In the most exciting parts +of Wordsworth—and these sonnets are not very exciting—you +always feel, you never forget, that what you have before you is +<span class="pagenum" id="Page_356">[356]</span>the excitement of a recluse. There is nothing of the stir of +life; nothing of the brawl of the world. But Milton, though +always a scholar by trade, though solitary in old age, was +through life intent on great affairs, lived close to great scenes, +watched a revolution, and if not an actor in it, was at least +secretary to the actors. He was familiar—by daily experience +and habitual sympathy—with the earnest debate of arduous +questions, on which the life and death of the speakers +certainly depended, on which the weal or woe of the country +perhaps depended. He knew how profoundly the individual +character of the speakers—their inner and real nature—modifies +their opinion on such questions; he knew how surely that +nature will appear in the expression of them. This great experience, +fashioned by a fine imagination, gives to the debate +of the Satanic Council in Pandæmonium its reality and its life. +It is a debate in the Long Parliament, and though the theme +of <i>Paradise Lost</i> obliged Milton to side with the monarchical +element in the universe, his old habits are often too much +for him; and his real sympathy—the impetus and energy of +his nature—side with the rebellious element. For the purposes +of art this is much better. Of a court, a poet can make but +little; of a heaven, he can make very little; but of a courtly +heaven, such as Milton conceived, he can make nothing at all. +The idea of a court and the idea of a heaven are so radically +different, that a distinct combination of them is always grotesque +and often ludicrous. <i>Paradise Lost</i>, as a whole, is radically +tainted by a vicious principle. It professes to justify the +ways of God to man, to account for sin and death, and it tells +you that the whole originated in a political event; in a court +squabble as to a particular act of patronage and the due or +undue promotion of an eldest son. Satan may have been +wrong, but on Milton’s theory he had an arguable case at +least. There was something arbitrary in the promotion; there +were little symptoms of a job; in <i>Paradise Lost</i> it is always +clear that the devils are the weaker, but it is never clear that +<span class="pagenum" id="Page_357">[357]</span>the angels are the better. Milton’s sympathy and his imagination +slip back to the Puritan rebels whom he loved, and +desert the courtly angels whom he could not love, although he +praised them. There is no wonder that Milton’s hell is better +than his heaven, for he hated officials and he loved rebels,—he +employs his genius below, and accumulates his pedantry above. +On the great debate in Pandæmonium all his genius is concentrated. +The question is very practical; it is, ‘What are we +devils to do, now we have lost heaven?’ Satan, who presides +over and manipulates the assembly—Moloch,</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent18">‘The fiercest spirit</div> + <div class="verse indent0">That fought in Heaven, now fiercer by despair,’</div> + </div> + </div> +</div> + +<p class="noindent">who wants to fight again; Belial, ‘the man of the world,’ who +does not want to fight any more; Mammon, who is for commencing +an industrial career; Beelzebub, the official statesman,</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent12">‘Deep on his front engraven,</div> + <div class="verse indent0">Deliberation sat and Public care,’</div> + </div> + </div> +</div> + +<p class="noindent">who, at Satan’s instance, proposes the invasion of earth—are +as distinct as so many statues. Even Belial, ‘the man of the +world,’ the sort of man with whom Milton had least sympathy, +is perfectly painted. An inferior artist would have made the +actor who ‘counselled ignoble ease and peaceful sloth,’ a degraded +and ugly creature; but Milton knew better. He knew +that low notions require a better garb than high notions. Human +nature is not a high thing, but at least it has a high idea +of itself; it will not accept mean maxims, unless they are gilded +and made beautiful. A prophet in goatskin may cry, ‘Repent, +repent,’ but it takes ‘purple and fine linen’ to be able to say +‘Continue in your sins.’ The world vanquishes with its speciousness +and its show, and the orator who is to persuade men +to worldliness must have a share in them. Milton well knew +this; after the warlike speech of the fierce Moloch, he introduces +a brighter and a more graceful spirit.</p> + +<p><span class="pagenum" id="Page_358">[358]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘He ended frowning, and his look denounced</div> + <div class="verse indent0">Desp’rate revenge, and battle dangerous</div> + <div class="verse indent0">To less than Gods. On th’ other side up rose</div> + <div class="verse indent0">Belial, in act more graceful and humane:</div> + <div class="verse indent0">A fairer person lost not Heaven; he seem’d</div> + <div class="verse indent0">For dignity composed and high exploit:</div> + <div class="verse indent0">But all was false and hollow, though his tongue</div> + <div class="verse indent0">Dropt manna, and could make the worse appear</div> + <div class="verse indent0">The better reason, to perplex and dash</div> + <div class="verse indent0">Maturest counsels; for his thoughts were low;</div> + <div class="verse indent0">To vice industrious, but to nobler deeds</div> + <div class="verse indent0">Tim’rous and slothful: yet he pleased the ear,</div> + <div class="verse indent0">And with persuasive accent thus began:’</div> + </div> + </div> +</div> + +<p>He does not begin like a man with a strong case, but like +a man with a weak case; he knows that the pride of human +nature is irritated by mean advice, and though he may probably +persuade men to take it, he must carefully apologise for +giving it. Here, as elsewhere, though the formal address is to +devils, the real address is to men: to the human nature which +we know, not to the fictitious diabolic nature we do not know.</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘I should be much for open war, O Peers!</div> + <div class="verse indent0">As not behind in hate, if what was urged</div> + <div class="verse indent0">Main reason to persuade immediate war,</div> + <div class="verse indent0">Did not dissuade me most, and seem to cast</div> + <div class="verse indent0">Ominous conjecture on the whole success:</div> + <div class="verse indent0">When he who most excels in fact of arms,</div> + <div class="verse indent0">In what he counsels, and in what excels</div> + <div class="verse indent0">Mistrustful, grounds his courage on despair,</div> + <div class="verse indent0">And utter dissolution, as the scope</div> + <div class="verse indent0">Of all his aim, after some dire revenge.</div> + <div class="verse indent0">First, what revenge? The tow’rs of Heav’n are fill’d</div> + <div class="verse indent0">With armed watch, that render all access</div> + <div class="verse indent0">Impregnable; oft on the bord’ring deep</div> + <div class="verse indent0">Encamp their legions, or with obscure wing</div> + <div class="verse indent0">Scout far and wide into the realm of night,</div> + <div class="verse indent0">Scorning surprise. Or could we break our way</div> + <div class="verse indent0">By force, and at our heels all Hell should rise</div> + <div class="verse indent0">With blackest insurrection, to confound</div> + <div class="verse indent0">Heav’n’s purest light, yet our Great Enemy,</div> +<span class="pagenum" id="Page_359">[359]</span> <div class="verse indent0">All incorruptible, would on His throne</div> + <div class="verse indent0">Sit unpolluted, and th’ ethereal mould</div> + <div class="verse indent0">Incapable of stain would soon expel</div> + <div class="verse indent0">Her mischief, and purge off the baser fire</div> + <div class="verse indent0">Victorious. Thus repulsed, our final hope</div> + <div class="verse indent0">Is flat despair. We must exasperate</div> + <div class="verse indent0">Th’ Almighty Victor to spend all His rage,</div> + <div class="verse indent0">And that must end us: that must be our cure,</div> + <div class="verse indent0">To be no more? Sad cure; for who would lose,</div> + <div class="verse indent0">Though full of pain, this intellectual being,</div> + <div class="verse indent0">Those thoughts that wander through eternity,</div> + <div class="verse indent0">To perish rather, swallow’d up and lost</div> + <div class="verse indent0">In the wide womb of uncreated night,</div> + <div class="verse indent0">Devoid of sense and motion? And who knows,</div> + <div class="verse indent0">Let this be good, whether our angry Foe</div> + <div class="verse indent0">Can give it, or will ever? How He can</div> + <div class="verse indent0">Is doubtful; that He never will is sure.</div> + <div class="verse indent0">Will He, so wise, let loose at once His ire</div> + <div class="verse indent0">Belike through impotence, or unaware,</div> + <div class="verse indent0">To give His enemies their wish, and end</div> + <div class="verse indent0">Them in His anger, whom His anger saves</div> + <div class="verse indent0">To punish endless? Wherefore cease we then?</div> + <div class="verse indent0">Say they who counsel war, we are decreed,</div> + <div class="verse indent0">Reserved, and destined, to eternal woe;</div> + <div class="verse indent0">Whatever doing, what can we suffer more,</div> + <div class="verse indent0">What can we suffer worse? Is this then worst,</div> + <div class="verse indent0">Thus sitting, thus consulting, thus in arms?’</div> + <div class="center">...</div> + </div> + </div> +</div> + +<p class="noindent">And so on.</p> + +<p>Mr. Pitt knew this speech by heart, and Lord Macaulay has +called it incomparable; and these judges of the oratorical art +have well decided. A mean foreign policy cannot be better +defended. Its sensibleness is effectually explained, and its +tameness as much as possible disguised.</p> + +<p>But we have not here to do with the excellence of Belial’s +policy, but with the excellence of his speech; and with that +speech in a peculiar manner. This speech, taken with the few +lines of description with which Milton introduces them, embody, +in as short a space as possible, with as much perfection as +<span class="pagenum" id="Page_360">[360]</span>possible, the delineation of the type of character common at +all times, dangerous in many times; sure to come to the surface +in moments of difficulty, and never more dangerous than +then. As Milton describes it, it is one among several <i>typical</i> +characters which will ever have their place in great councils, +which will ever be heard at important decisions, which are part +of the characteristic and inalienable whole of this statesmanlike +world. The debate in Pandæmonium is a debate among these +typical characters at the greatest conceivable crisis, and with +adjuncts of solemnity which no other situation could rival. +It is the greatest classical triumph, the highest achievement +of the pure style in English literature; it is the greatest +description of the highest and most typical characters with the +most choice circumstances and in the fewest words.</p> + +<p>It is not unremarkable that we should find in Milton and +in <i>Paradise Lost</i> the best specimen of pure style. Milton was +a schoolmaster in a pedantic age, and there is nothing so unclassical—nothing +so impure in style—as pedantry. The out-of-door +conversational life of Athens was as opposed to bookish +scholasticism as a life can be. The most perfect books have +been written not by those who thought much of books, but by +those who thought little, by those who were under the restraint +of a sensitive talking world, to which books had contributed +something, and a various, eager life the rest. Milton is generally +unclassical in spirit where he is learned, and naturally, +because the purest poets do not overlay their conceptions with +book knowledge, and the classical poets, having in comparison +no books, were under little temptation to impair the purity of +their style by the accumulation of their research. Over and +above this, there is in Milton, and a little in Wordsworth also, +one defect which is in the highest degree faulty and unclassical, +which mars the effect and impairs the perfection of the pure +style. There is a want of spontaneity, and a sense of effort. +It has been happily said that Plato’s words must have <i>grown</i> into +their places. No one would say so of Milton or even of Wordsworth. +<span class="pagenum" id="Page_361">[361]</span>About both of them there is a taint of duty; a vicious +sense of the good man’s task. Things seem right where they +are, but they seem to be put where they are. Flexibility is +essential to the consummate perfection of the pure style, because +the sensation of the poet’s efforts carries away our thoughts +from his achievements. We are admiring his labours when we +should be enjoying his words. But this is a defect in those two +writers, not a defect in pure art. Of course it <i>is</i> more difficult +to write in few words than to write in many; to take the best +adjuncts, and those only, for what you have to say, instead of +using all which comes to hand; it <i>is</i> an additional labour if you +write verses in a morning, to spend the rest of the day in +<i>choosing</i>, that is, in making those verses fewer. But a perfect +artist in the pure style is as effortless and as natural as in any +style, perhaps is more so. Take the well-known lines:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘There was a little lawny islet</div> + <div class="verse indent0">By anemone and violet,</div> + <div class="verse indent4">Like mosaic, paven:</div> + <div class="verse indent0">And its roof was flowers and leaves</div> + <div class="verse indent0">Which the summer’s breath enweaves,</div> + <div class="verse indent0">Where nor sun, nor showers, nor breeze,</div> + <div class="verse indent0">Pierce the pines and tallest trees,</div> + <div class="verse indent4">Each a gem engraven:</div> + <div class="verse indent0">Girt by many an azure wave</div> + <div class="verse indent0">With which the clouds and mountains pave</div> + <div class="verse indent4">A lake’s blue chasm.’</div> + </div> + </div> +</div> + +<p>Shelley had many merits and many defects. This is not the +place for a complete or indeed for any estimate of him. But +one excellence is most evident. His words are as flexible as +any words; the rhythm of some modulating air seems to move +them into their place without a struggle by the poet, and almost +without his knowledge. This is the perfection of pure art, to +embody typical conceptions in the choicest, the fewest accidents, +to embody them so that each of these accidents may produce +its full effect, and so to embody them without effort.</p> + +<p><span class="pagenum" id="Page_362">[362]</span></p> + +<p>The extreme opposite to this pure art is what may be called +ornate art. This species of art aims also at giving a delineation +of the typical idea in its perfection and its fulness, but it aims +at so doing in a manner most different. It wishes to surround +the type with the greatest number of circumstances which it +will bear. It works not by choice and selection, but by accumulation +and aggregation. The idea is not, as in the pure +style, presented with the least clothing which it will endure, but +with the richest and most involved clothing that it will admit.</p> + +<p>We are fortunate in not having to hunt out of past literature +an illustrative specimen of the ornate style. Mr. Tennyson has +just given one admirable in itself, and most characteristic of +the defects and the merits of this style. The story of <i>Enoch +Arden</i>, as he has enhanced and presented it, is a rich and +splendid composite of imagery and illustration. Yet how simple +that story is in itself. A sailor who sells fish, breaks his leg, gets +dismal, gives up selling fish, goes to sea, is wrecked on a desert +island, stays there some years, on his return finds his wife married +to a miller, speaks to a landlady on the subject, and dies. Told +in the pure and simple, the unadorned and classical style, this +story would not have taken three pages, but Mr. Tennyson has +been able to make it the principal—the largest tale in his new +volume. He has done so only by giving to every event and +incident in the volume an accompanying commentary. He tells +a great deal about the torrid zone, which a rough sailor like +Enoch Arden certainly would not have perceived; and he gives +to the fishing village, to which all the characters belong, a +softness and a fascination which such villages scarcely possess +in reality.</p> + +<p>The description of the tropical island on which the sailor is +thrown, is an absolute model of adorned art:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘The mountain wooded to the peak, the lawns</div> + <div class="verse indent0">And winding glades high up like ways to Heaven,</div> + <div class="verse indent0">The slender coco’s drooping crown of plumes,</div> + <div class="verse indent0">The lightning flash of insect and of bird,</div> +<span class="pagenum" id="Page_363">[363]</span> <div class="verse indent0">The lustre of the long convolvuluses</div> + <div class="verse indent0">That coil’d around the stately stems, and ran</div> + <div class="verse indent0">Ev’n to the limit of the land, the glows</div> + <div class="verse indent0">And glories of the broad belt of the world,</div> + <div class="verse indent0">All these he saw; but what he fain had seen</div> + <div class="verse indent0">He could not see, the kindly human face,</div> + <div class="verse indent0">Nor ever hear a kindly voice, but heard</div> + <div class="verse indent0">The myriad shriek of wheeling ocean-fowl,</div> + <div class="verse indent0">The league-long roller thundering on the reef,</div> + <div class="verse indent0">The moving whisper of huge trees that branch’d</div> + <div class="verse indent0">And blossom’d in the zenith, or the sweep</div> + <div class="verse indent0">Of some precipitous rivulet to the wave,</div> + <div class="verse indent0">As down the shore he ranged, or all day long</div> + <div class="verse indent0">Sat often in the seaward-gazing gorge,</div> + <div class="verse indent0">A shipwreck’d sailor, waiting for a sail:</div> + <div class="verse indent0">No sail from day to day, but every day</div> + <div class="verse indent0">The sunrise broken into scarlet shafts</div> + <div class="verse indent0">Among the palms and ferns and precipices;</div> + <div class="verse indent0">The blaze upon the waters to the east;</div> + <div class="verse indent0">The blaze upon his island overhead;</div> + <div class="verse indent0">The blaze upon the waters to the west;</div> + <div class="verse indent0">Then the great stars that globed themselves in Heaven,</div> + <div class="verse indent0">The hollower-bellowing ocean, and again</div> + <div class="verse indent0">The scarlet shafts of sunrise—but no sail.’</div> + </div> + </div> +</div> + +<p class="noindent">No expressive circumstances can be added to this description, +no enhancing detail suggested. A much less happy instance +is the description of Enoch’s life before he sailed:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘While Enoch was abroad on wrathful seas,</div> + <div class="verse indent0">Or often journeying landward; for in truth</div> + <div class="verse indent0">Enoch’s white horse, and Enoch’s ocean spoil</div> + <div class="verse indent0">In ocean-smelling osier, and his face,</div> + <div class="verse indent0">Rough-redden’d with a thousand winter gales,</div> + <div class="verse indent0">Not only to the market-cross were known,</div> + <div class="verse indent0">But in the leafy lanes behind the down,</div> + <div class="verse indent0">Far as the portal-warding lion-whelp,</div> + <div class="verse indent0">And peacock yew-tree of the lonely Hall,</div> + <div class="verse indent0">Whose Friday fare was Enoch’s ministering.’</div> + </div> + </div> +</div> + +<p class="noindent">So much has not often been made of selling fish. The essence +<span class="pagenum" id="Page_364">[364]</span>of ornate art is in this manner to accumulate round the typical +object, everything which can be said about it, every associated +thought that can be connected with it without impairing the +essence of the delineation.</p> + +<p>The first defect which strikes a student of ornate art—the +first which arrests the mere reader of it—is what is called a +want of simplicity. Nothing is described as it is; everything +has about it an atmosphere of something else. The combined +and associated thoughts, though they set off and heighten particular +ideas and aspects of the central and typical conception, +yet complicate it: a simple thing—‘a daisy by the river’s +brim’—is never left by itself, something else is put with it; +something not more connected with it than ‘lion-whelp’ and +the ‘peacock yew-tree’ are with the ‘fresh fish for sale’ that +Enoch carries past them. Even in the highest cases, ornate +art leaves upon a cultured and delicate taste, the conviction +that it is not the highest art, that it is somehow excessive +and over-rich, that it is not chaste in itself or chastening to +the mind that sees it—that it is in an explained manner unsatisfactory, +‘a thing in which we feel there is some hidden +want!’</p> + +<p>That want is a want of ‘definition.’ We must all know +landscapes, river landscapes especially, which are in the highest +sense beautiful, which when we first see them give us a delicate +pleasure; which in some—and these the best cases—give even +a gentle sense of surprise that such things should be so beautiful, +and yet when we come to live in them, to spend even a few +hours in them, we seem stifled and oppressed. On the other +hand there are people to whom the seashore is a companion, +an exhilaration; and not so much for the brawl of the shore as +for the limited vastness, the finite infinite of the ocean as they +see it. Such people often come home braced and nerved, and +if they spoke out the truth, would have only to say, ‘We have +seen the horizon line;’ if they were let alone indeed, they would +gaze on it hour after hour, so great to them is the fascination, +<span class="pagenum" id="Page_365">[365]</span>so full the sustaining calm, which they gain from that union of +form and greatness. To a very inferior extent, but still, perhaps, +to an extent which most people understand better, a common +arch will have the same effect. A bridge completes a river +landscape; if of the old and many-arched sort, it regulates by a +long series of defined forms the vague outline of wood and river, +which before had nothing to measure it; if of the new scientific +sort, it introduces still more strictly a geometrical element; it +stiffens the scenery which was before too soft, too delicate, too +vegetable. Just such is the effect of pure style in literary art. +It calms by conciseness; while the ornate style leaves on the +mind a mist of beauty, an excess of fascination, a complication +of charm, the pure style leaves behind it the simple, defined, +measured idea, as it is, and by itself. That which is chaste +chastens; there is a poised energy—a state half thrill and half +tranquillity—which pure art gives, which no other can give; a +pleasure justified as well as felt; an ennobled satisfaction at +what ought to satisfy us, and must ennoble us.</p> + +<p>Ornate art is to pure art what a painted statue is to an +unpainted. It is impossible to deny that a touch of colour +does bring out certain parts; does convey certain expressions; +does heighten certain features, but it leaves on the work as +a whole, a want, as we say, ‘of something;’ a want of that +inseparable chasteness which clings to simple sculpture, an +impairing predominance of alluring details which impairs our +satisfaction with our own satisfaction; which makes us doubt +whether a higher being than ourselves will be satisfied even +though we are so. In the very same manner, though the rouge +of ornate literature excites our eye, it also impairs our confidence.</p> + +<p>Mr. Arnold has justly observed that this self-justifying, +self-proving purity of style is commoner in ancient literature +than in modern literature, and also that Shakespeare is not +a great or an unmixed example of it. No one can say that he +is. His works are full of undergrowth, are full of complexity, +are not models of style; except by a miracle, nothing in the +<span class="pagenum" id="Page_366">[366]</span>Elizabethan age could be a model of style; the restraining taste +of that age was feebler and more mistaken than that of any +other equally great age. Shakespeare’s mind so teemed with +creation that he required the most just, most forcible, most +constant restraint from without. He most needed to be guided +among poets, and he was the least and worst guided. As a +whole no one can call his works finished models of the pure +style, or of any style. But he has many passages of the most +pure style, passages which could be easily cited if space served. +And we must remember that the task which Shakespeare undertook +was the most difficult which any poet has ever attempted, +and that it is a task in which after a million efforts every other +poet has failed. The Elizabethan drama—as Shakespeare has +immortalised it—undertakes to delineate in five acts, under +stage restrictions, and in mere dialogue, a whole list of <i>dramatis +personæ</i> a set of characters enough for a modern novel, and +with the distinctness of a modern novel. Shakespeare is not +content to give two or three great characters in solitude and in +dignity, like the classical dramatists; he wishes to give a whole +party of characters in the play of life, and according to the +nature of each. He would ‘hold the mirror up to nature,’ not +to catch a monarch in a tragic posture, but a whole group of +characters engaged in many actions, intent on many purposes, +thinking many thoughts. There is life enough, there is action +enough, in single plays of Shakespeare to set up an ancient +dramatist for a long career. And Shakespeare succeeded. His +characters, taken <i>en masse</i>, and as a whole, are as well known +as any novelist’s characters; cultivated men know all about +them, as young ladies know all about Mr. Trollope’s novels. But +no other dramatist has succeeded in such an aim. No one else’s +characters are staple people in English literature, hereditary +people whom everyone knows all about in every generation. +The contemporary dramatists, Beaumont and Fletcher, Ben +Jonson, Marlowe, &c., had many merits, some of them were +great men. But a critic must say of them the worst thing he +<span class="pagenum" id="Page_367">[367]</span>has to say: ‘they were men who failed in their characteristic +aim;’ they attempted to describe numerous sets of complicated +characters, and they failed. No one of such characters, or +hardly one, lives in common memory; the <i>Faustus</i> of Marlowe, +a really great idea, is not remembered. They undertook to write +what they could not write—five acts full of real characters, +and in consequence, the fine individual things they conceived +are forgotten by the mixed multitude, and known only to a few +of the few. Of the Spanish theatre we cannot speak; but there +are no such characters in any French tragedy: the whole aim of +that tragedy forbad it. Goethe has added to literature a few +great characters; he may be said almost to have added to +literature the idea of ‘intellectual creation,’—the idea of describing +the great characters through the intellect; but he has +not added to the common stock what Shakespeare added, a new +multitude of men and women; and these not in simple attitudes, +but amid the most complex parts of life, with all their various +natures roused, mixed, and strained. The severest art must +have allowed many details, much overflowing circumstance to a +poet who undertook to describe what almost defies description. +Pure art would have commanded him to use details lavishly, for +only by a multiplicity of such could the required effect have +been at all produced. Shakespeare could accomplish it, for his +mind was a spring, an inexhaustible fountain of human nature, +and it is no wonder that being compelled by the task of his +time to let the fulness of his nature overflow, he sometimes +let it overflow too much, and covered with erroneous conceits +and superfluous images characters and conceptions which would +have been far more justly, far more effectually, delineated +with conciseness and simplicity. But there is an infinity of +pure art in Shakespeare, although there is a great deal else +also.</p> + +<p>It will be said, if ornate art be as you say, an inferior species +of art, why should it ever be used? If pure art be the best sort +of art, why should it not always be used?</p> + +<p><span class="pagenum" id="Page_368">[368]</span></p> + +<p>The reason is this: literary art, as we just now explained, is +concerned with literatesque characters in literatesque situations; +and the <i>best</i> art is concerned with the <i>most</i> literatesque characters +in the <i>most</i> literatesque situations. Such are the subjects +of pure art; it embodies with the fewest touches, and under the +most select and choice circumstances, the highest conceptions; +but it does not follow that only the best subjects are to be +treated by art, and then only in the very best way. Human +nature could not endure such a critical commandment as that, +and it would be an erroneous criticism which gave it. <i>Any</i> +literatesque character may be described in literature under <i>any</i> +circumstances which exhibit its literatesqueness.</p> + +<p>The essence of pure art consists in its describing what is +as it is, and this is very well for what can bear it, but there +are many inferior things which will not bear it, and which +nevertheless ought to be described in books. A certain kind +of literature deals with illusions, and this kind of literature +has given a colouring to the name romantic. A man of rare +genius, and even of poetical genius, has gone so far as to make +these illusions the true subject of poetry—almost the sole +subject.</p> + +<blockquote> + +<p>‘Without,’ says Father Newman, of one of his characters, ‘being +himself a poet, he was in the season of poetry, in the sweet spring-time, +when the year is most beautiful because it is new. Novelty was +beauty to a heart so open and cheerful as his; not only because it was +novelty, and had its proper charm as such, but because when we first +see things, we see them in a gay confusion, which is a principal +element of the poetical. As time goes on, and we number and sort +and measure things,—as we gain views, we advance towards philosophy +and truth, but we recede from poetry.</p> + +<p>‘When we ourselves were young, we once on a time walked on a +hot summer day from Oxford to Newington—a dull road, as anyone +who has gone it knows; yet it was new to us; and we protest to you, +reader, believe it or not, laugh or not, as you will, to us it seemed on +that occasion quite touchingly beautiful; and a soft melancholy came +over us, of which the shadows fall even now, when we look back upon +that dusty, weary journey. And why? because every object which +<span class="pagenum" id="Page_369">[369]</span>met us was unknown and full of mystery. A tree or two in the +distance seemed the beginning of a great wood, or park, stretching +endlessly; a hill implied a vale beyond, with that vale’s history; the +bye-lanes, with their green hedges, wound on and vanished, yet were +not lost to the imagination. Such was our first journey; but when +we had gone it several times, the mind refused to act, the scene ceased +to enchant, stern reality alone remained; and we thought it one of the +most tiresome, odious roads we ever had occasion to traverse.’</p> + +</blockquote> + +<p>That is to say, that the function of the poet is to introduce +a ‘gay confusion,’ a rich medley which does not exist in the +actual world—which perhaps could not exist in any world—but +which would seem pretty if it did exist. Everyone who +reads <i>Enoch Arden</i> will perceive that this notion of all poetry +is exactly applicable to this one poem. Whatever be made of +Enoch’s ‘Ocean-spoil in ocean-smelling osier,’ of the ‘portal-warding +lion-whelp, and the peacock yew-tree,’ everyone knows +that in himself Enoch could not have been charming. People +who sell fish about the country (and that is what he did, though +Mr. Tennyson won’t speak out, and wraps it up) never are beautiful. +As Enoch was and must be coarse, in itself the poem +must depend for a charm on a ‘gay confusion’—on a splendid +accumulation of impossible accessories.</p> + +<p>Mr. Tennyson knows this better than many of us—he knows +the country world; he has proved that no one living knows +it better; he has painted with pure art—with art which describes +what is a race perhaps more refined, more delicate, more +conscientious, than the sailor—the <i>Northern Farmer</i>, and we +all know what a splendid, what a living thing, he has made of +it. He could, if he only would, have given us the ideal sailor +in like manner—the ideal of the natural sailor we mean—the +characteristic present man as he lives and is. But this he has +not chosen. He has endeavoured to describe an exceptional +sailor, at an exceptionally refined port, performing a graceful +act, an act of relinquishment. And with this task before him, +his profound taste taught him that ornate art was a necessary +<span class="pagenum" id="Page_370">[370]</span>medium—was the sole effectual instrument—for his purpose. +It was necessary for him if possible to abstract the mind from +reality, to induce us <i>not</i> to conceive or think of sailors as they +are while we are reading of his sailors, but to think of what +a person who did not know, might fancy sailors to be. A casual +traveller on the seashore, with the sensitive mood and the romantic +imagination Dr. Newman has described, might fancy, +would fancy, a seafaring village to be like that. Accordingly, +Mr. Tennyson has made it his aim to call off the stress of +fancy from real life, to occupy it otherwise, to bury it with +pretty accessories; to engage it on the ‘peacock yew-tree,’ and +the ‘portal-warding lion-whelp.’ Nothing, too, can be more +splendid than the description of the tropics as Mr. Tennyson +delineates them, but a sailor would not have felt the tropics in +that manner. The beauties of nature would not have so much +occupied him. He would have known little of the scarlet +shafts of sunrise and nothing of the long convolvuluses. As in +Robinson Crusoe, his own petty contrivances and his small ailments +would have been the principal subject to him. ‘For +three years,’ he might have said, ‘my back was bad; and then +I put two pegs into a piece of drift wood and so made a chair; +and after that it pleased God to send me a chill.’ In real life +his piety would scarcely have gone beyond that.</p> + +<p>It will indeed be said, that though the sailor had no words +for, and even no explicit consciousness of, the splendid details +of the torrid zone, yet that he had, notwithstanding, a dim +latent inexpressible conception of them: though he could not +speak of them or describe them, yet they were much to him. +And doubtless such is the case. Rude people are impressed by +what is beautiful—deeply impressed—though they could not +describe what they see, or what they feel. But what is absurd +in Mr. Tennyson’s description—absurd when we abstract it +from the gorgeous additions and ornaments with which Mr. +Tennyson distracts us—is, that his hero feels nothing else but +these great splendours. We hear nothing of the physical ailments, +<span class="pagenum" id="Page_371">[371]</span>the rough devices, the low superstitions, which really +would have been the <i>first</i> things, the favourite and principal +occupations of his mind. Just so when he gets home he <i>may</i> +have had such fine sentiments, though it is odd, and he <i>may</i> +have spoken of them to his landlady, though that is odder still,—but +it is incredible that his whole mind should be made up +of fine sentiments. Beside those sweet feelings, if he had them, +there must have been many more obvious, more prosaic, and +some perhaps more healthy. Mr. Tennyson has shown a profound +judgment in distracting us as he does. He has given us +a classic delineation of the <i>Northern Farmer</i> with no ornament +at all—as bare a thing as can be—because he then wanted to +describe a true type of real men: he has given us a sailor +crowded all over with ornament and illustration, because he +then wanted to describe an unreal type of fancied men,—not +sailors as they are, but sailors as they might be wished.</p> + +<p>Another prominent element in <i>Enoch Arden</i> is yet more +suitable to, yet more requires the aid of, ornate art. Mr. +Tennyson undertook to deal with <i>half belief</i>. The presentiments +which Annie feels are exactly of that sort which everybody +has felt, and which everyone has half believed—which +hardly anyone has more than half believed. Almost everyone, +it has been said, would be angry if anyone else reported that +he believed in ghosts; yet hardly anyone, when thinking by +himself, wholly disbelieves them. Just so such presentiments +as Mr. Tennyson depicts, impress the inner mind so much that +the outer mind—the rational understanding—hardly likes to +consider them nicely or to discuss them sceptically. For these +dubious themes an ornate or complex style is needful. Classical +art speaks out what it has to say plainly and simply. Pure +style cannot hesitate; it describes in concisest outline what is, +as it is. If a poet really believes in presentiments he can speak +out in pure style. One who could have been a poet—one of +the few in any age of whom one can say certainly that they +could have been and have not been—has spoken thus:—</p> + +<p><span class="pagenum" id="Page_372">[372]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘When Heaven sends sorrow,</div> + <div class="verse indent4">Warnings go first,</div> + <div class="verse indent4">Lest it should burst</div> + <div class="verse indent4">With stunning might</div> + <div class="verse indent4">On souls too bright</div> + <div class="verse indent8">To fear the morrow.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Can science bear us</div> + <div class="verse indent4">To the hid springs</div> + <div class="verse indent4">Of human things?</div> + <div class="verse indent4">Why may not dream,</div> + <div class="verse indent4">Or thought’s day-gleam,</div> + <div class="verse indent8">Startle, yet cheer us?</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Are such thoughts fetters,</div> + <div class="verse indent4">While faith disowns</div> + <div class="verse indent4">Dread of earth’s tones,</div> + <div class="verse indent4">Recks but Heaven’s call,</div> + <div class="verse indent4">And on the wall,</div> + <div class="verse indent8">Reads but Heaven’s letters?’</div> + </div> + </div> +</div> + +<p>But if a poet is not sure whether presentiments are true or +not true; if he wishes to leave his readers in doubt; if he +wishes an atmosphere of indistinct illusion and of moving +shadow, he must use the romantic style, the style of miscellaneous +adjunct, the style ‘which shirks, not meets’ your intellect, +the style which, as you are scrutinising, disappears.</p> + +<p>Nor is this all, or even the principal lesson, which <i>Enoch +Arden</i> may suggest to us, of the use of ornate art. That art +is the appropriate art for an <i>unpleasing type</i>. Many of the +characters of real life, if brought distinctly, prominently, and +plainly before the mind, as they really are, if shown in their +inner nature, their actual essence, are doubtless very unpleasant. +They would be horrid to meet and horrid to think of. We fear +it must be owned that Enoch Arden is this kind of person. +A dirty sailor who did <i>not</i> go home to his wife is not an agreeable +being: a varnish must be put on him to make him shine. +It is true that he acts rightly; that he is very good. But such +<span class="pagenum" id="Page_373">[373]</span>is human nature that it finds a little tameness in mere morality. +Mere virtue belongs to a charity schoolgirl, and has a taint of +the catechism. All of us feel this, though most of us are too +timid, too scrupulous, too anxious about the virtue of others to +speak out. We are ashamed of our nature in this respect, but +it is not the less our nature. And if we look deeper into the +matter there are many reasons why we should not be ashamed +of it. The soul of man, and as we necessarily believe of beings +greater than man, has many parts beside its moral part. It has +an intellectual part, an artistic part, even a religious part, in +which mere morals have no share. In Shakespeare or Goethe, +even in Newton or Archimedes, there is much which will not +be cut down to the shape of the commandments. They have +thoughts, feelings, hopes—immortal thoughts and hopes—which +have influenced the life of men, and the souls of men, +ever since their age, but which the ‘whole duty of man,’ the +ethical compendium, does not recognise. Nothing is more unpleasant +than a virtuous person with a mean mind. A highly +developed moral nature joined to an undeveloped intellectual +nature, an undeveloped artistic nature, and a very limited religious +nature, is of necessity repulsive. It represents a bit of +human nature—a good bit, of course—but a bit only, in disproportionate, +unnatural, and revolting prominence; and therefore, +unless an artist use delicate care, we are offended. The +dismal act of a squalid man needed many condiments to make +it pleasant, and therefore Mr. Tennyson was right to mix them +subtly and to use them freely.</p> + +<p>A mere act of self-denial can indeed scarcely be pleasant +upon paper. An heroic struggle with an external adversary, +even though it end in a defeat, may easily be made attractive. +Human nature likes to see itself look grand, and it looks +grand when it is making a brave struggle with foreign foes. +But it does not look grand when it is divided against itself. +An excellent person striving with temptation is a very admirable +being in reality, but he is not a pleasant being in description. +<span class="pagenum" id="Page_374">[374]</span>We hope he will win and overcome his temptation; but +we feel that he would be a more interesting being, a higher +being, if he had not felt that temptation so much. The poet +must make the struggle great in order to make the self-denial +virtuous, and if the struggle be too great, we are apt to feel +some mixture of contempt. The internal metaphysics of a +divided nature are but an inferior subject for art, and if they +are to be made attractive, much else must be combined with +them. If the excellence of Hamlet had depended on the +ethical qualities of Hamlet, it would not have been the masterpiece +of our literature. He acts virtuously of course, and kills +the people he ought to kill, but Shakespeare knew that such +goodness would not much interest the pit. He made him a +handsome prince, and a puzzling meditative character; these +secular qualities relieve his moral excellence, and so he becomes +‘nice.’ In proportion as an artist has to deal with types +essentially imperfect, he must disguise their imperfections; he +must accumulate around them as many first-rate accessories +as may make his readers forget that they are themselves +second-rate. The sudden <i>millionaires</i> of the present day +hope to disguise their social defects by buying old places, and +hiding among aristocratic furniture; just so a great artist who +has to deal with characters artistically imperfect, will use an +ornate style, will fit them into a scene where there is much else +to look at.</p> + +<p>For these reasons ornate art is, within the limits, as legitimate +as pure art. It does what pure art could not do. The +very excellence of pure art confines its employment. Precisely +because it gives the best things by themselves and exactly as +they are, it fails when it is necessary to describe inferior things +among other things, with a list of enhancements and a crowd +of accompaniments that in reality do not belong to it. Illusion, +half belief, unpleasant types, imperfect types, are as much the +proper sphere of ornate art, as an inferior landscape is the +proper sphere for the true efficacy of moonlight. A really +<span class="pagenum" id="Page_375">[375]</span>great landscape needs sunlight and bears sunlight; but moonlight +is an equaliser of beauties; it gives a romantic unreality +to what will not stand the bare truth. And just so does romantic +art.</p> + +<p>There is, however, a third kind of art which differs from +these on the point in which they most resemble one another. +Ornate art and pure art have this in common, that they paint +the types of literature in a form as perfect as they can. Ornate +art, indeed, uses undue disguises and unreal enhancements; +it does not confine itself to the best types; on the contrary, it +is its office to make the best of imperfect types and lame approximations; +but ornate art, as much as pure art, catches its +subject in the best light it can, takes the most developed aspect +of it which it can find, and throws upon it the most congruous +colours it can use. But grotesque art does just the contrary. +It takes the type, so to say, <i>in difficulties</i>. It gives a representation +of it in its minimum development, amid the circumstances +least favourable to it, just while it is struggling +with obstacles, just where it is encumbered with incongruities. +It deals, to use the language of science, not with normal types +but with abnormal specimens; to use the language of old +philosophy, not with what nature is striving to be, but with +what by some lapse she has happened to become.</p> + +<p>This art works by contrast. It enables you to see, it makes +you see, the perfect type by painting the opposite deviation. +It shows you what ought to be by what ought not to be; when +complete it reminds you of the perfect image, by showing you +the distorted and imperfect image. Of this art we possess in +the present generation one prolific master. Mr. Browning is +an artist working by incongruity. Possibly hardly one of his +most considerable efforts can be found which is not great +because of its odd mixture. He puts together things which +no one else would have put together, and produces on our +minds a result which no one else would have produced, or tried +to produce. His admirers may not like all we may have to say +<span class="pagenum" id="Page_376">[376]</span>of him. But in our way we too are among his admirers. No +one ever read him without seeing not only his great ability but +his great <i>mind</i>. He not only possesses superficial useable +talents, but the strong something, the inner secret something, +which uses them and controls them; he is great not in mere +accomplishments, but in himself. He has applied a hard strong +intellect to real life; he has applied the same intellect to the +problems of his age. He has striven to know what is: he has +endeavoured not to be cheated by counterfeits, not to be infatuated +with illusions. His heart is in what he says. He has +battered his brain against his creed till he believes it. He +has accomplishments too, the more effective because they are +mixed. He is at once a student of mysticism and a citizen of +the world. He brings to the club-sofa distinct visions of old +creeds, intense images of strange thoughts: he takes to the +bookish student tidings of wild Bohemia, and little traces of +the <i>demi-monde</i>. He puts down what is good for the naughty, +and what is naughty for the good. Over women his easier +writings exercise that imperious power which belongs to the +writings of a great man of the world upon such matters. He +knows women, and therefore they wish to know him. If we +blame many of Browning’s efforts, it is in the interest of art, +and not from a wish to hurt or degrade him.</p> + +<p>If we wanted to illustrate the nature of grotesque art by an +exaggerated instance, we should have selected a poem which the +chance of late publication brings us in this new volume. Mr. +Browning has undertaken to describe what may be called <i>mind +in difficulties</i>—mind set to make out the universe under the +worst and hardest circumstances. He takes ‘Caliban,’ not perhaps +exactly Shakespeare’s Caliban, but an analogous and worse +creature; a strong thinking power, but a nasty creature—a +gross animal, uncontrolled and unelevated by any feeling of +religion or duty. The delineation of him will show that Mr. +Browning does not wish to take undue advantage of his readers +by a choice of nice subjects.</p> + +<p><span class="pagenum" id="Page_377">[377]</span></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Will sprawl, now that the heat of day is best,</div> + <div class="verse indent0">Flat on his belly in the pit’s much mire,</div> + <div class="verse indent0">With elbows wide, fists clenched to prop his chin;</div> + <div class="verse indent0">And, while he kicks both feet in the cool slush,</div> + <div class="verse indent0">And feels about his spine small eft-things course,</div> + <div class="verse indent0">Run in and out each arm, and make him laugh;</div> + <div class="verse indent0">And while above his head a pompion plant,</div> + <div class="verse indent0">Coating the cave-top as a brow its eye,</div> + <div class="verse indent0">Creeps down to touch and tickle hair and beard,</div> + <div class="verse indent0">And now a flower drops with a bee inside,</div> + <div class="verse indent0">And now a fruit to snap at, catch and crunch:’</div> + </div> + </div> +</div> + +<p class="noindent">This pleasant creature proceeds to give his idea of the origin +of the Universe, and it is as follows. Caliban speaks in the +third person, and is of opinion that the maker of the Universe +took to making it on account of his personal discomfort:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Setebos, Setebos, and Setebos!</div> + <div class="verse indent0">’Thinketh, He dwelleth i’ the cold o’ the moon.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘’Thinketh He made it, with the sun to match,</div> + <div class="verse indent0">But not the stars: the stars came otherwise;</div> + <div class="verse indent0">Only made clouds, winds, meteors, such as that:</div> + <div class="verse indent0">Also this isle, what lives and grows thereon,</div> + <div class="verse indent0">And snaky sea which rounds and ends the same.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘’Thinketh, it came of being ill at ease:</div> + <div class="verse indent0">He hated that He cannot change His cold,</div> + <div class="verse indent0">Nor cure its ache. ’Hath spied an icy fish</div> + <div class="verse indent0">That longed to ’scape the rock-stream where she lived,</div> + <div class="verse indent0">And thaw herself within the lukewarm brine</div> + <div class="verse indent0">O’ the lazy sea her stream thrusts far amid,</div> + <div class="verse indent0">A crystal spike ’twixt two warm walls of wave;</div> + <div class="verse indent0">Only she ever sickened, found repulse</div> + <div class="verse indent0">At the other kind of water, not her life,</div> + <div class="verse indent0">(Green-dense and dim-delicious, bred o’ the sun)</div> + <div class="verse indent0">Flounced back from bliss she was not born to breathe,</div> + <div class="verse indent0">And in her old bounds buried her despair,</div> + <div class="verse indent0">Hating and loving warmth alike: so He.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘’Thinketh, He made thereat the sun, this isle,</div> + <div class="verse indent0">Trees and the fowls here, beast and creeping thing.</div> +<span class="pagenum" id="Page_378">[378]</span> <div class="verse indent0">Yon otter, sleek-wet, black, lithe as a leech;</div> + <div class="verse indent0">Yon auk, one fire-eye, in a ball of foam,</div> + <div class="verse indent0">That floats and feeds; a certain badger brown</div> + <div class="verse indent0">He hath watched hunt with that slant white-wedge eye</div> + <div class="verse indent0">By moonlight; and the pie with the long tongue</div> + <div class="verse indent0">That pricks deep into oakwarts for a worm,</div> + <div class="verse indent0">And says a plain word when she finds her prize,</div> + <div class="verse indent0">But will not eat the ants; the ants themselves</div> + <div class="verse indent0">That build a wall of seeds and settled stalks</div> + <div class="verse indent0">About their hole—He made all these and more,</div> + <div class="verse indent0">Made all we see, and us, in spite: how else?’</div> + </div> + </div> +</div> + +<p>It may seem perhaps to most readers that these lines are +very difficult, and that they are unpleasant. And so they are. +We quote them to illustrate, not the <i>success</i> of grotesque art, +but the <i>nature</i> of grotesque art. It shows the end at which +this species of art aims, and if it fails it is from over-boldness +in the choice of a subject by the artist, or from the defects of +its execution. A thinking faculty more in difficulties—a great +type,—an inquisitive, searching intellect under more disagreeable +conditions, with worse helps, more likely to find falsehood, +less likely to find truth, can scarcely be imagined. Nor is the +mere description of the thought at all bad: on the contrary, if +we closely examine it, it is very clever. Hardly anyone could +have amassed so many ideas at once nasty and suitable. But +scarcely any readers—any casual readers—who are not of the +sect of Mr. Browning’s admirers will be able to examine it +enough to appreciate it. From a defect, partly of subject, and +partly of style, many of Mr. Browning’s works make a demand +upon the reader’s zeal and sense of duty to which the nature of +most readers is unequal. They have on the turf the convenient +expression ‘staying power’: some horses can hold on +and others cannot. But hardly any reader not of especial and +peculiar nature can hold on through such composition. There +is not enough of ‘staying power’ in human nature. One of +his greatest admirers once owned to us that he seldom or never +began a new poem without looking on in advance, and foreseeing +<span class="pagenum" id="Page_379">[379]</span>with caution what length of intellectual adventure he +was about to commence. Whoever will work hard at such +poems will find much mind in them: they are a sort of quarry +of ideas, but who ever goes there will find these ideas in such +a jagged, ugly, useless shape that he can hardly bear them.</p> + +<p>We are not judging Mr. Browning simply from a hasty, +recent production. All poets are liable to misconceptions, and +if such a piece as ‘Caliban upon Setebos’ were an isolated error, +a venial and particular exception, we should have given it no +prominence. We have put it forward because it just elucidates +both our subject and the characteristics of Mr. Browning. But +many other of his best known pieces do so almost equally; +what several of his devotees think his best piece is quite +enough illustrative for anything we want. It appears that on +Holy Cross day at Rome the Jews were obliged to listen to a +Christian sermon in the hope of their conversion, though this +is, according to Mr. Browning, what they really said when they +came away:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Fee, faw, fum! bubble and squeak!</div> + <div class="verse indent0">Blessedest Thursday’s the fat of the week.</div> + <div class="verse indent0">Rumble and tumble, sleek and rough,</div> + <div class="verse indent0">Stinking and savoury, smug and gruff,</div> + <div class="verse indent0">Take the church-road, for the bell’s due chime</div> + <div class="verse indent0">Gives us the summons—’tis sermon-time.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Boh, here’s Barnabas! Job, that’s you?</div> + <div class="verse indent0">Up stumps Solomon—bustling too?</div> + <div class="verse indent0">Shame, man! greedy beyond your years</div> + <div class="verse indent0">To handsel the bishop’s shaving-shears?</div> + <div class="verse indent0">Fair play’s a jewel! leave friends in the lurch?</div> + <div class="verse indent0">Stand on a line ere you start for the church.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Higgledy, piggledy, packed we lie,</div> + <div class="verse indent0">Rats in a hamper, swine in a stye,</div> + <div class="verse indent0">Wasps in a bottle, frogs in a sieve,</div> + <div class="verse indent0">Worms in a carcase, fleas in a sleeve.</div> + <div class="verse indent0">Hist! square shoulders, settle your thumbs</div> + <div class="verse indent0">And buzz for the bishop—here he comes.’</div> + </div> + </div> +</div> + +<p><span class="pagenum" id="Page_380">[380]</span></p> + +<p class="noindent">And after similar nice remarks for a church, the edified congregation +concludes:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘But now, while the scapegoats leave our flock,</div> + <div class="verse indent0">And the rest sit silent and count the clock,</div> + <div class="verse indent0">Since forced to muse the appointed time</div> + <div class="verse indent0">On these precious facts and truths sublime,—</div> + <div class="verse indent0">Let us fitly employ it, under our breath,</div> + <div class="verse indent0">In saying Ben Ezra’s Song of Death.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘For Rabbi Ben Ezra, the night he died,</div> + <div class="verse indent0">Called sons and son’s sons to his side,</div> + <div class="verse indent0">And spoke, “This world has been harsh and strange;</div> + <div class="verse indent0">Something is wrong: there needeth a change.</div> + <div class="verse indent0">But what, or where? at the last, or first?</div> + <div class="verse indent0">In one point only we sinned, at worst.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“The Lord will have mercy on Jacob yet,</div> + <div class="verse indent0">And again in his border see Israel set.</div> + <div class="verse indent0">When Judah beholds Jerusalem,</div> + <div class="verse indent0">The stranger-seed shall be joined to them:</div> + <div class="verse indent0">To Jacob’s House shall the Gentiles cleave.</div> + <div class="verse indent0">So the Prophet saith and his sons believe.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“Ay, the children of the chosen race</div> + <div class="verse indent0">Shall carry and bring them to their place:</div> + <div class="verse indent0">In the land of the Lord shall lead the same,</div> + <div class="verse indent0">Bondsmen and handmaids. Who shall blame,</div> + <div class="verse indent0">When the slave enslave, the oppressed ones o’er</div> + <div class="verse indent0">The oppressor triumph for evermore?</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“God spoke, and gave us the word to keep:</div> + <div class="verse indent0">Bade never fold the hands nor sleep</div> + <div class="verse indent0">’Mid a faithless world,—at watch and ward,</div> + <div class="verse indent0">Till Christ at the end relieve our guard.</div> + <div class="verse indent0">By His servant Moses the watch was set:</div> + <div class="verse indent0">Though near upon cock-crow, we keep it yet.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“Thou! if Thou wast He, who at mid watch came,</div> + <div class="verse indent0">By the starlight, naming a dubious Name!</div> + <div class="verse indent0">And if, too heavy with sleep—too rash</div> + <div class="verse indent0">With fear—O Thou, if that martyr gash</div> + <div class="verse indent0">Fell on Thee coming to take Thine own,</div> + <div class="verse indent0">And we gave the Cross, when we owed the Throne—</div> +<span class="pagenum" id="Page_381">[381]</span> </div> + <div class="stanza"> + <div class="verse indent0">‘“Thou art the Judge. We are bruised thus.</div> + <div class="verse indent0">But, the judgment over, join sides with us!</div> + <div class="verse indent0">Thine too is the cause! and not more Thine</div> + <div class="verse indent0">Than ours, is the work of these dogs and swine,</div> + <div class="verse indent0">Whose life laughs through and spits at their creed,</div> + <div class="verse indent0">Who maintain Thee in word, and defy Thee in deed!</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“We withstood Christ then? be mindful how</div> + <div class="verse indent0">At least we withstand Barabbas now!</div> + <div class="verse indent0">Was our outrage sore? But the worst we spared,</div> + <div class="verse indent0">To have called these—Christians, had we dared!</div> + <div class="verse indent0">Let defiance to them pay mistrust of Thee,</div> + <div class="verse indent0">And Rome make amends for Calvary!</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“By the torture, prolonged from age to age,</div> + <div class="verse indent0">By the infamy, Israel’s heritage,</div> + <div class="verse indent0">By the Ghetto’s plague, by the garb’s disgrace,</div> + <div class="verse indent0">By the badge of shame, by the felon’s place,</div> + <div class="verse indent0">By the branding-tool, the bloody whip,</div> + <div class="verse indent0">And the summons to Christian fellowship,—</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“We boast our proof that at least the Jew</div> + <div class="verse indent0">Would wrest Christ’s name from the Devil’s crew.</div> + <div class="verse indent0">Thy face took never so deep a shade</div> + <div class="verse indent0">But we fought them in it, God our aid!</div> + <div class="verse indent0">A trophy to bear, as we march, Thy band</div> + <div class="verse indent0">South, East, and on to the Pleasant Land!”’</div> + </div> + </div> +</div> + +<p>It is very natural that a poet whose wishes incline, or whose +genius conducts him to a grotesque art, should be attracted +towards mediæval subjects. There is no age whose legends are +so full of grotesque subjects, and no age whose real life was so +fit to suggest them. Then, more than at any other time, good +principles have been under great hardships. The vestiges of +ancient civilisation, the germs of modern civilisation, the little +remains of what had been, the small beginnings of what is, were +buried under a cumbrous mass of barbarism and cruelty. Good +elements hidden in horrid accompaniments are the special +theme of grotesque art, and these mediæval life and legends +afford more copiously than could have been furnished before +<span class="pagenum" id="Page_382">[382]</span>Christianity gave its new elements of good, or since modern +civilisation has removed some few at least of the old elements +of destruction. A <i>buried</i> life like the spiritual mediæval was +Mr. Browning’s natural element, and he was right to be attracted +by it. His mistake has been, that he has not made it pleasant; +that he has forced his art to topics on which no one could charm, +or on which he, at any rate, could not; that on these occasions +and in these poems he has failed in fascinating men and women +of sane taste.</p> + +<p>We say ‘sane’ because there is a most formidable and +estimable <i>insane</i> taste. The will has great though indirect +power over the taste, just as it has over the belief. There are +some horrid beliefs from which human nature revolts, from +which at first it shrinks, to which, at first, no effort can force +it. But if we fix the mind upon them they have a power over +us just because of their natural offensiveness. They are like the +sight of human blood: experienced soldiers tell us that at first +men are sickened by the smell and newness of blood almost to +death and fainting, but that as soon as they harden their hearts +and stiffen their minds, as soon as they <i>will</i> bear it, then comes +an appetite for slaughter, a tendency to gloat on carnage, to +love blood, at least for the moment, with a deep, eager love. It +is a principle that if we put down a healthy instinctive aversion, +nature avenges herself by creating an unhealthy insane attraction. +For this reason, the most earnest truth-seeking men fall +into the worst delusions; they will not let their mind alone; +they force it towards some ugly thing, which a crotchet of argument, +a conceit of intellect recommends, and nature punishes +their disregard of her warning by subjection to the ugly one, by +belief in it. Just so the most industrious critics get the most +admiration. They think it unjust to rest in their instinctive +natural horror: they overcome it, and angry nature gives them +over to ugly poems and marries them to detestable stanzas.</p> + +<p>Mr. Browning possibly, and some of the worst of Mr. Browning’s +admirers certainly, will say that these grotesque objects +<span class="pagenum" id="Page_383">[383]</span>exist in real life, and therefore they ought to be, at least may +be, described in art. But, though pleasure is not the end of +poetry, pleasing is a condition of poetry. An exceptional monstrosity +of horrid ugliness cannot be made pleasing, except it be +made to suggest—to recall—the perfection, the beauty, from +which it is a deviation. Perhaps in extreme cases no art is +equal to this; but then such self-imposed problems should not +be worked by the artist; these out-of-the-way and detestable +subjects should be let alone by him. It is rather characteristic +of Mr. Browning to neglect this rule. He is the most of a +realist, and the least of an idealist, of any poet we know. He +evidently sympathises with some part at least of Bishop Blougram’s +apology. Anyhow this world exists. ‘There <i>is</i> good wine—there +<i>are</i> pretty women—there <i>are</i> comfortable benefices—there +<i>is</i> money, and it is pleasant to spend it. Accept the creed +of your age and you get these, reject that creed and you lose +them. And for what do you lose them? For a fancy creed of +your own, which no one else will accept, which hardly anyone +will call a “creed,” which most people will consider a sort of +unbelief.’ Again, Mr. Browning evidently loves what we may +call the realism, the grotesque realism, of orthodox Christianity. +Many parts of it in which great divines have felt keen difficulties +are quite pleasant to him. He must <i>see</i> his religion, he must +have an ‘object-lesson’ in believing. He must have a creed +that will <i>take</i>, which wins and holds the miscellaneous world, +which stout men will heed, which nice women will adore. The +spare moments of solitary religion—the ‘obdurate questionings,’ +the high ‘instincts,’ the ‘first affections,’ the ‘shadowy recollections,’</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent6">‘Which, do they what they may,</div> + <div class="verse indent0">Are yet the fountain-light of all our day—</div> + <div class="verse indent0">Are yet a master-light of all our seeing;’</div> + </div> + </div> +</div> + +<p class="noindent">the great but vague faith—the unutterable tenets—seem to him +worthless, visionary; they are not enough immersed in matter; +they move about ‘in worlds not realised.’ We wish he could be +<span class="pagenum" id="Page_384">[384]</span>tried like the prophet once; he would have found God in the +earthquake and the storm; he would have deciphered from them +a bracing and a rough religion: he would have known that crude +men and ignorant women felt them too, and he would accordingly +have trusted them; but he would have distrusted and +disregarded the ‘still small voice:’ he would have said it was +‘fancy’—a thing you thought you heard to-day, but were not +sure you had heard to-morrow: he would call it a nice illusion, +an immaterial prettiness; he would ask triumphantly ‘How are +you to get the mass of men to heed this little thing?’ he would +have persevered and insisted ‘<i>My wife</i> does not hear it.’</p> + +<p>But although a suspicion of beauty, and a taste for ugly +reality, have led Mr. Browning to exaggerate the functions, +and to caricature the nature of grotesque art, we own, or rather +we maintain, that he has given many excellent specimens of +that art within its proper boundaries and limits. Take an +example, his picture of what we may call the <i>bourgeois</i> nature +in <i>difficulties</i>; in the utmost difficulty, in contact with magic +and the supernatural. He has made of it something homely, +comic, true; reminding us of what <i>bourgeois</i> nature really is. +By showing us the type under abnormal conditions, he reminds +us of the type under its best and most satisfactory conditions:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Hamelin Town’s in Brunswick,</div> + <div class="verse indent2">By famous Hanover city;</div> + <div class="verse indent0">The river Weser, deep and wide,</div> + <div class="verse indent0">Washes its walls on the southern side;</div> + <div class="verse indent0">A pleasanter spot you never spied;</div> + <div class="verse indent2">But, when begins my ditty,</div> + <div class="verse indent0">Almost five hundred years ago,</div> + <div class="verse indent0">To see the townsfolk suffer so</div> + <div class="verse indent2">From vermin, was a pity.</div> + </div> + <div class="stanza"> + <div class="verse indent2">‘Rats!</div> + <div class="verse indent0">They fought the dogs, and killed the cats,</div> + <div class="verse indent0">And bit the babies in the cradles,</div> +<span class="pagenum" id="Page_385">[385]</span> <div class="verse indent0">And ate the cheeses out of the vats,</div> + <div class="verse indent2">And licked the soup from the cook’s own ladles,</div> + <div class="verse indent0">Split open the kegs of salted sprats,</div> + <div class="verse indent0">Made nests inside men’s Sunday hats,</div> + <div class="verse indent0">And even spoiled the women’s chats,</div> + <div class="verse indent4">By drowning their speaking</div> + <div class="verse indent4">With shrieking and squeaking</div> + <div class="verse indent0">In fifty different sharps and flats.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘At last the people in a body</div> + <div class="verse indent2">To the Town Hall came flocking:</div> + <div class="verse indent0">“’Tis clear,” cried they, “our Mayor’s a noddy;</div> + <div class="verse indent2">And as for our Corporation—shocking,</div> + <div class="verse indent0">To think we buy gowns lined with ermine,</div> + <div class="verse indent0">For dolts that can’t or won’t determine</div> + <div class="verse indent0">What’s best to rid us of our vermin!</div> + <div class="verse indent0">You hope, because you’re old and obese,</div> + <div class="verse indent0">To find in the furry civic robe ease?</div> + <div class="verse indent0">Rouse up, Sirs! Give your brains a racking</div> + <div class="verse indent0">To find the remedy we’re lacking,</div> + <div class="verse indent0">Or, sure as fate, we’ll send you packing!”</div> + <div class="verse indent0">At this the Mayor and Corporation</div> + <div class="verse indent0">Quaked with a mighty consternation.’</div> + </div> + </div> +</div> + +<p>A person of musical abilities proposes to extricate the +civic dignitaries from the difficulty, and they promise him a +thousand guilders if he does.</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘Into the street the Piper stept,</div> + <div class="verse indent2">Smiling first a little smile,</div> + <div class="verse indent0">As if he knew what magic slept</div> + <div class="verse indent2">In his quiet pipe the while;</div> + <div class="verse indent0">Then, like a musical adept,</div> + <div class="verse indent0">To blow the pipe his lips he wrinkled,</div> + <div class="verse indent0">And green and blue his sharp eye twinkled</div> + <div class="verse indent0">Like a candle-flame when salt is sprinkled;</div> + <div class="verse indent0">And ere three shrill notes the pipe uttered</div> + <div class="verse indent0">You heard as if an army muttered;</div> + <div class="verse indent0">And the muttering grew to a grumbling;</div> + <div class="verse indent0">And the grumbling grew to a mighty rumbling:</div> + <div class="verse indent0">And out of the houses the rats came tumbling.</div> +<span class="pagenum" id="Page_386">[386]</span> <div class="verse indent0">Great rats, small rats, lean rats, brawny rats,</div> + <div class="verse indent0">Brown rats, black rats, grey rats, tawny rats,</div> + <div class="verse indent0">Grave old plodders, gay young friskers,</div> + <div class="verse indent2">Fathers, mothers, uncles, cousins,</div> + <div class="verse indent0">Cocking tails and pricking whiskers,</div> + <div class="verse indent2">Families by tens and dozens.</div> + <div class="verse indent0">Brothers, sisters, husbands, wives—</div> + <div class="verse indent0">Followed the Piper for their lives.</div> + <div class="verse indent0">From street to street he piped advancing,</div> + <div class="verse indent0">And step for step they followed dancing</div> + <div class="verse indent0">Until they came to the river Weser,</div> + <div class="verse indent0">Wherein all plunged and perished!</div> + <div class="verse indent0">—Save one who, stout as Julius Cæsar,</div> + <div class="verse indent0">Swam across and lived to carry</div> + <div class="verse indent0">(As he, the manuscript he cherished)</div> + <div class="verse indent0">To Rat-land home his commentary:</div> + <div class="verse indent0">Which was, “At the first shrill notes of the pipe,</div> + <div class="verse indent0">I heard a sound as of scraping tripe,</div> + <div class="verse indent0">And putting apples, wondrous ripe,</div> + <div class="verse indent0">Into a cider-press’s gripe:</div> + <div class="verse indent0">And a moving away of pickle-tub boards,</div> + <div class="verse indent0">And a leaving ajar of conserve-cupboards,</div> + <div class="verse indent0">And a drawing the corks of train-oil flasks,</div> + <div class="verse indent0">And a breaking the hoops of butter casks;</div> + <div class="verse indent0">And it seemed as if a voice</div> + <div class="verse indent0">(Sweeter far than by harp or by psaltery</div> + <div class="verse indent0">Is breathed) called out, Oh rats, rejoice!</div> + <div class="verse indent0">The world is grown to one vast drysaltery!</div> + <div class="verse indent0">So munch on, crunch on, take your nuncheon,</div> + <div class="verse indent0">Breakfast, supper, dinner, luncheon!</div> + <div class="verse indent0">And just as a bulky sugar-puncheon,</div> + <div class="verse indent0">All ready staved, like a great sun shone</div> + <div class="verse indent0">Glorious scarce an inch before me,</div> + <div class="verse indent0">Just as methought it said, Come, bore me!</div> + <div class="verse indent0">—I found the Weser rolling o’er me.”</div> + <div class="verse indent0">You should have heard the Hamelin people</div> + <div class="verse indent0">Ringing the bells till they rocked the steeple.</div> + <div class="verse indent0">“Go,” cried the Mayor, “and get long poles,</div> + <div class="verse indent0">Poke out the nests and block up the holes!</div> + <div class="verse indent0">Consult with carpenters and builders,</div> + <div class="verse indent0">And leave in our town not even a trace</div> + <div class="verse indent0">Of the rats!”—when suddenly, up the face</div> +<span class="pagenum" id="Page_387">[387]</span> <div class="verse indent0">Of the Piper perked in the market-place,</div> + <div class="verse indent0">With a “First, if you please, my thousand guilders!”</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘A thousand guilders! The Mayor looked blue;</div> + <div class="verse indent0">So did the Corporation too.</div> + <div class="verse indent0">For council dinners made rare havoc</div> + <div class="verse indent0">With Claret, Moselle, Vin-de-Grave, Hock;</div> + <div class="verse indent0">And half the money would replenish</div> + <div class="verse indent0">Their cellar’s biggest butt with Rhenish.</div> + <div class="verse indent0">To pay this sum to a wandering fellow</div> + <div class="verse indent0">With a gipsy coat of red and yellow!</div> + <div class="verse indent0">“Beside,” quoth the Mayor with a knowing wink,</div> + <div class="verse indent0">“Our business was done at the river’s brink;</div> + <div class="verse indent0">We saw with our eyes the vermin sink,</div> + <div class="verse indent0">And what’s dead can’t come to life, I think.</div> + <div class="verse indent0">So, friend, we’re not the folks to shrink</div> + <div class="verse indent0">From the duty of giving you something for drink,</div> + <div class="verse indent0">And a matter of money to put in your poke;</div> + <div class="verse indent0">But as for the guilders, what we spoke</div> + <div class="verse indent0">Of them, as you very well know, was in joke.</div> + <div class="verse indent0">Beside, our losses have made us thrifty.</div> + <div class="verse indent0">A thousand guilders! Come, take fifty!”</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘The Piper’s face fell, and he cried,</div> + <div class="verse indent0">“No trifling! I can’t wait, beside!</div> + <div class="verse indent0">I’ve promised to visit by dinner time</div> + <div class="verse indent0">Bagdat, and accept the prime</div> + <div class="verse indent0">Of the Head-Cook’s pottage, all he’s rich in,</div> + <div class="verse indent0">For having left, in the Caliph’s kitchen,</div> + <div class="verse indent0">Of a nest of scorpions no survivor—</div> + <div class="verse indent0">With him I proved no bargain-driver.</div> + <div class="verse indent0">With you, don’t think I’ll bate a stiver!</div> + <div class="verse indent0">And folks who put me in a passion</div> + <div class="verse indent0">May find me pipe to another fashion.”</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘“How?” cried the Mayor, “d’ye think I’ll brook</div> + <div class="verse indent0">Being worse treated than a Cook?</div> + <div class="verse indent0">Insulted by a lazy ribald</div> + <div class="verse indent0">With idle pipe and vesture piebald?</div> +<span class="pagenum" id="Page_388">[388]</span> <div class="verse indent0">You threaten us, fellow? Do your worst,</div> + <div class="verse indent0">Blow your pipe there till you burst!”</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘Once more he stept into the street;</div> + <div class="verse indent2">And to his lips again</div> + <div class="verse indent0">Laid his long pipe of smooth straight cane;</div> + <div class="verse indent2">And ere he blew three notes (such sweet</div> + <div class="verse indent0">Soft notes as yet musician’s cunning</div> + <div class="verse indent2">Never gave the enraptured air)</div> + <div class="verse indent0">There was a rustling that seemed like a bustling</div> + <div class="verse indent0">Of merry crowds justling at pitching and hustling,</div> + <div class="verse indent0">Small feet were pattering, wooden shoes clattering,</div> + <div class="verse indent0">Little hands clapping and little tongues chattering,</div> + <div class="verse indent0">And, like fowls in a farm-yard when barley is scattering,</div> + <div class="verse indent0">Out came the children running.</div> + </div> + <div class="stanza"> + <div class="verse indent0">‘All the little boys and girls,</div> + <div class="verse indent0">With rosy cheeks and flaxen curls,</div> + <div class="verse indent0">And sparkling eyes and teeth like pearls,</div> + <div class="verse indent0">Tripping and skipping, ran merrily after</div> + <div class="verse indent0">The wonderful music with shouting and laughter.</div> + <div class="center">...</div> + <div class="verse indent0">And I must not omit to say</div> + <div class="verse indent0">That in Transylvania there’s a tribe</div> + <div class="verse indent0">Of alien people that ascribe</div> + <div class="verse indent0">The outlandish ways and dress</div> + <div class="verse indent0">On which their neighbours lay such stress,</div> + <div class="verse indent0">To their fathers and mothers having risen</div> + <div class="verse indent0">Out of some subterraneous prison</div> + <div class="verse indent0">Into which they were trepanned</div> + <div class="verse indent0">Long time ago in a mighty band</div> + <div class="verse indent0">Out of Hamelin town in Brunswick land,</div> + <div class="verse indent0">But how or why they don’t understand.’</div> + </div> + </div> +</div> + +<p>Something more we had to say of Mr. Browning, but we +must stop. It is singularly characteristic of this age that the +poems which rise to the surface should be examples of ornate +art, and grotesque art, not of pure art. We live in the realm +of the <i>half</i> educated. The number of readers grows daily, but +<span class="pagenum" id="Page_389">[389]</span>the quality of readers does not improve rapidly. The middle +class is scattered, headless; it is well-meaning, but aimless; +wishing to be wise, but ignorant how to be wise. The aristocracy +of England never was a literary aristocracy, never even +in the days of its full power—of its unquestioned predominance, +did it guide—did it even seriously try to guide—the +taste of England. Without guidance young men, and tired +men, are thrown amongst a mass of books; they have to choose +which they like; many of them would much like to improve +their culture, to chasten their taste, if they knew how. But +left to themselves they take, not pure art, but showy art; not +that which permanently relieves the eye and makes it happy +whenever it looks, and as long as it looks, but <i>glaring</i> art +which catches and arrests the eye for a moment, but which in +the end fatigues it. But before the wholesome remedy of +nature—the fatigue arrives—the hasty reader has passed on to +some new excitement, which in its turn stimulates for an +instant, and then is passed by for ever. These conditions are +not favourable to the due appreciation of pure art—of that art +which must be known before it is admired—which must have +fastened irrevocably on the brain before you appreciate it—which +you must love ere it will seem worthy of your love. +Women too, whose voice in literature counts as well as that of +men—and in a light literature counts for more than that of +men—women, such as we know them, such as they are likely +to be, ever prefer a delicate unreality to a true or firm art. A +dressy literature, an exaggerated literature seem to be fated to +us. These are our curses, as other times had theirs.</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent24">‘And yet</div> + <div class="verse indent0">Think not the living times forget,</div> + <div class="verse indent0">Ages of heroes fought and fell,</div> + <div class="verse indent0">That Homer in the end might tell;</div> + <div class="verse indent0">O’er grovelling generations past</div> + <div class="verse indent0">Upstood the Doric fane at last;</div> + <div class="verse indent0">And countless hearts on countless years</div> +<span class="pagenum" id="Page_390">[390]</span> <div class="verse indent0">Had wasted thoughts, and hopes, and fears,</div> + <div class="verse indent0">Rude laughter and unmeaning tears;</div> + <div class="verse indent0">Ere England Shakespeare saw, or Rome</div> + <div class="verse indent0">The pure perfection of her dome.</div> + <div class="verse indent0">Others I doubt not, if not we,</div> + <div class="verse indent0">The issue of our toils shall see;</div> + <div class="verse indent0">Young children gather as their own</div> + <div class="verse indent0">The harvest that the dead had sown,</div> + <div class="verse indent0">The dead forgotten and unknown.’⁠<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a>⁠</div> + </div> + </div> +</div> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_391">[391]</span></p> + +<h2 class="nobreak" id="APPENDIX">APPENDIX.</h2> + +<h3 class="nobreak" id="APPENDIX_I"><i>THE IGNORANCE OF +MAN.</i>⁠<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a><br> +<span class="smaller">(1862.)</span></h3> + +</div> + +<p>A bold man once said that religion and morality were inconsistent. +He argued thus: The essence of religion—part of the essence, at any +rate—is recompense; a belief in another life is only another name +for the anticipation of a time when wickedness will be punished, and +when goodness will be rewarded. If you admit a Providence, you +acknowledge the existence of an adjusting agency, of a power which +is recompensing by its very definition, and of its very nature, which +allots happiness to virtue and pain to vice. On the other hand, the +essence of morality is disinterestedness; a man who does good for the +sake of a future gain to himself is, in a moral point of view, altogether +inferior to one who does good for the good’s sake, who hopes for +nothing again, who is not thinking of himself, who is not calculating +his own futurity. Between a man who does good to the world because +he takes an intelligent view of his real interest, and another who does +harm to the world because he is blind to that interest, there is only +an intellectual difference,—the one is mentally longsighted, the other +mentally short-sighted. By the admission of all mankind, a disinterested +action is better than a selfish action; a disinterested man +is higher than a selfish man. Yet how is it possible that a religious +man can be disinterested? Heaven overarches him, hell yawns +before him. How can he help having his eyes attracted by the +one and terrified by the other? He boasts, indeed, that religion is +useful to mankind by producing good actions; he extols the attractive +influence of future reward, and the deterring efficacy of apprehended +penalty. But his boast is absurd and premature; by holding forth +these anticipated bribes, by menacing these pains, he extracts from +<span class="pagenum" id="Page_392">[392]</span>virtue <i>its virtue</i>; he makes it selfishness like the rest; he constructs +an edifying and hoping saint, but he spoils the disinterested and +uncalculating man.</p> + +<p>These thoughts are not often boldly expressed. Fundamental +difficulties rarely are. They constantly confuse the mind, and they +are always floating like a vague mist in the intellectual air; they +distort and blur the outlines of everything else, but they have no distinct +outline of their own. An obscure difficulty is a pervading evil; +the first requisite for removing it is to make it clear; if you assign a +limit, you notify the frontier at which it may be attacked.</p> + +<p>The objection is, in most people’s apprehensions, and in its +common incomplete expressions, confined exclusively to the doctrine +of a future life, but it is at least equally applicable to the belief in a +God who rules and governs. We can of course conceive of supernatural +beings who do not interfere with us, who do not care for us, +who do not help us, who have no connection with our moral life, who +do good to no one, who do evil to no one. Such were the gods of +Lucretius, the most fascinating of pure inventions; but such gods are +not the gods of religion. The ancient Epicurean, in times when +obscure difficulties were discussed in plainer words than is now either +possible or advisable, expressly defended them on that ground. He +did not want his gods to interfere with him; he thought it would +impair the ideal languor of their life, as well as the inapprehensive +security of his own life. They lived ‘self-scanned, self-centred, self-secure,’ +and he was, in so far as was possible, to do so also. He did +not wish the voluptuaries of heaven to become the busybodies of +earth. He liked to have a pleasant dream of the upper world, but he +did not wish it to descend and rule him. But as soon as we abandon +the natural fiction of the voluptuous imagination; as soon as we accept +the idea of a God who is a providence in the universe, and not an +idol in heaven; as soon as we allow that He loves good and hates +evil; as soon as we are sure that He is our Father, and chastises us +as children; as soon as we acknowledge a God such as the human +heart and conscience crave for, the God of Christianity,—we at once +reach the primitive difficulty. Here is a Being whom <i>we know</i> will +reward the good and punish the evil; how can we do good without +reference to that supernatural recompense, or evil without shrinking +from that apprehended penalty?</p> + +<p>Nor is it for this purpose in the least material, though for many +other purposes it is very material, whether we consider God as acting +by irrevocable laws fixed once for all, or upon a system which (though +<span class="pagenum" id="Page_393">[393]</span>foreseen and immutable to Him, to whom all the future is as present +as all the past) is according to our view of it,—to our translation of +it, so to speak, into our limited capacities,—capable of flexibility at +His touch, and of modification at His pleasure. If we know that we +are rewarded and punished, it matters little, as respects our hope and +our apprehension, whether that punishment be inflicted by a machine +or by a person; in one case we shall shun the contact with the +lacerating wheel, in the other we shall dread a blow from the punitive +hand. But in either case the pain will be the determining +motive, the deterring thought. We shall act as we do act, not from +a disinterested intention to do our duty whatever be the consequences, +but from a sincere wish to get off patent and proximate suffering. +The difficulty of reconciling a true morality with a true religion is not +confined to that part of religion which relates to the anticipated life of +man hereafter, but extends to the very idea of a superintending providence +and preadjusting Creator, in whatever mode we conceive that +superintendence to be exercised, and that adjustment to have been +made.</p> + +<p>The answer most commonly given to this difficulty is unquestionably +fallacious. It is said that the desire of eternal life for ourselves +is a motive far greater and far better than the desire of anything else, +either for ourselves or for others. It is not conceived as a form of +selfishness at all—at least, not when regarded in this connection, and +employed to solve this problem. At other times, indeed, divines are +ready enough to twist the argument the other way. They will expand +at length the notion that there is a ‘common sense’ in the Gospel; +that it appeals to ‘business-like motives;’ that there is nothing +‘high-flown’ about it; that it aims to persuade sensible men of this +world, on sufficient reasons of sound prudence, to sacrifice the present +world in order to gain the invisible one; that, whatever sentimentalists +may assert, it is reward which incites to achievement, and fear +that restrains from misdoing. Sermons are written in consecrated +paragraphs, each of which is sufficient to itself, and the connection +between which is not intended to be precisely adjusted; each has an +edifying tendency, and the writer and the hearer wish for no more. +Otherwise it would not be possible, as it often is, to hear religion +commended in the same discourse at one time as self-sacrificing, and +at another as prudential; to have a eulogium on disinterestedness in +the exordium, and an appeal to selfishness at the conclusion. A mode +of composition which less disguised the true ideas of the composer, +would show that many divines really believe a desire for a long +<span class="pagenum" id="Page_394">[394]</span>pleasure in heaven, to be not only more longsighted and sensible, but +intrinsically higher, nobler, and better than a desire for a short happiness +on earth. Yet, when stated in short sentences and plain English, +the idea is palpably absurd. The ‘wish to come into a good thing’ is +of the same ethical order, whether the good thing be celestial or be +terrestrial, be distantly future, or be close at hand.</p> + +<p>A second mode of solving the difficulty, though more ingenious, +and in every way far better, is erroneous also. It is said, ‘men +generally act from mixed motives, and they do so in this case. They +are partly disinterested, and partly not disinterested. They are desirous +of doing good because it is good, and they are desirous also of +having the reward of goodness hereafter. They wish at the very +same time to benefit their neighbour in this world, and also to benefit +themselves in the world to come.’ The reply is ingenious, but it +overlooks the point of the difficulty; it mistakes the nature of mixed +motives. The constitution of man is such that if you strengthen one +of two co-operating motives, you weaken, other things being equal, +the force of the other: the lesser impulse tends always to be absorbed +in the stronger, and it may pass entirely out of thought if the stronger +is strengthened, if the greater become more prominent. We see this +in common life; it is undoubtedly possible for a statesman to act at +the same moment both from the love of office and from the love of +his country; from a wish to prolong his power and a wish to benefit +his nation. But strengthen one of these motives, and, <i>cæteris paribus</i>, +you weaken the other. Make the statesman love office more, you +thereby make him love his country less; he will be readier to sacrifice +what he will call a ‘vague theory and an impracticable purpose’ for +the sake of the power which he loves; he will cease to care to do +what he ought, from a wish to retain the capacity of doing something. +Or, suppose a further case: there have been many times and countries +where the loss of office was equivalent to the loss of liberty, perhaps +to that of life. In one age of English history, one great historian +says, ‘There was but a single step from the throne to the scaffold.’ +In another age, another great historian says, ‘It was as dangerous to +be leader of opposition as to be a highwayman.’ The possessors of +power in those times, upon principle, destroyed or endeavoured to +destroy their predecessors. Such a prospect would induce a statesman +to love office for its own sake. It would absorb the whole of his +attention; he could hardly be asked to think of his country. Extraordinary +men would do so, but ordinary men would be overwhelmed +by the ‘violent motive’ of personal fear; they would only be thinking +<span class="pagenum" id="Page_395">[395]</span>of themselves even when they were doing what in truth and fact was +beneficial to their country.</p> + +<p>The case is similar to the ‘violent motive,’ as Paley calls it, of +religion, when presented in the same manner in which Paley presents +it. If you could extend before men the awful vision of everlasting +perdition, if they could see it as they see the things of earth—as they +see Fleet Street and St. Paul’s; if you could show men likewise the inciting +vision of an everlasting heaven, if they could see that too with +undeniable certainty and invincible distinctness,—who could say that +they would have a thought for any other motive? The personal incentive +to good action, and the personal dissuasion from bad action, +would absorb all other considerations, whether deterrent or persuasive. +We could no more break a divine law than we could commit +a murder in the open street. The fact that men act from mixed +motives is no explanation of the great difficulty with which we started; +for the precise peculiarity of that difficulty is to raise one of those +mixed motives to an intensity which seems likely to absorb, extinguish, +and annihilate the other.</p> + +<p>The true explanation is precisely the reverse. The moral part of +religion—the belief in a moral state hereafter, dependent for its +nature on our goodness or our wickedness, the belief in a moral Providence, +who apportions good to good, and evil to evil—does not annihilate +the sense of the inherent nature of good and evil because it +is itself the result of that sense. Our only ground for accepting an +ethical and retributive religion is the inward consciousness that virtue +being virtue must prosper, that vice being vice must fail. From these +axioms we infer, not logically, but practically, that there is a continuous +eternity, in which what we expect will be seen, that there is +a Providence who will apportion what is good, and punish what is +evil. Of the mode in which we do so we will speak presently more +at length; but granting that this description of our religion is true, +it undeniably solves our difficulty. Our religion cannot by possibility +swallow up morality because it is dependent for its origin—for its +continuance—on that morality.</p> + +<p>Suppose a person, say in a prison, to have no knowledge by the +senses that there was such a thing as human law; suppose that he +never saw either the judicial or the executive authorities, and that no +one ever told him of their existence; suppose that by a consciousness +of the inherent nature of good and evil, the fact that such an institution +<i>must</i> exist should dawn upon his mind,—of course it would +not, but imagine that it should,—it is absurd to suppose that he +<span class="pagenum" id="Page_396">[396]</span>would feel his power of doing what is right <i>because</i> it is right diminished. +When he goes out into the world, when he hears his +judge, when he sees the policeman, when he surveys the intrusive, +the incessant, the pervading moral apparatus of human society,—<i>then</i> +he would be able to disregard and to forget what is due to intrinsic +goodness and what is to be feared from intrinsic evil. No one +will or can say that he now abstains from stealing oranges under +a policeman’s eyes from any motive, good or bad, save fear of the +policeman; that motive is so evident, so pressing, so irresistible, that +it becomes the only motive. But if he only thought the policeman +<i>must</i> exist because he believed stealing oranges to be wrong, he would +feel it quite possible to abstain from stealing oranges out of pure +and unselfish considerations.</p> + +<p>Assume that a person only knows a particular fact from a certain +informant, and suppose that on a sudden he doubts that informant, +of course his confidence in the communicated fact ceases, or is diminished. +So, <i>if</i> all our knowledge of the religious part of morality +be derived from the intrinsic impression of morality, as soon as we +question the accuracy of the informant, that instant we must be dubious +of the information. The derivative cannot be stronger than +the original; cannot overpower it; must grow when it grows, and +wane when it wanes.</p> + +<p>But is our knowledge of the moral part of religion thus derivative +and dependent? Two classes of disputants will deny it entirely: +one class will say they derive their knowledge from Natural Theology; +another will say they derive it from Revelation; and until the +arguments of both classes are examined, the subject must remain in +partial darkness. Natural theology is the simplest of theologies; it +contains only a single argument, and establishes but one conclusion. +Observing persons have gone to and fro through the earth, and they +have accumulated a million illustrations of a single analogy. They +have accumulated indications of design from all parts of the universe. +They have not, indeed, shown that <i>matter</i> was created; the substance +of matter, if there be a substance, shows no structure, no evidence of +design: according to all common belief, according to the admission of +such scientific men as admit its existence, that matter is unorganised. +By its nature it is a raw material; it is that to which manufacture, +manipulation, design—call it what you like—is to be applied; necessarily +therefore it shows no indication of design itself. The reasoners +from the workmanship of man to that of God must always fail in this: +man only adapts what he finds: God creates what He uses. But within +<span class="pagenum" id="Page_397">[397]</span>its legitimate limits the argument from design has been most effectual +for two thousand years. On a certain class of purely intellectual +minds, who think more than they live, who reason more than they +imagine, it has produced the strongest and most vivid conception of +God which, with their experience and their mental limitation, they +are capable of receiving. It has shown that <i>out of the causes we +know</i>, none is so likely to have worked up the substance of matter +into its present form as a designing and powerful mind. <i>Subject to +this assumption</i>, it shows that this mind intended to erect that mixed, +composite, involved human society which we see. These theologians +prove, for example, that man has a structure of body which enables +him to be what he is, which prevents his being in appearance, and in +most real particularities, different from what he is. They show that +the physical world is constructed so as to enable man to be what he +is, and to show what he is, so as to limit his power of being greatly +different, or of seeming so. They show, in fact, that, if the expression +be allowed, we live, as far as <i>they</i> can tell us, in a factory, the +builder of which projected certain results, contrived certain large +plans, devised certain particular machines, foresaw certain functions, +which he meant for us, which he made our interest, which he gave us +wages to perform. They show not, indeed, that an omnipotent Being +created the universe, but that an able being has been (so to say) about +it. They do not demonstrate that an infinite Being created all things, +but they <i>do</i> show, and show so that the mass of ordinary men will comprehend +and believe it, that a large mind has been concerned in manufacturing +most things.</p> + +<p>But these results do not constitute the interior essence; scarcely, +indeed, begin the exterior outwork of a substantial religion. They +touch neither that part of it which moves men’s hearts, nor that part +which occasions our primary difficulty. They do not show us an +eternal state of man hereafter, in which the anomalies of this world +may be rectified and recompensed; they do not show us an infinite +Perfection, distributing just reward with an omniscient accuracy, +according to a perfect law. It is not, indeed, to be expected that +natural philosophy should prove the immortality of man, since it does +not prove the immortality of God. It shows that an artful and able +designer has been concerned in the construction of the strange existing +world; but may it not have been the last work of the great artist? +There is nothing in contriving skill to evince immortality; nothing to +prove that the ‘great artificer’ has always been or is always going to +be. Of his moral views we collect from natural theology as much as +<span class="pagenum" id="Page_398">[398]</span>this. There are certain laws of the physical universe which cannot +be broken without pain, which avenge themselves on those who +overlook, neglect, or violate them. These were presumedly designed +(according to the moral assumption of natural theology) for the end +which they effect; they were doubtless meant to accomplish that which +they conspicuously do. On a disregard of such laws, natural theology +shows that the Providence of which it speaks has imposed a penalty; +the <i>contriving</i> God (so to speak, for it is necessary to speak plainly) is +opposed to recklessness. He does not wish His devices to be impaired or +His plans neglected. Every animal has in natural theology, if not a mission, +at least a function. There are certain results which a polyp must +produce or die; certain others which a horse must effect, or it will be +first in pain and then die too; certain other and more complex results +which man must produce, or he also will suffer and perish. But +recklessness is only a single form of vice: a watchful, heedful selfishness +is another form. For the latter, there is no indication in natural +theology of any divine disapprobation, or of any impending penalty. +A heedful being contriving for himself, living in the framework of, +adjusting himself with nice discernment and careful discretion to, the +laws of the visible world, incurs no censure from the theology of design. +On the contrary, he could justly say he had done what was +required of him. He had studiously observed, he could say, the rules +of the factory in which he lived; he had finished his own work; he +had not hindered any others from accomplishing theirs; he had complied +with the arrangements of the establishment: natural theology +seems to require no more. Self-absorbed foresight and contriving discretion +may not be great virtues according to a high morality, or +according to a true religion; but they are profitable in the visible +world. They are the virtues of men skilful in what they see. Accordingly, +they suit a theology which is exclusively based upon an +analysis of the visible world, which computes physical profits and +sensible results, which aims to show that Providence is prudent, that +God is wise in His generation.</p> + +<p>Natural theology, therefore, contains nothing to disturb the explanation +we have given of our original difficulty. The most cursory +examination of it would show as much. We have only to open the +well-known volumes in which the munificence of a former generation +has embalmed the most striking arguments of a theology which +that generation valued at more than it is worth. We find there +pictures of a bat’s wing, of the human hand, of a calf’s eye; and we +are told how ingenious, how clever, so to say,—for it is the true +<span class="pagenum" id="Page_399">[399]</span>word—these contrivances are. But no one could learn, or expect +to learn, from a calf’s eye, that the Creator is pure, just, merciful; +that He is eternal or omnipotent; that he rewards good, and punishes +evil. Throughout all the physical world He sends rain upon the +just and the unjust; and no refined analysis of that world will +detect in it a preference of the former to the latter. As it is with +the moral holiness of God, so it is with the immortality of man: +no one could expect to discover by a minute inspection of the perishable +body, what was the fate of the imperceptible soul. Physical +science may examine the structure of the brain, but it cannot foresee +the fortunes of the mind.</p> + +<p>What, then, of Revelation? Does this informant disturb the +solution of our problem? The change from the world of natural +theology to that of any revelation is most striking. The most impressive +characteristic of natural theology is its bareness. It accumulates +facts and proves little; it has voluminous evidences and a +short creed. Accordingly, the reason why it does not disturb our +philosophy is that its communications are insufficient. It does not +impart to us <i>such</i> a knowledge of a divine rewarder and punisher, +of future human punishment and future human reward, as would +render it impossible to be disinterested and hardly possible not to +be foreseeing and selfish, because it communicates <i>no</i> knowledge on +the subject. It does not teach the divine characteristic which involves +the difficulty; it does not tell, either, that part of man’s +future fate which involves it likewise. With revelation it is far +otherwise. That informant is precise, full, and clear. It tells us +plainly what God is; it warns us what may happen, and easily happen, +to ourselves. We learn from it that God is the divine ruler; we +learn from it that we are punishable creatures, whose fate depends on +ourselves. The observations which have been justly made on natural +theology are here entirely inapplicable. We have passed from a +<i>vacuum</i> into a <i>plenum</i>.</p> + +<p>The real reason why revealed religion does not invalidate our +pre-existing moral nature, is because it is itself dependent on that +nature. When we examine the evidence for revelation we alight +at once on a great and fundamental postulate; we assume that +God is veracious; we are so familiar with this great truth, that +we hardly think of it save as an axiom; both the readers of the +treatises on the evidences and the writers of them pass rapidly +and easily over it. But, putting aside for a moment the evidence +of our inner consciousness, and regarding the subject with the pure +<span class="pagenum" id="Page_400">[400]</span>intellect and bare eyes, the assumption is an audacious one. How +do we know that it is true? We have proved by natural theology +that a designing Being, of great power, considerable age, ingenious +habits, and benevolent motives, somewhere exists; but how do we +know that Being to be ‘veracious’? We see that among human +beings, the class of intellectual beings of whom we know most, and +whom we can observe best, veracity is a rare virtue. We know +that some nations seem wholly destitute of it, and that one sex in +all countries is deficient in it. We know that a human being may +have great power, and not tell the truth; ingenious habits, and not +tell the truth; kind intentions, and not tell the truth. Why may +not a superhuman Being be constituted in the same way, possess a +character similarly mixed, be remarkable not only for morals similar +to man’s, but also for defects analogous to his? Our inner nature +revolts at the supposition; but we are not now concerned with our +inner nature; we have, for the sake of distinctness, abstracted and +left it on one side. We are dealing now not with the evidence of +the heart, but with the evidence of the eyes; we are discussing not +what really is, but what would seem to be—what is all we could +know to be, if we had only five senses and a reasoning understanding. +From these informants, how could we know enough of the ingenious +unknown Being, who is so useful in the world, as to be confident He +would tell us the truth in every case? How could we presume to +guess His unexperienced speech, His latent motives, His imperceptible +character? Our knowledge of the moral part of the Divine character, +of His veracity,—as well as of His justice,—comes from our +own moral nature. We feel that God is holy, just as we feel that +holiness <i>is</i> holiness; just as we know by internal consciousness that +goodness is good in itself, and by itself; just as we know that God +in Himself is pure and holy. We feel that God is true, for veracity +is a part of holiness and a condition of purity. But if we did not +think holiness to be excellent in itself, if we did not feel it to be +a motive unaffected by consequences and independent of calculation, +our belief in the Divine holiness would fade away, and with it would +fade our belief in the Divine veracity also.</p> + +<p>Revelation, therefore, cannot undermine the very principle upon +which it is itself dependent. Our notion of the character of God +being revealed to us by our moral nature, cannot impair or weaken +the conclusion of that nature. This is the meaning of the profound +saying of Coleridge, that ‘<i>all</i> religion is revealed.’ He meant that +all knowledge of God’s character which is worth naming or regarding, +<span class="pagenum" id="Page_401">[401]</span>which excites any portion of the religious sentiment, which excites +our love, our awe, or our fear, is communicated to us by +our internal nature, by that spirit within us which is open to a +higher world, by that spirit which is in some sense God’s Spirit. +True religion of this sort does not impair the moral spirit which +revealed it; it does not dare do so, for it knows that spirit to be +its only evidence.</p> + +<p>But all religion is not true. A superstitious mind permits a +certain aspect of God’s character, say its justice, to obtain an exclusive +hold on it, to tyrannise over it, to absorb it. The soul +becomes bound down by the weight of its own revelation. Conscience +is overshadowed, weakened, and almost destroyed by the very +idea which it originally suggested, and of which it is really the only +reliable informant. Such minds are incapable of true virtue. The +essential opposition which is alleged to exist between morality and <i>all</i> +religion does exist between morality and <i>their</i> religion. They have a +selfish fear of the future, which destroys their disinterestedness, and +almost destroys their manhood.</p> + +<p>The same effect is undeniably produced on many minds—not +necessarily produced, but in fact produced—by a belief in revelation. +They are fearful of future punishment, because some being in the air +has threatened it. They have not the true belief in the Divine holiness +which arises from a love of holiness; they have not the true conception +of God which was suggested by conscience, and is kept alive +by the activity of conscience; but they have a vague persuasion that +a great Personage has asserted this, and why they should believe that +Personage they do not ask or know. While revelation remains connected +in the mind with the spirituality on which it is based, it is as +consistent with true morality as religion of any other sort; but if +disconnected from that spirituality, if it has become an isolated +terrific tenet, like any other superstition, it is inconsistent.</p> + +<p>The original difficulty with which we started, and the true answer +to that difficulty, may be summed up thus: The objection is, that the +extrinsic motive to goodness (which religion reveals) must absorb the +intrinsic motives to goodness (which morality reveals). The answer +is, that the second revelation is contingent upon the first; that those +only have a substantial ground for believing the extrinsic motive who +retain a lively confidence in the intrinsic. Perhaps some may think +this principle too plain; perhaps others may think it too unimportant +to justify so long an exposition and such a strenuous inculcation. +But if we dwell upon it and trace it to its attendant results and +<span class="pagenum" id="Page_402">[402]</span>consequences, we shall find that it will account for more of the world +than almost any other single principle—at any rate, will explain +much which puzzles us, and much which is important to us.</p> + +<p>First, this principle will explain to us the use and the necessity of +what we may call the <i>screen</i> of the physical world. Every one who has +religious ideas must have been puzzled by what we may call the irrelevancy +of creation to his religion. We find ourselves lodged in a vast +theatre, in which a ceaseless action, a perpetual shifting of scenes, an +unresting life, is going forward; and that life seems physical, unmoral, +having no relation to what our souls tell us to be great and good, to +what religion says is the design of all things. Especially when we see +any new objects, or scenes, or countries, we feel this. Look at a great +tropical plant, with large leaves stretching everywhere, and great +stalks branching out on all sides; with a big beetle on a leaf, and a +humming-bird on a branch, and an ugly lizard just below. What has +such an object to do with <i>us</i>—with anything we can conceive, or hope, +or imagine? What <i>could</i> it be created for, if creation has a moral end +and object? Or go into a gravel-pit, or stone-quarry; you see there +a vast accumulation of dull matter, yellow or grey, and you ask, +involuntarily and of necessity, why is all this waste and irrelevant +production, as it would seem, of material? Can anything seem more +stupid than a big stone <i>as</i> a big stone, than gravel for gravel’s sake? +What is the use of such cumbrous, inexpressive objects in a world +where there are minds to be filled, and imaginations to be aroused, +and souls to be saved? A clever sceptic once said on reading Paley +that <i>he</i> thought the universe was a furniture warehouse for unknown +beings; he assented to the indications of design visible in many +places, but what the end of most objects was, why <i>such</i> things were, +what was the ultimate object contemplated by the whole, he could +not understand. He thought ‘divines are right in saying that much +of the universe has an expression, but surely sceptics are right in +saying that as much or more has no expression.’ Some of the world +seems designed to show a little of God; but much more seems also +designed to hide Him and keep Him off. The reply is, that if morality +is to be disinterested, some such irrelevant universe is essential. Life, +moral life, the life of tempted beings capable of virtue and liable to +vice, of necessity involves a theatre of some sort; it could not be +carried on in a vast vacuum; <i>some</i> means of communication between +mind and mind, <i>some</i> external motive to question inward impulses, +<i>some</i> outward events as the result of past action and the stimulus to +new action, seem essential to the life of a voluntary moral being, to a +<span class="pagenum" id="Page_403">[403]</span>being tempted as a man is, living as a man lives. The only admissible +question is the nature of that theatre. Is it to be in all its parts and +objects expressive of God’s character and communicative of man’s fate? +or is it, as many say, in most parts to express nothing and tell nothing? +The reply is, that <i>if</i> the universe were to be incessantly expressive +and incessantly communicative, morality would be impossible; we +should live under the unceasing pressure of a supernatural interference, +which would give us selfish motives for doing everything, which +would menace us with supernatural punishment if we left anything +undone. We should be living in a <i>chastising</i> machine, of which the +secret would be patent and the penalties apparent. We are startled +to find a universe we did not expect. But if we lived in the universe +we did expect, the life which we lead, and were meant to lead, would +be impossible. We should expect a punitive world sanctioning moral +laws, and the perpetual punishment of those laws would be so glaringly +apparent that true virtue would become impossible. An ‘unfeeling +nature,’ an unmoral universe, a sun that shines and a rain which falls +equally on the evil and on the good, are essential to morality in a +being free like man, and created as man was. A miscellaneous world +is a suitable theatre for a single-minded life, and, so far as we can +see, the only one.</p> + +<p>The same sort of reasoning partly elucidates, even if it does not +explain, the brevity of our apparent life. If visible life were eternal, +future punishments must be visible. We should meet in our streets +with old, old men enduring the consequences of offences which happened +before we were born. We should not see, perhaps, old age as +we now see it; decrepitude would be unknown to us. If there was +immortal life on earth, there would probably also be immortal youth; +at any rate, immortal activity. The perpetuity of existence would +not be divided from the perpetuity of what makes life desirable, of +what makes effective life possible. But if children saw their fathers, +and their fathers’ fathers, and their fathers’ ancestors, in an unending +chain, suffering penalties for certain acts, and obtaining rewards for +certain deeds, how is it possible that they could act otherwise than +according to those visible and evident examples? The consecutive +tradition of self-interest would be so strong among a perpetual race +of immortal men that disinterested virtue would be not so much +impracticable as unthought-of and unknown. The exact line of real +self-benefit would be chalked out so plainly, so conspicuously, so +glaringly, that no other action would be conceivable, or possible. The +evidence of <i>all</i> consequences would be like the evidences of legal +<span class="pagenum" id="Page_404">[404]</span>consequences now, only infinitely more effective and infinitely more +perceptible. In human law, the <i>detection</i> of the offence by man is a +pre-requisite of all punishment by man. An offence not proved to +the ‘satisfaction of the court’ escapes the judgment of the court. But +in a visible immortal life, this pre-requisite would not be needful. <i>If</i> +there be a future punishment, and <i>if</i> man lived for all futurity upon +earth, that future punishment would be on earth, and it would be inflicted +by God. Undetected crime, that general bad character without +specific proved offence, which now mocks all law and laughs at visible +punishment, would then, under our very eyes, receive that punishment. +Job’s friends kindly argued with him, ‘You are suffering, +therefore you are guilty.’ And the argument was bad, because they +only saw an exceptional accident in the life of a good man, not his +entire life through a subsequent eternity; but if that eternal life had +been passed in continuous residence on this globe, if notorious bad +fortune had pursued him through eternity in the nineteenth generation, +his descendants might well have said, ‘Oh, Job, there is something +wrong in you, for you never come out right.’ A great historian +has observed,—</p> + +<blockquote> + +<p>‘That honesty is the best policy, is a maxim which we firmly believe to be +generally correct, even with respect to the temporal interest of individuals; +but with respect to societies, the rule is subject to still fewer exceptions, and +that for this reason, that the life of societies is larger than that of individuals. +It is possible to mention men who have owed great worldly prosperity +to breaches of private faith; but we doubt whether it be possible to +mention a state which has, on the whole, been a gainer by a breach of public +faith.’</p> + +</blockquote> + +<p>If the visible life of individuals were yet longer than the life of +societies, the rule would be subject to still fewer exceptions; if that +visible life were eternal, the rule would be subject to no exceptions; +the staring evidence of conspicuous results would purge temptation +out of the world.</p> + +<p>The physical world now rewards what we may call the physical +virtues, and punishes what we may call the physical vices. There is +a certain state of the body which is a condition of physical well-being, +and (as life is constituted) very much of all well-being. If by gross +excess any man should impair that condition, physical law will punish +him. The body is our schoolmaster to bring us to the soul; it enforces +on us the preparatory merits, it scourges out of us the preparatory +defects. The law of human government is similar; it enforces on us +that adherence to obvious virtue, and that avoidance of obvious vice, +<span class="pagenum" id="Page_405">[405]</span>which are the essential preliminaries of real virtue. There is no true +virtue or vice, so long as physical law and human law are what they +are in any such matters. The dread of the penalties is too powerful +not to extinguish (speaking generally, and peculiar cases excepted) all +other motives. But these teachers strengthen the mental instruments +of real virtue. They strengthen our will; they hurt our vanity; they +confirm our manhood. Physical law and human law train and build +up, if the expression may be permitted, that good pagan, that sound-bodied, +moderate, careful creature, out of which a good Christian may, +if he will and by God’s help, in the end be constructed. If visible +life were eternal instead of temporary, the same intense discipline +which so usefully creates the preparatory prerequisites would likewise +efface the possibility of disinterested virtue.</p> + +<p>Again, the great scene of human life may be explained, or at least +illustrated, in like manner: <i>we are souls in the disguise of animals</i>. +We lead a life in great part neither good nor evil, neither wicked nor +excellent. The larger number of men seem to an outside observer to +walk through life in a torpid sort of sleep. They are decent in their +morals, respectable in their manners, stupid in their conversation. +The incentives of their life are outward; its penalties are outward too. +The life of such people seems to some men always—to many men at +times—inexplicable. But if such beings were not permitted in the +world, perhaps a higher life might be impossible for any beings. They +act like a living screen, just as we say matter acts like a dead screen. +It is not desirable that the results of goodness should be distinctly +apparent; and if all human life were intensely and exclusively moral; +if all men were with all their strength pursuing good or pursuing evil, +the isolated consequences of that isolated principle must be apparent; +at least, could scarcely fail to be so. If one set of men were cooped +up in the exclusive pursuit of virtue, and were very ardent and warm +about it, and another set of men were eager in the pursuit of evil, +and cared for nothing but evil, the world would fall asunder into two +dissimilar halves. If goodness in the visible world had <i>any</i>, the +least, tendency to produce visible happiness, then incessant goodness +would be very happy. The accumulations of the slight tendency by +perpetual renewal would amount of necessity to a vast sum-total. Incessant +badness would produce awful misery. Those absorbed in vice +would be warnings dangerous to disinterestedness; those absorbed in +virtue, attractions and examples almost more dangerous. The mischief +is prevented by those <i>unabsorbed</i>, purposeless, divided characters +which seem to puzzle us. They complicate human life, and they do so +<span class="pagenum" id="Page_406">[406]</span>the more effectually that they typify and represent so much of what +every man feels and must feel within himself. In each man there is +so much which is unmoral, so much which comes from an unknown +origin, and passes forward to an unknown destination, which is of the +earth, earthy; which has nothing to do with hell or heaven; which occupies +a middle place not recognised in any theology; which is hateful +both to the impetuous ‘friends of God’ and His most eager enemies. +This pervading and potent element involves life as it were in confusion +and hurry. We do not see distinctly whither we are going. Disinterestedness +is possible, for calculation is confused. Doubtless, even +on earth virtue of all kinds eventually must have, on a large average +of cases, some slight tendency to produce happiness. This earth is +an extract from the moral universe—partakes its nature. But that +tendency is too slight to be a considerable motive to high action; it +would not be discovered but for the inward principle which sets us to +look for it; and even when we find it, it is transient, and small, and +dubious. It is lost in the vast results of the unmoral universe, in the +vague shows, the multiform spectacle of human life.</p> + +<p>Again, we may understand why the convictions of what duty is, +and what religion is, vary so much and so often among men. If all +our convictions on these points, on these infinitely important points, +were identical and alike, an accumulated public opinion would oppress +us, would destroy the freedom of our action and the purity of our +virtue. If every one said that certain penalties would be the consequence +of certain actions, we should believe that the consequences +would be so and so, not because we felt those actions to be intrinsically +bad, but because we were told that such would be the consequences. +We should believe upon report, and a vague impression would haunt +us, not produced by our own conscience, or our own sense of right and +wrong, and would impair both our manhood and our virtue. The +extraordinary discrepancies of believed religion and believed morality +have weighed on many and will weigh on many; but they have this +use—they enable men to be disinterested. As there is no sanctioned +invincible firm custom, there are no customary penalties, there is +nothing men must shun; as the world has not made up its mind, +there is no executioner of the world ready to enforce that mind upon +every one.</p> + +<p>Lastly, the same essential argument may be applied to a problem +yet more delicate and difficult, to one which it is difficult to treat in +Reviewer’s phraseology. Why is God so far from us? is the agonising +question which has depressed so many hearts, so long as we know +<span class="pagenum" id="Page_407">[407]</span>there were hearts, has puzzled so many intellects since intellects began +to puzzle themselves. But the moral part of God’s character could not +be shown to us with sensible conspicuous evidence; it could not be +shown to us as Fleet Street is shown to us, without impairing the first +pre-requisite of disinterestedness, and the primary condition of man’s +virtue. And if the moral aspect of God’s character must of necessity +be somewhat hidden from us, other aspects of it must be equally hidden. +An infinite Being may be viewed under innumerable aspects. God +has many qualities in His essence which the word ‘moral’ does not +exhaust, which it does not even hint at. Perhaps this essay has +seemed to read too sternly; as if the moral side of the Divine character, +which is and must be to imperfect beings in some sense a terrible +side,—as if the moral side of human life, which must be to mankind +not always a pleasant side,—had been forced into an exclusive prominence +which of right did not belong to it. But the <i>attractive</i> aspects +of God’s character must not be made more apparent to such a being +as man than His chastening and severer aspects. We must not be invited +to approach the Holy of holies without being made aware, painfully +aware, what Holiness is. We must know our own unworthiness +ere we are fit to approach or imagine an Infinite Perfection. The most +nauseous of false religions is that which affects a fulsome fondness for a +Being not to be thought of without awe, or spoken of without reluctance.</p> + +<p>On the whole, therefore, the necessary ignorance of man explains +to us much; it shows us that we could not be what we ought to be, if +we lived in the sort of universe we should expect. It shows us that +a latent Providence, a confused life, an odd material world, an existence +broken short in the midst and on a sudden, are not real +difficulties, but real helps; that they, or something like them, are +essential conditions of a moral life to a subordinate being. If we +steadily remember that we only know the ultimate fate, the extrinsic +consequences of vice and virtue, because we know of their inherent +nature and intrinsic qualities, and that any other evidence of the first +would destroy the possibility of the second, <i>then</i> much which used to +puzzle us may become clear to us.</p> + +<p>But it may be said, What sort of evidence is this on which you +base the future moral life of man, and the present existence of a moral +Providence? Is it not impalpable? It is so, and necessarily so. If a +consecutive logical deduction, such as has often been sought between +an immutable morality and a true religion, could in fact be found, we +should be again met with our fundamental difficulty, though in a +disguised and secondary form. Morality might fall out of sight +<span class="pagenum" id="Page_408">[408]</span>because religion was obtruded upon us. Morality would be the axiom, +religion the deduction; and as a geometer does not keep Euclid’s +axioms in his head when he is employed upon conic sections, as a +student of the differential calculus may half forget the commencement +of algebra,—so the great truths of religion, if rigorously and mathematically +deduced from the beginnings of morality, might overshadow +and destroy those ‘beggarly elements.’ No one who has proved important +doctrines by rigorous reasoning always retains in his mind the +primitive principles from which he set out. As the concrete deductions +advance, the primary abstractions recede. Happily, the connection +between morality and religion is of a very different kind. +Religion (in its moral part) is a secondary impression, produced and +kept alive by the first impression of morality. The intensity of +the second feeling depends on the continued intensity of the first +feeling.</p> + +<p>The highest part of human belief is based upon certain developable +instincts. Not the most important, but the most obvious of these, is +the instinct of beauty. Since the commencement of speculation, ingenious +thinkers, who delight in difficulties, have rejoiced to draw out +at length the difficulties of the subject. It is said, How can you be +certain that there is such an attribute as beauty, when no one is sure +what it is, or to what it should be applied? A barbarian thinks one +thing charming, the Greek another. Modern nations have a standard +different most materially from the ancient standard—founded upon it +in several important respects, no doubt, but differing from it in others +as important, and almost equally striking. Even within the limits of +modern nations this standard differs. The taste of the vulgar is +one thing, the taste of the refined and cultivated is altogether at +variance with it. The mass of mankind prefer a gaudy modern daub +to a faded picture by Sir Joshua, or to the cartoons of Raphael. What +certainty, the sceptic triumphantly asks, can there be in matters on +which people differ so much, on which it seems so impossible to argue; +which seem to depend on causes and relations simply personal; which +are susceptible of no positive test or ascertained criterion? You talk +of impalpability, he adds; here it is in perfection. But these recondite +doubts impose on no one. Not a single educated person would +sleep less soundly if he were told that his life depended on the correctness +of his notion that the cartoons of Raphael are more sublime and +beautiful than a common daub. He cannot prove it, and he cannot +prove that Charles the First was beheaded; but he is quite as certain +of one as of the other. This is an instance of an obvious, unmistakable +<span class="pagenum" id="Page_409">[409]</span>instinct, which does produce effectual belief, though sceptics +explain to us that it should not.</p> + +<p>The nature of this instinct differs altogether from that of those +intuitive and universal axioms which are borne in infallibly upon +all the human race, in every age and every place. It is not like +the assertion that ‘two straight lines cannot enclose a space,’ or the +truth that two and two make four. These are believed by every one, +and no one can dream of not believing them. But half of mankind +would reject the idea that the cartoons were in any sense admirable; +they would prefer the overgrown enormities of West, which are side +by side with them. The characteristic peculiarity of this instinct is, +not that it is irresistible, but that it is <i>developable</i>. The higher +students of the subject, the more cultivated, meditate upon it, acquire +a new sense, which conveys truth to them, though others are ignorant +of it, and though they themselves cannot impart it to those others. +The appeal is not to the many, as with axioms of Euclid, but to those +few,—the exceptional few,—at whom the many scoff.</p> + +<p>The case is similar with the yet higher instincts of morality and +of religion. It is idle to pretend that much of them can be found +among bloody savages, or simple and remote islanders, or a degraded +populace. It is still idler to fancy that because they cannot be +discovered there full-grown, and complete, and paramount, there is +no evidence for them, and no basis for relying upon them. They +resemble the instinct of beauty precisely. The evidence of the few—of +the small, high-minded minority, who are the exception of ages, +and the salt of the earth—outweighs the evidence of countless myriads +who live as their fathers lived, think as they thought, die as they +died; who would have lived and died in the very contrary impressions, +if by chance they had inherited these instead of the others. The +criterion of true beauty is with those (and they are not many) who +have a sense of true beauty; the criterion of true morality is with +those who have a sense of true morality; the criterion of true religion +is with those who have a sense of true religion.</p> + +<p>Nor can this defect of an absolute criterion throw the world into +confusion. We see it does not, and there was no reason to expect it +would. We all of us feel an analogous fluctuation and variation in +ourselves. We all of us feel that there are times in which first principles +seem borne in upon us by evidence as bright as noonday, and +that there are also times in which that evidence is much less, in which +it seems to fade away, in which we reckon up the number of persons +who differ from us, who reject our principles; times at which we ask, +<span class="pagenum" id="Page_410">[410]</span>Who are <i>we</i>, that we should be right and other men wrong? The unbelieving +moods of each mind are as certain as the unbelieving state +of much of the world. But no sound mind permits itself to be permanently +disturbed, though it may be transiently distracted, by these +variations in its own state. We have a <i>criterion</i> faculty within us, +which tells us which are lower moods and which are higher. This +faculty is a phase of conscience, and if at its bidding we struggle +<i>with</i> the good moods, and <i>against</i> the bad moods, we shall find that +great beliefs remain, and that mean beliefs pass away.</p> + +<p>There is an analogous phenomenon in the history of the world. +Beliefs altogether differ at the base of society, but they agree, or tend +to agree, at its summit. As society goes on, the standard of beauty, +and of morality, and of religion also, tends to become fixed. The creeds +of the higher classes throughout the world, though far from identical +in these respects, are not entirely unlike, approach to similarity, +approach to it more and more as cultivation augments, goodness +improves, and disturbing agencies fall aside.</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘The Ethiop gods have Ethiop lips,</div> + <div class="verse indent2">Bronze cheeks, and woolly hair;</div> + <div class="verse indent0">The Grecian gods are like the Greeks,</div> + <div class="verse indent2">As keen-eyed, cold, and fair.’</div> + </div> + </div> +</div> + +<p class="noindent">Such is the various and miscellaneous religion of barbarism; but the +religion and the morality of all the best among all nations tend more +and more to be the same with ‘the progress of the suns,’ and as society +itself improves.</p> + +<p>The instincts of morality and religion, though we have called them +two for facility of speech, run into one another, and in practical +human nature are not easily separated. The distinction, like so many +others in mental philosophy, is not drawn where accurate science +would have directed, but where the first notions of mankind, and +the necessity of easy speaking, in a language shaped according to +those notions, have suggested. In a refined analysis, the instinct of +religion, as we have called it, is a complex aggregate of various instincts, +not a single and homogeneous one. But to analyse these, or +even to name them, would be far from our purpose now. Our business +is with the relation between the instinct of morality and that of +religion, and with no other perplexities or difficulties. The instinct +of morality is the basis, and the instinct of moral religion is based +upon it, and arises out of it. We feel first the intrinsic qualities of +good actions and bad actions; then, as the Greek proverb expressed it, +<span class="pagenum" id="Page_411">[411]</span>‘Where there is shame there is fear;’ we expect consequences apportioned +to our actions, good and evil; lastly, for within the limits of +purely moral ideas there is no higher stage, we rise to the conception +of Him who in His wisdom adjusts and allots those far-off consequences +to those conspicuous actions. The higher instinct is based +on the lower; would fade in the mind should the lower fade. The +coalescence of instinct effects what no other contrivance known to us +could effect; it enables us to be disinterested, although we know the +consequences of evil actions, because conscience is the revealing sensation, +and we only know those consequences so long as we are +disinterested.</p> + +<p>These fundamental difficulties of life and morals are little discussed. +Few think of them clearly, and still fewer speak of them much. But +they cloud the brain and confuse the hopes of many who never stated +them explicitly to themselves, and never heard them stated explicitly +by others. Meanwhile superficial difficulties are in every one’s mouth; +we are deafened with controversies on remote matters which do not +concern us; we are confused with ‘Aids to Faith’ which neither harm +nor help us. A tumult of irrelevant theology is in the air which oppresses +men’s heads, and darkens their future, and scatters their hopes. +For such a calamity there is no thorough cure; it belongs to the confused +epoch of an age of transition, and is inseparable from it. But +the best palliative is a steady attention to primary difficulties—if possible, +a clear mastery over them; if not, a distinct knowledge how we +stand respecting them. The shrewdest man of the world who ever +lived tells us, ‘That he who begins in certainties shall end in doubts; +but he who begins in doubts shall end in certainties;’ and the maxim +is even more applicable to matters which are not of this world than +to those which are.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_412">[412]</span></p> + +<h3 class="nobreak" id="APPENDIX_II"><i>ON THE EMOTION +OF CONVICTION.</i>⁠<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a><br> +<span class="smaller">(1871.)</span></h3> + +</div> + +<p>What we commonly term Belief includes, I apprehend, both an +Intellectual and an Emotional element; the first we more properly call +‘assent,’ and the second ‘conviction.’ The laws of the Intellectual +element in belief are ‘the laws of evidence,’ and have been elaborately +discussed; but those of the Emotional part have hardly been discussed +at all—indeed, its existence has been scarcely perceived.</p> + +<p>In the mind of a rigorously trained inquirer, the process of believing +is, I apprehend, this:—First comes the investigation, a set of facts +are sifted, and a set of arguments weighed; then the intellect perceives +the result of those arguments, and, we say, assents to it. Then an +emotion more or less strong sets in, which completes the whole. In +calm and quiet minds, the intellectual part of this process is so much +the strongest that they are hardly conscious of anything else; and as +these quiet, careful people have written our treatises, we do not find it +explained in them how important the emotional part is.</p> + +<p>But take the case of the Caliph Omar, according to Gibbon’s +description of him. He burnt the Alexandrine Library, saying, ‘All +books which contain what is not in the Koran are dangerous; all +those which contain what is in the Koran are useless.’ Probably no +one ever had an intenser belief in anything than Omar had in this. +Yet it is impossible to imagine it preceded by an argument. His +belief in Mahomet, in the Koran, and in the sufficiency of the Koran, +came to him probably in spontaneous rushes of emotion; there may +have been little vestiges of argument floating here and there, but they +did not justify the strength of the emotion, still less did they create it, +and they hardly even excused it.</p> + +<p>There is so commonly some considerable argument for our modern +beliefs, that it is difficult now-a-days to isolate the emotional element, +and therefore, on the principle that in Metaphysics ‘egotism is the +<span class="pagenum" id="Page_413">[413]</span>truest modesty,’ I may give myself as an example of utterly irrational +conviction. Some years ago I stood for a borough in the West of +England, and after a keen contest was defeated by seven. Almost +directly afterwards there was accidentally another election, and as I +would not stand, another candidate of my own side was elected, and +I of course ceased to have any hold upon the place, or chance of +being elected there. But for years I had the deepest conviction that +I should be Member for ‘Bridgwater’; and no amount of reasoning +would get it out of my head. The borough is now disfranchised; +but even still, if I allow my mind to dwell on the contest,—if I think +of the hours I was ahead in the morning, and the rush of votes at +two o’clock by which I was defeated,—and even more, if I call up +the image of the nomination day, with all the people’s hands outstretched, +and all their excited faces looking the more different on +account of their identity in posture, the old feeling almost comes +back upon me, and for a moment I believe that I shall be Member +for Bridgwater.</p> + +<p>I should not mention such nonsense, except on an occasion when +I may serve as an intellectual ‘specimen,’⁠<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a> but I know I wish that I +could feel the same hearty, vivid faith in many conclusions of which +my understanding says it is satisfied, that I did in this absurdity. +And if it should be replied that such folly could be no real belief, +for it could not influence any man’s action, I am afraid I must say +that it did influence my actions. For a long time the ineradicable +fatalistic feeling, that I should some time have this constituency, of +which I had no chance, hung about my mind, and diminished my +interest in other constituencies, where my chances of election would +have been rational, at any rate.</p> + +<p>This case probably exhibits the <i>maximum</i> of conviction with the +<i>minimum</i> of argument, but there are many approximations to it. +Persons of untrained minds cannot long live without some belief in +any topic which comes much before them. It has been said that if +you can only get a middle-class Englishman to think whether there +are ‘snails in Sirius,’ he will soon have an opinion on it. It will be +difficult to make him think, but if he does think, he cannot rest in a +negative, he will come to some decision. And on any ordinary topic, +of course, it is so. A grocer has a full creed as to foreign policy, a +young lady a complete theory of the sacraments, as to which neither +has any doubt whatever. But in talking to such persons, I cannot +<span class="pagenum" id="Page_414">[414]</span>but remember my Bridgwater experience, and ask whether causes +like those which begat my folly may not be at the bottom of their +‘invincible knowledge.’</p> + +<p>Most persons who observe their own thoughts must have been +conscious of the exactly opposite state. There are cases where our +intellect has gone through the arguments, and we give a clear assent +to the conclusions. But our minds seem dry and unsatisfied. In +that case we have the intellectual part of Belief, but want the +emotional part.</p> + +<p>That belief is not a purely intellectual matter is evident from +dreams, where we are always believing, but scarcely ever arguing; +and from certain forms of insanity, where fixed delusions seize upon +the mind and generate a firmer belief than any sane person is capable +of. These are, of course, ‘unorthodox’ states of mind; but a good +psychology must explain them, nevertheless, and perhaps it would +have progressed faster if it had been more ready to compare them +with the waking states of sane people.</p> + +<p>Probably, when the subject is thoroughly examined, ‘conviction’ +will be proved to be one of the intensest of human emotions, and +one most closely connected with the bodily state. In cases like the +Caliph Omar’s, it governs all other desires, absorbs the whole nature, +and rules the whole life. And in such cases it is accompanied or +preceded by the sensation that Scott makes his seer describe as the +prelude to a prophecy:—</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">‘At length the fatal answer came,</div> + <div class="verse indent0">In characters of living flame—</div> + <div class="verse indent0">Not spoke in word, nor blazed in scroll,</div> + <div class="verse indent0">But borne and branded on my soul.’</div> + </div> + </div> +</div> + +<p class="noindent">A hot flash seems to burn across the brain. Men in these intense +states of mind have altered all history, changed for better or worse +the creed of myriads, and desolated or redeemed provinces and ages. +Nor is this intensity a sign of truth, for it is precisely strongest in +those points in which men differ most from each other. John Knox +felt it in his anti-Catholicism; Ignatius Loyola in his anti-Protestantism; +and both, I suppose, felt it as much as it is possible to +feel it.</p> + +<p>Once acutely felt, I believe it is indelible; at least, it does something +to the mind which it is hard for anything else to undo. It +has been often said that a man who has once really loved a woman, +never can be without feeling towards that woman again. He may +<span class="pagenum" id="Page_415">[415]</span>go on loving her, or he may change and hate her. In the same +way, I think, experience proves that no one who has had real passionate +conviction of a creed, the sort of emotion that burns hot +upon the brain, can ever be indifferent to that creed again. He may +continue to believe it, and to love it; or he may change to the opposite, +vehemently argue against it, and persecute it. But he cannot +forget it. Years afterwards, perhaps, when life changes, when +external interests cease to excite, when the apathy to surroundings +which belongs to the old, begins all at once, to the wonder of later +friends, who cannot imagine what is come to him, the grey-headed +man returns to the creed of his youth.</p> + +<p>The explanation of these facts in metaphysical books is very imperfect. +Indeed, I only know one school which professes to explain +the emotion, as distinguished from the intellectual element in belief. +Mr. Mill (after Mr. Bain) speaks very instructively of the ‘animal +nature of belief,’ but when he comes to trace its cause, his analysis +seems, to me at least, utterly unsatisfactory. He says that ‘the state +of belief is identical with the activity or active disposition of the +system at the moment with reference to the thing believed.’ But in +many cases there is firm belief where there is no possibility of action +or tendency to it. A girl in a country parsonage will be sure ‘that +Paris never can be taken,’ or that ‘Bismarck is a wretch,’ without +being able to act on these ideas or wanting to act on them. Many +beliefs, in Coleridge’s happy phrase, slumber in the ‘dormitory of the +soul’; they are present to the consciousness, but they incite to no +action. And perhaps Coleridge is an example of misformed mind in +which not only may ‘Faith’ not produce ‘works,’ but in which it +had a tendency to prevent works. Strong convictions gave him a +kind of cramp in the will, and he could not act on them. And in +very many persons much-indulged conviction exhausts the mind with +the attached ideas; teases it, and so, when the time of action comes, +makes it apt to turn to different, perhaps opposite ideas, and to act +on them in preference.</p> + +<p>As far as I can perceive, the power of an idea to cause conviction, +independently of any intellectual process, depends on four properties.</p> + +<p>1st. <i>Clearness.</i> The more unmistakable an idea is to a particular +mind, the more is that mind predisposed to believe it. In common +life we may constantly see this. If you once make a thing quite +clear to a person, the chances are that you will almost have persuaded +him of it. Half the world only understand what they believe, and +always believe what they understand.</p> + +<p><span class="pagenum" id="Page_416">[416]</span></p> + +<p>2nd. <i>Intensity.</i> This is the main cause why the ideas that flash +on the minds of seers, as in Scott’s description, are believed; they +come mostly when the nerves are exhausted by fasting, watching, and +longing; they have a peculiar brilliancy, and therefore they are believed. +To this cause I trace too my fixed folly as to Bridgwater. +The idea of being member for the town had been so intensely brought +home to me by the excitement of a contest, that I could not eradicate +it, and that as soon as I recalled any circumstances of the contest it +always came back in all its vividness.</p> + +<p>3rd. <i>Constancy.</i> As a rule, almost everyone does accept the creed +of the place in which he lives, and everyone without exception has a +tendency to do so. There are, it is true, some minds which a mathematician +might describe as minds of ‘contrary flexure,’ whose particular +bent it is to contradict what those around them say. And +the reason is that in their minds the opposite aspect of every subject +is always vividly presented. But even such minds usually accept +the <i>axioms</i> of their district, the tenets which everybody always +believes. They only object to the variable elements; to the inferences +and deductions drawn by some, but not by all.</p> + +<p>4th. On the <i>Interestingness</i> of the idea, by which I mean the +power of the idea to gratify some wish or want of the mind. The +most obvious is curiosity about something which is important to me. +Rumours that gratify this excite a sort of half-conviction without +the least evidence, and with a very little evidence a full, eager, not +to say a bigoted one. If a person go into a mixed company, and say +authoritatively ‘that the Cabinet is nearly divided on the Russian +question, and that it was only decided by one vote to send Lord +Granville’s despatch,’ most of the company will attach some weight +more or less to the story, without asking how the secret was known. +And if the narrator casually add that he has just seen a subordinate +member of the Government, most of the hearers will go away and +repeat the anecdote with grave attention, though it does not in the +least appear that the lesser functionary told the anecdote about the +Cabinet, or that he knew what passed at it.</p> + +<p>And the interest is greater when the news falls in with the bent +of the hearer. A sanguine man will believe with scarcely any evidence +that good luck is coming, and a dismal man that bad luck is +coming. As far as I can make out, the professional ‘Bulls’ and +‘Bears’ of the City <i>do</i> believe a great deal of what they say, though, +of course, there are exceptions, and though neither the most sanguine +‘bull’ nor the most dismal ‘bear’ can believe <i>all</i> he says.</p> + +<p><span class="pagenum" id="Page_417">[417]</span></p> + +<p>Of course, I need not say that this ‘quality’ peculiarly attaches +to the greatest problems of human life. The firmest convictions of +the most inconsistent answers to the everlasting questions ‘whence?’ +and ‘whither?’ have been generated by this ‘interestingness’ without +evidence on which one would invest a penny.</p> + +<p>In one case, these causes of irrational conviction seem contradictory. +Clearness, as we have seen, is one of them; but obscurity, +when obscure things are interesting, is a cause too. But there is no +real difficulty here. Human nature at different times exhibits contrasted +impulses. There is a passion for sensualism, that is, to eat +and drink; and a passion for asceticism, that is, not to eat and drink; +so it is quite likely that the clearness of an idea may sometimes cause +a movement of conviction, and that the obscurity of another idea +may at other times cause one too.</p> + +<p>These laws, however, are complex—can they be reduced to any +simpler law of human nature? I confess I think that they can, but +at the same time I do not presume to speak with the same confidence +about it that I have upon other points. Hitherto I have been dealing +with the common facts of the adult human mind, as we may see it in +others and feel it in ourselves. But I am now going to deal with the +‘prehistoric’ period of the mind in early childhood, as to which there +is necessarily much obscurity.</p> + +<p>My theory is, that in the first instance a child believes everything. +Some of its states of consciousness are perceptive or presentative,—that +is, they tell it of some heat or cold, some resistance or non-resistance, +then and there present. Other states of consciousness are +representative,—that is, they say that certain sensations could be felt +or certain facts perceived, in time past or in time to come, or at some +place, no matter at what time, then and there out of the reach of +perception and sensation. In mature life, too, we have these presentative +and representative states in every sort of mixture, but we +make a distinction between them. Without remark and without +doubt, we believe the ‘evidence of our senses,’ that is, the facts of +present sensation and perception; but we do not believe at once and +instantaneously the representative states as to what is non-present, +whether in time or space. But I apprehend that this is an acquired +distinction, and that in early childhood every state of consciousness +is believed, whether it be presentative or representative.</p> + +<p>Certainly at the beginning of the ‘historic’ period we catch the +mind at a period of extreme credulity. When memory begins, and +when speech and signs suffice to make a child intelligible, belief is +<span class="pagenum" id="Page_418">[418]</span>almost omnipresent, and doubt almost never to be found. Childlike +credulity is a phrase of the highest antiquity, and of the greatest +present aptness.</p> + +<p>So striking, indeed, on certain points, is this impulse to believe, +that philosophers have invented various theories to explain in detail +some of its marked instances. Thus it has been said that children +have an intuitive disposition to believe in ‘testimony’—that is, in the +correctness of statements orally made to them. And that they do so +is certain. Every child believes what the footman tells it, what its +nurse tells it, and what its mother tells it, and probably every one’s +memory will carry him back to the horrid mass of miscellaneous confusion +which he acquired by believing all he heard. But though it is +certain that a child believes all assertions made to it, it is not certain +that the child so believes in consequence of a special intuitive predisposition +restricted to such assertions. It may be that this indiscriminate +belief in all sayings is but a relic of an omnivorous acquiescence +in all states of consciousness, which is only just extinct when +childhood is plain enough to be understood, or old enough to be +remembered.</p> + +<p>Again, it has been said much more plausibly that we want an +intuitive tendency to account for our belief in memory. But I +question whether it can be shown that a little child <i>does</i> believe in +its memories more confidently than in its imaginations. A child of +my acquaintance corrected its mother, who said that ‘they should +never see’ two of its dead brothers again, and maintained, ‘Oh yes, +mamma, we shall; we shall see them in heaven, and they will be so +glad to see us.’ And then the child cried with disappointment +because its mother, though a most religious lady, did not seem exactly +to feel that seeing her children in that manner was as good as +seeing them on earth. Now I doubt if that child did not believe +this expectation quite as confidently as it believed any past fact, or as +it could believe anything at all, and though the conclusion may be +true, plainly the child believed, not from the efficacy of the external +evidence, but from a strong rush of inward confidence. Why, then, +should we want a special intuition to make children believe past facts +when, in truth, they go farther and believe with no kind of difficulty +future facts as well as past?</p> + +<p>If on so abstruse a matter I might be allowed a graphic illustration, +I should define doubt as ‘a hesitation produced by collision.’ +A child possessed with the notion that all its fancies are true, finds +that acting on one of them brings its head against the table. This +<span class="pagenum" id="Page_419">[419]</span>gives it pain, and makes it hesitate as to the expediency of doing it +again. Early childhood is an incessant education in scepticism, and +early youth is so too. All boys are always knocking their heads +against the physical world, and all young men are constantly knocking +their heads against the social world. And both of them from +the same cause—that they are subject to an eruption of emotion which +engenders a strong belief, but which is as likely to cause a belief in +falsehood as in truth. Gradually, under the tuition of a painful experience, +we come to learn that our strongest convictions may be +quite false, that many of our most cherished ones are and have been +false; and this causes us to seek a ‘criterion’ as to which beliefs are +to be trusted and which are not; and so we are beaten back to the laws +of evidence for our guide, though, as Bishop Butler said, in a similar +case, we object to be bound by anything so ‘poor.’</p> + +<p>That it is really this contention with the world which destroys +conviction and which causes doubt, is shown by examining the cases +where the mind is secluded from the world. In ‘dreams,’ where +we are out of collision with fact, we accept everything as it comes, +believe everything and doubt nothing. And in violent cases of mania, +where the mind is shut up within itself, and cannot, from impotence, +perceive what is without, it is as sure of the most chance fancy, as in +health it would be of the best proved truths.</p> + +<p>And upon this theory we perceive why the four tendencies to +irrational conviction which I have set down, survive, and remain in +our adult hesitating state as vestiges of our primitive all-believing +state. They are all from various causes ‘adhesive’ states—states +which it is very difficult to get rid of, and which, in consequence, +have retained their power of creating belief in the mind, when other +states, which once possessed it too, have quite lost it. <i>Clear</i> ideas are +certainly more difficult to get rid of than obscure ones. Indeed, +some obscure ones we cannot recover, if we once lose them. Everybody, +perhaps, has felt all manner of doubts and difficulties in mastering +a mathematical problem. At the time, the difficulties seemed as +real as the problem, but a day or two after a man has mastered it, +he will be wholly unable to imagine or remember where the difficulties +were. The demonstration will be perfectly clear to him, and +he will be unable to comprehend how anyone should fail to perceive +it. For life he will recall the clear ideas, but the obscure ones he +will never recall, though for some hours, perhaps, they were painful, +confused, and oppressive obstructions. <i>Intense</i> ideas are, as every +one will admit, recalled more easily than slight and weak ideas. <i>Constantly</i> +<span class="pagenum" id="Page_420">[420]</span>impressed ideas are brought back by the world around us, +and if they are so often, get so tied to our other ideas that we can +hardly wrench them away. <i>Interesting</i> ideas stick in the mind by +the associations which give them interest. All the minor laws of +conviction resolve themselves into this great one: ‘That at first we +believe all which occurs to us—that afterwards we have a tendency +to believe that which we cannot help often occurring to us, and that +this tendency is stronger or weaker in some sort of proportion to +our inability to prevent their recurrence.’ When the inability to +prevent the recurrence of the idea is very great, so that the reason +is powerless on the mind, the consequent ‘conviction’ is an eager, +irritable, and ungovernable passion.</p> + +<p>If these principles are true, they suggest some lessons which are +not now accepted. They prove:</p> + +<p>1. That we should be very careful how we let ourselves believe +that which may turn out to be error. Milton says that ‘error is but +opinion,’ meaning true opinion, ‘in the making.’ But when the +conviction of any error is a strong passion, it leaves, like all other +passions, a permanent mark on the mind. We can never be as if +we had never felt it. ‘Once a heretic, always a heretic,’ is thus far +true, that a mind once given over to a passionate conviction is never +as fit as it would otherwise have been to receive the truth on the +same subject. Years after the passion may return upon him, and +inevitably small recurrences of it will irritate his intelligence and +disturb its calm. We cannot at once expel a familiar idea, and so +long as the idea remains, its effect will remain too.</p> + +<p>2. That we must always keep an account in our minds of the +degree of evidence on which we hold our convictions, and be most +careful that we do not permanently permit ourselves to feel a stronger +conviction than the evidence justifies. If we do, since evidence is +the only criterion of truth, we may easily get a taint of error that +may be hard to clear away. This may seem obvious, yet, if I do not +mistake, Father Newman’s <i>Grammar of Assent</i> is little else than a +systematic treatise designed to deny and confute it.</p> + +<p>3. That if we do, as in life we must sometimes, indulge a ‘provisional +enthusiasm,’ as it may be called, for an idea—for example, if +an orator in the excitement of speaking does not keep his phrases to +probability, and if in the hurry of emotion he quite believes all he +says, his plain duty is on other occasions to watch himself carefully, +and to be sure that he does not as a permanent creed believe what +in a peculiar and temporary state he was led to say he felt and to feel.</p> + +<p><span class="pagenum" id="Page_421">[421]</span></p> + +<p>Similarly, we are all in our various departments of life in the +habit of assuming various probabilities as if they were certainties. +In Lombard Street the dealers assume that ‘Messrs. Baring’s acceptance +at three months’ date is sure to be paid,’ and that ‘Peel’s Act +will always be suspended in a panic.’ And the familiarity of such +ideas makes it nearly impossible for anyone who spends his day in +Lombard Street to doubt of them. But, nevertheless, a person who +takes care of his mind will keep up the perception that they are not +certainties.</p> + +<p>Lastly, we should utilise this intense emotion of conviction as far +as we can. Dry minds, which give an intellectual ‘assent’ to conclusions +which feel no strong glow of faith in them, often do not +know what their opinions are. They have every day to go over +the arguments again, or to refer to a note-book to know what they +believe. But intense convictions make a memory for themselves, +and if they can be kept to the truths of which there is good evidence, +they give a readiness of intellect, a confidence in action, a consistency +in character, which are not to be had without them. For a time, +indeed, they give these benefits when the propositions believed are +false, but then they spoil the mind for seeing the truth, and they are +very dangerous, because the believer may discover his error, and a +perplexity of intellect, a hesitation in action, and an inconsistency in +character are the sure consequences of an entire collapse in pervading +and passionate conviction.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_422">[422]</span></p> + +<h3 class="nobreak" id="APPENDIX_III"><i>THE +METAPHYSICAL BASIS OF TOLERATION.</i>⁠<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a><br> +<span class="smaller">(1874.)</span></h3> + +</div> + +<p>One of the most marked peculiarities of recent times in England is +the increased liberty in the expression of opinion. Things are now +said constantly and without remark, which even ten years ago would +have caused a hubbub, and have drawn upon those who said them +much obloquy. But already I think there are signs of a reaction. +In many quarters of orthodox opinion I observe a disposition to say, +‘Surely this is going too far; really we cannot allow such things to +be said.’ And what is more curious, some writers, whose pens are +just set at liberty, and who would, not at all long ago, have been +turned out of society for the things that they say, are setting themselves +to explain the ‘weakness’ of liberty, and to extol the advantages +of persecution. As it appears to me that the new practice of +this country is a great improvement on its old one, and as I conceive +that the doctrine of Toleration rests on what may be called a metaphysical +basis, I wish shortly to describe what that basis is.</p> + +<p>I should say that, except where it is explained to the contrary, I +use the word ‘Toleration’ to mean toleration by law. Toleration by +Society of matters not subject to legal penalty is a kindred subject on +which, if I have room, I will add a few words, but in the main I +propose to deal with the simpler subject,—toleration by law. And +by toleration, too, I mean, when it is not otherwise said, toleration +in the public expression of opinions. Toleration of acts and practices +is another allied subject on which I can, in a paper like this, but +barely hope to indicate what seems to me to be the truth. And +I should add, that I deal only with the discussion of impersonal +doctrines. The law of libel, which deals with accusations of living +persons, is a topic requiring consideration by itself.</p> + +<p>Meaning this by ‘toleration,’ I do not think we ought to be surprised +at a reaction against it. What was said long ago of slavery +seems to be equally true of persecution,—it ‘exists by the law of +nature.’ It is so congenial to human nature, that it has arisen everywhere +<span class="pagenum" id="Page_423">[423]</span>in past times, as history shows; that the cessation of it is a +matter of recent times in England; that even now, taking the world +as a whole, the practice and the theory of it are in a triumphant +majority. Most men have always much preferred persecution, and +do so still; and it is therefore only natural that it should continually +reappear in discussion and argument.</p> + +<p>One mode in which it tempts human nature is very obvious. +Persons of strong opinions wish, above all things, to propagate those +opinions. They find close at hand what seems an immense engine for +that propagation; they find the <i>State</i>, which has often in history interfered +for and against opinions,—which has had a great and undeniable +influence in helping some and hindering others,—and in their +eagerness they can hardly understand why they should not make use +of this great engine to crush the errors which they hate, and to +replace them with the tenets they approve. So long as there are +earnest believers in the world, they will always wish to punish +opinions, even if their judgment tells them it is unwise, and their +conscience that it is wrong. They may not gratify their inclination, +but the inclination will not be the less real.</p> + +<p>Since the time of Carlyle, ‘earnestness’ has been a favourite +virtue in literature, and it is customary to treat this wish to twist +other people’s belief into ours as if it were a part of the love of truth. +And in the highest minds so it may be. But the mass of mankind +have, as I hold, no such fine motive. Independently of truth or falsehood, +the spectacle of a different belief from ours is disagreeable to +us, in the same way that the spectacle of a different form of dress +and manners is disagreeable. A set of schoolboys will persecute a +new boy with a new sort of jacket; they will hardly let him have +a new-shaped penknife. Grown-up people are just as bad, except +when culture has softened them. A mob will hoot a foreigner +who looks very unlike themselves. Much of the feeling of ‘earnest +believers’ is, I believe, altogether the same. They wish others to +think as they do, not only because they wish to diffuse doctrinal +truth, but also and much more because they cannot bear to hear +the words of a creed different from their own. At any rate, without +further analysing the origin of the persecuting impulse, its +deep root in human nature, and its great power over most men, +are evident.</p> + +<p>But this natural impulse was not the only motive—perhaps +was not the principal one—of historical persecutions. The main one, +or a main one, was a most ancient political idea which once ruled +<span class="pagenum" id="Page_424">[424]</span>the world, and of which deep vestiges are still to be traced on many +sides. The most ancient conception of a State is that of a ‘religious +partnership,’ in which any member may by his acts bring down the +wrath of the gods on the other members, and, so to speak, on the +whole company. This danger was, in the conception of the time, at +once unlimited and inherited; in any generation, partners A, C, D, +&c., might suffer loss of life, or health, or goods—the whole association +even might perish, because in a past generation the ancestors of Z had +somehow offended the gods. Thus the historian of Athens tells us +that after a particular act of sacrilege—a breach of the local privileges +of sanctuary—the perpetrators were compelled ‘to retire into banishment;’ +and that those who had died before the date he is speaking of +were ‘disinterred and cast beyond the borders.’ ‘Yet,’ he adds, ‘their +exile continuing, as it did, only for a time, was not held sufficient to +expiate the impiety for which they had been condemned. The Alkmoônids, +one of the most powerful families in Attica, long continued +to be looked upon as a tainted race, and in cases of public calamity +were liable to be singled out as having by their sacrilege drawn down +the judgment of the gods upon their countrymen.’ And as false +opinions about the gods have almost always been thought to be peculiarly +odious to them, the misbeliever, the ‘miscreant,’ has been almost +always thought to be likely not only to impair hereafter the salvation +of himself and others in a future world, but also to bring on his neighbours +and his nation grievous calamities immediately in this. He has +been persecuted to stop political danger more than to arrest intellectual +error.</p> + +<p>But it will be said,—Put history aside, and come to things now. +Why should not those who are convinced that certain doctrines are +errors, that they are most dangerous, that they may ruin man’s welfare +here and his salvation hereafter, use the power of the State to +extirpate those errors? Experience seems to show that the power of +the State can be put forth in that way effectually. Why, then, should +it not be put forth? If I had room, I should like for a moment to +criticise the word ‘effectually.’ I should say that the State, in the +cases where it is most wanted, is not of the use which is thought. I +admit that it extirpates error, but I doubt if it creates belief—at +least, if it does so in cases where the persecuted error is suitable to the +place and time. In such cases, I think the effect has often been to +eradicate a heresy among the few, at the cost of creating a scepticism +among the many; to kill the error, no doubt, but also to ruin the +general belief. And this is the cardinal point, for the propagation of +<span class="pagenum" id="Page_425">[425]</span>the ‘truth’ is the end of persecution; all else is only a means. But +I have not space to discuss this, and will come to the main point.</p> + +<p>I say that the State power should not be used to arrest discussion, +because the State power may be used equally for truth or error, for +Mohammedanism or Christianity, for belief or no-belief, but in discussion +truth has an advantage. Arguments always tell for truth, as +such, and against error as such; if you let the human mind alone, it +has a preference for good argument over bad; it oftener takes truth +than not. But if you do not let it alone, you give truth no advantage +at all; you substitute a game of force, where all doctrines are equal, +for a game of logic, where the truer have the better chance.</p> + +<p>The process by which truth wins in discussion is this,—certain +strong and eager minds embrace original opinions, seldom all wrong, +never quite true, but of a mixed sort, part truth, part error. These +they inculcate on all occasions, and on every side, and gradually bring +the cooler sort of men to a hearing of them. These cooler people +serve as quasi-judges, while the more eager ones are a sort of advocates; +a Court of Inquisition is sitting perpetually, investigating, +informally and silently, but not ineffectually, what, on all great subjects +of human interest, is truth and error. There is no sort of infallibility +about the Court; often it makes great mistakes, most of its +decisions are incomplete in thought and imperfect in expression. +Still, on the whole, the force of evidence keeps it right. The truth +has the best of the proof, and therefore wins most of the judgments. +The process is slow, far more tedious than the worst Chancery suit. +Time in it is reckoned not by days, but by years, or rather by +centuries. Yet, on the whole, it creeps along, if you do not stop it. +But all is arrested, if persecution begins—if you have a <i>coup d’état</i>, and +let loose soldiers on the Court; for it is perfect chance which litigant +turns them in, or what creed they are used to compel men to believe.</p> + +<p>This argument, however, assumes two things. In the first place, +it presupposes that we are speaking of a state of society in which discussion +is possible. And such societies are not very common. Uncivilised +man is not capable of discussion: savages have been justly +described as having ‘the intellect of children with the passions and +strength of men.’ Before anything like speculative argument can be +used with them, their intellect must be strengthened and their passions +restrained. There was, as it seems to me, a long preliminary +period before human nature, as we now see it, existed, and while it +was being formed. During that preliminary period, persecution, like +slavery, played a most considerable part. Nations mostly became +<span class="pagenum" id="Page_426">[426]</span>nations by having a common religion. It was a necessary condition +of the passage from a loose aggregate of savages to a united polity, that +they should believe in the same gods and worship these gods in the +same way. What was necessary was, that they should for a long +period—for centuries, perhaps—lead the same life and conform to the +same usages. They believed that the ‘gods of their fathers’ had commanded +these usages. Early law is hardly to be separated from +religious ritual; it is more like the tradition of a Church than the +enactments of a statute-book. It is a thing essentially immemorial +and sacred. It is not conceived of as capable either of addition or +diminution; it is a body of holy customs which no one is allowed +either to break or to impugn. The use of these is to aid in creating a +common national character, which in after-times may be tame enough +to bear discussion, and which may suggest common axioms upon +which discussion can be founded. Till that common character has +been formed, discussion is impossible; it cannot be used to find out +truth, for it cannot exist; it is not that we have to forego its efficacy +on purpose, we have not the choice of it, for its prerequisites cannot be +found. The case of civil liberty is, as I conceive, much the same. +Early ages need a coercive despotism more than they need anything +else. The age of debate comes later. An omnipotent power to enforce +the sacred law is that which is then most required. A constitutional +opposition would be born before its time. It would be dragging the +wheel before the horses were harnessed. The strongest advocates +both of Liberty and Toleration may consistently hold that there were +unhappy ages before either became possible, and when attempts at +either would have been pernicious.</p> + +<p>The case is analogous to that of education. Every parent wisely +teaches his child his own creed, and till the child has attained a +certain age, it is better that he should not hear too much of any +other. His mind will in the end be better able to weigh arguments, +because it does not begin to weigh them so early. He will hardly +comprehend any creed unless he has been taught some creed. But +the restrictions of childhood must be relaxed in youth, and abandoned +in manhood. One object of education is to train us for discussion, +and as that training gradually approaches to completeness, we should +gradually begin to enter into and to take part in discussion. The +restrictions that are useful at nine years old are pernicious at nineteen.</p> + +<p>This analogy would have seemed to me obvious, but there are +many most able persons who turn the matter just the other way. +They regard the discipline of education as a precedent for persecution. +<span class="pagenum" id="Page_427">[427]</span>They say, ‘I would no sooner let the nation at large read that bad +book than I would let my children read it.’ They refuse to admit +that the age of the children makes any difference. At heart they +think that they are wiser than the mass of mankind, just as they are +wiser than their children, and would regulate the studies of both unhesitatingly. +But experience shows that no man is on all points so +wise as the mass of men are after a good discussion, and that if the +ideas of the very wisest were by miracle to be fixed on the race, the +certain result would be to stereotype monstrous error. If we fixed +the belief of Bacon, we should believe that the earth went round the +sun: if we fixed that of Newton, we should believe ‘that the Argonautic +expedition was a real event, and occurred <span class="allsmcap">B.C.</span> 937; that +Hercules was a real person, and delivered Theseus, another real person, +<span class="allsmcap">B.C.</span> 936; that in the year 1036 Ceres, a woman of Sicily, in seeking +her daughter who was stolen, came into Attica, and there taught the +Greeks to sow corn.’ And the worst is, that the minds of most would-be +persecutors are themselves unfixed; their opinions are in a perpetual +flux; they would persecute all others for tenets which yesterday they +had not heard of and which they will not believe to-morrow.</p> + +<p>But it will be said, the theory of Toleration is not so easy as that +of education. We know by a certain fact when a young man is +grown up and can bear discussion. We judge by his age, as to which +every one is agreed. But we cannot tell by any similar patent fact +when a state is mature enough to bear discussion. There may be +two opinions about it. And I quite agree that the matter of fact is +more difficult to discover in one case than in the other; still it is a +matter of fact which the rulers of the State must decide upon their +responsibility, and as best they can. And the highest sort of rulers +will decide it like the English in India—with no reference to their +own belief. For years the English prohibited the preaching of +Christianity in India, though it was their own religion, because they +thought that it could not be tranquilly listened to. They now permit +it, because they find that the population can bear the discussion. Of +course, most Governments are wholly unequal to so high a morality +and so severe a self-command. The Governments of most countries +are composed of persons who wish everybody to believe as they do, +merely because they do. Some here and there, from a higher motive, +so eagerly wish to propagate their opinions, that they are unequal to +consider the problem of toleration impartially. They persecute till +the persecuted become strong enough to make them desist. But the +delicacy of a rule and the unwillingness of Governments to adopt it, +<span class="pagenum" id="Page_428">[428]</span>do not prove that it is not the best and the right one. There are +already in inevitable jurisprudence many lines of vital importance +just as difficult to draw. The line between sanity and insanity has +necessarily to be drawn, and it is as nice as anything can be. The +competency of people to bear discussion is not intrinsically more +difficult than their competency to manage their own affairs, though +perhaps a Government is less likely to be impartial and more likely +to be biassed in questions of discussion than in pecuniary ones.</p> + +<p>Secondly, the doctrine that rulers are to permit discussion assumes +not only, as we have seen, that discussion is possible, but also that +discussion will not destroy the Government. No Government is bound +to permit a controversy which will annihilate itself. It is a trustee +for many duties, and if possible, it must retain the power to perform +those duties. The controversies which may ruin it are very different +in different countries. The Government of the day must determine +in each case what those questions are. If the Roman Emperors who +persecuted Christianity really did so because they imagined that +Christianity would destroy the Roman Empire, I think they are to +be blamed not for their misconception of duty, but for their mistake +of fact. The existence of Christianity was not really more inconsistent +with the existence of the Empire in the time of Diocletian than +in that of Constantine; but if Diocletian thought that it was inconsistent, +it was his duty to preserve the Empire.</p> + +<p>It will be asked, ‘What do you mean by preserving a society? +All societies are in a state of incipient change; the best of them are +often the most changing; what is meant, then, by saying you will +“preserve” any? You admit that you cannot keep them unaltered, +what then do you propose to do?’ I answer that, in this respect, the +life of societies is like the life of the individuals composing them. +You cannot interfere so as to keep a man’s body unaltered; you can +interfere so as to keep him alive. What changes in such cases will be +fatal, is a question of fact. The Government must determine what +will, so to say, ‘break up the whole thing’ and what will not. No +doubt it may decide wrong. In France, the country of experiments, +General Cavaignac said, ‘A Government which allows its principle to +be discussed, is a lost Government,’ and therefore he persecuted on +behalf of the Republic, thinking it was essential to society. Louis +Napoleon similarly persecuted on behalf of the Second Empire; M. +Thiers on behalf of the Republic again; the Duc de Broglie now persecutes +on behalf of the existing nondescript. All these may be mistakes +or some of them, or none. Here, as before, the practical +<span class="pagenum" id="Page_429">[429]</span>difficulties in the application of a rule do not disprove its being the +true and the only one.</p> + +<p>It will be objected that this principle is applicable only to truths +which are gained by discussion. ‘We admit,’ such objectors say, +‘that where discussion is the best or the only means of proving truth, +it is unadvisable to prohibit that discussion, but there are other means +besides discussion of arriving at truth, which are sometimes better +than discussion even where discussion is applicable, and sometimes go +beyond it and attain regions in which it is inapplicable; and where +those more efficient means are applicable it may be wise to prohibit +discussion, for in these instances discussion may confuse the human +mind and impede it in the use of those higher means. The case is +analogous to that of the eyes. For the most part it is a sound rule to +tell persons who want to see things, that they must necessarily use <i>both</i> +their eyes, and rely on them. But there are cases in which that rule is +wrong. If a man wants to see things too distant for the eyes, as the +satellites of Jupiter and the ring of Saturn, you must tell him, on the +contrary, to shut one eye and look through a telescope with the other. +The ordinary mode of using the common instruments may, in exceptional +cases, interfere with the right use of the supplementary instruments.’ +And I quite admit that there are such exceptional cases and +such additional means; but I say that their existence introduces no +new difficulty into the subject, and that it is no reason for prohibiting +discussion except in the cases in which we have seen already that it +was advisable to prohibit it.</p> + +<p>Putting the matter in the most favourable way for these objectors, +and making all possible concessions to them, I believe the exceptions +which they contend for must come at last to three.</p> + +<p>First, There are certain necessary propositions which the human +mind <i>will</i> think, must think, and cannot help thinking. For example, +we must believe that things which are equal to the same thing +are equal to each other,—that a thing cannot <i>both</i> be and not be,—that +it must <i>either</i> be or not be. These truths are not gained by discussion; +on the contrary, discussion presupposes at least some of them, +for you cannot argue without first principles any more than you can +use a lever without a fulcrum. The prerequisites of reasoning must +somehow be recognised by the human mind before we begin to reason. +So much is obvious, but then it is obvious also that in such cases +attempts at discussion cannot do any harm. If the human mind has +in it certain first principles which it cannot help seeing, and which it +accepts of itself, there is no harm in arguing against those first principles. +<span class="pagenum" id="Page_430">[430]</span>You may contend as long as you like, that things which are +equal to the same thing are <i>not</i> equal to each other, or that a thing +<i>can</i> both exist and not exist at the same time, but you will not convince +anyone. If you could convince anyone you would do him +irreparable harm, for you would hurt the basis of his mind and +destroy the use of his reason. But happily you cannot convince him. +That which the human mind cannot help thinking it cannot help +thinking, and discussion can no more remove the primary perceptions +than it can produce them. The multiplication table will remain the +multiplication table, neither more nor less, however much we may +argue either for it or against it.</p> + +<p>But, though the denial of the real necessary perceptions of the +human mind cannot possibly do any harm, the denial of alleged +necessary perceptions is often essential to the discovery of truth. The +human mind, as experience shows, is apt to manufacture sham self-evidences. +The most obvious case is, that men perpetually ‘do sums’ +wrong. If we dwell long enough and intently enough on the truths +of arithmetic they are in each case self-evident; but, if we are too +quick, or let our minds get dull, we may make any number of mistakes. +A certain deliberation and a certain intensity are both essential +to correctness in the matter. Fictitious necessities of thought +will be imposed on us without end unless we are careful. The greatest +minds are not exempt from the risk of such mistakes even in matters +most familiar to them. On the contrary, the history of science +is full of cases in which the ablest men and the most experienced +assumed that it was impossible to think things which are in matter +of fact true, and which it has since been found possible to think quite +easily. The mode in which these sham self-evidences are distinguished +from the real ones is by setting as many minds as possible to try as +often as possible whether they can help thinking the thing or not. +But such trials will never exist without discussion. So far, therefore, +the existence of self-evidences in the human mind is not a reason for +discouraging discussion, but a reason for encouraging it.</p> + +<p>Next, it is certainly true that many conclusions which are by no +means self-evident and which are gradually obtained, nevertheless, +are not the result of discussion. For example, the opinion of a man +as to the characters of his friends and acquaintances is not the result +of distinct argument, but the aggregate of distinct impressions: it +is not the result of an investigation consciously pursued, but the effect +of a multiplicity of facts involuntarily presented; it is a definite +thing and has a most definite influence on the mind, but its origin is +<span class="pagenum" id="Page_431">[431]</span>indefinite and not to be traced; it is like a great fund raised in very +small subscriptions and of which the subscribers’ names are lost. +But here again, though these opinions too were not gained by discussion, +their existence is a reason for promoting discussion, not for +preventing it. Every-day experience shows that these opinions as to +character are often mistaken in the last degree. Human character +is a most complex thing, and the impressions which different people +form of it are as various as the impressions which the inhabitants of +an impassable mountain have of its shape and size. Each observer +has an aggregate idea derived from certain actions and certain sayings, +but the real man has always or almost always said a thousand +sayings of a kind quite different and in a connection quite different; +he has done a vast variety of actions among ‘other men’ and ‘other +minds;’ a mobile person will often seem hardly the same if you +meet him in very different societies. And how, except by discussion, +is the true character of such a person to be decided? Each observer +must bring his contingent to the list of <i>data</i>; those data must be +arranged and made use of. The certain and positive facts as to +which everyone is agreed must have their due weight: they must be +combined and compared with the various impressions as to which no +two people exactly coincide. A rough summary must be made of +the whole. In no other way is it possible to arrive at the truth +of the matter. Without discussion each mind is dependent on its +own partial observation. A great man is one image—one thing, so +to speak—to his valet, another to his son, another to his wife, +another to his greatest friend. None of these must be stereotyped; +all must be compared. To prohibit discussion is to prohibit the corrective +process.</p> + +<p>Lastly, I hold that there are first principles or first perceptions +which are neither the result of constant, though forgotten trials like +those last spoken of, nor common to all the race like the first. The +most obvious seem to me to be the principles of taste. The primary +perceptions of beauty vary much in different persons, and for different +persons at the same time, but no one can say that they are not most +real and most influential parts of human nature. There is hardly a +thing made by human hands which is not affected more or less by the +conception of beauty felt by the maker; and there is hardly a human +life which would not have been different if the idea of beauty in the +mind of the man who lived it had been different.</p> + +<p>But certainly it would not answer to exclude subjects of taste +from discussion, and to allow one school of taste-teachers to reign +<span class="pagenum" id="Page_432">[432]</span>alone, and to prohibit the teaching of all rival schools. The effect +would be to fix on all ages the particular ideas of one age on a matter +which is beyond most others obscure and difficult to reduce to a +satisfactory theory. The human mind evidently differs at various +times immensely in its conclusions upon it, and there is nothing to +show that the era of the persecutor is wiser than any other era, or +that his opinion is better than anyone else’s.</p> + +<p>The case of these variable first principles is much like that of the +‘personal equation,’ as it is called in the theory of observations. Some +observers, it is found, habitually see a given phenomenon, say the +star coming to the meridian, a little sooner than most others; some +later; no two persons exactly coincide. The first thing done when +a new man comes into an observatory for practical work is to determine +whether he sees quick or slow; and this is called the ‘personal +equation.’ But, according to the theory of persecution, the national +astronomer in each country would set up his own mind as the standard; +in one country he would be a quick man, and would not let the slow +people contest what he said; in another he would be a slow man, +and would not tolerate the quick people, or let men speak their +minds; and so the astronomical observations—the astronomical <i>creeds</i> +if I may say so—of different countries would radically differ. But +as toleration and discussion are allowed, no such absurd result follows. +The observations of different minds are compared with those of others, +and truth is assumed to lie in the mean between the errors of the +quick people and the errors of the slow ones.</p> + +<p>No such accurate result can be expected in more complex matters. +The phenomena of astronomical observation relate only to very simple +events, and to a very simple fact about these events. But perceptions +of beauty have an infinite complexity: they are all subtle aggregates +of countless details, and about each of these details probably every +mind in some degree differs from every other one. But in a rough +way the same sort of agreement is possible. Discussion is only an +organised mode, by which various minds compare their conclusions +with those of various others. Bold and strong minds describe graphic +and definite impressions: at first sight these impressions seem wholly +different. Writers of the last century thought classical architecture +altogether inferior to Gothic; many writers now put it just the other +way, and maintain a mediæval cathedral to be a thing altogether +superior in kind and nature to anything classical. For years the +world thought Claude’s landscapes perfect. Then came Mr. Ruskin, +and by his ability and eloquence he has made a whole generation depredate +<span class="pagenum" id="Page_433">[433]</span>them, and think Turner’s altogether superior. The extrication +of truth by such discussions is very slow; it is often retarded; +it is often thrown back; it often seems to pause for ages. But upon +the whole it makes progress, and the principle of that progress is +this:—Each mind which is true to itself, and which draws its own +impressions carefully, and which compares those impressions with +the impressions of others, arrives at certain conclusions, which as far +as that mind is concerned are ultimate, and are its highest conclusions. +These it sets down as expressively as it can on paper, or +communicates by word of mouth, and these again form data which +other minds can contrast with their own. In this incessant comparison +eccentric minds fall off on every side; some like Milton, some +Wordsworth, some can see nothing in Dryden, some find Racine +intolerably dull, some think Shakespeare barbarous, others consider +the contents of the Iliad ‘battles and schoolboy stuff.’ With history +it is the same; some despise one great epoch, some another. Each +epoch has its violent partisans, who will listen to nothing else, and +who think every other epoch in comparison mean and wretched. +These violent minds are always faulty and sometimes absurd, but +they are almost always useful to mankind. They compel men to hear +neglected truth. They uniformly exaggerate their gospel; but it +generally <i>is</i> a gospel. Carlyle said many years since of the old Poor +Law in England:—‘It being admitted then that outdoor relief should +at once cease, what means did great Nature take to make it cease? +She created various men who thought the cessation of outdoor relief +the one thing needful.’ In the same way, it being desirable that the +taste of men should be improved on some point, Nature’s instrument +on that point is some man of genius, of attractive voice and +limited mind, who declaims and insists, not only that the special +improvement is a good thing in itself, but the best of all things, +and the root of all other good things. Most useful, too, are others +less apparent; shrinking, sensitive, testing minds, of whom often +the world knows nothing, but each of whom is in the circle just near +him an authority on taste, and communicates by personal influence +the opinions he has formed. The human mind of a certain maturity, +if left alone, prefers real beauty to sham beauty, and prefers it the +sooner if original men suggest new charms, and quiet men criticise +and judge of them.</p> + +<p>But an æsthetical persecution would derange all this, for generally +the compulsive power would be in the hands of the believers in +some tradition. The State represents ‘the rough force of society,’ +<span class="pagenum" id="Page_434">[434]</span>and is little likely to be amenable to new charms or new ideas; and +therefore the first victim of the persecution would be the original +man who was proposing that which in the end would most improve +mankind; and the next would be the testing and discerning critic who +was examining these ideas and separating the chaff from the wheat +in them. Neither would conform to the old tradition. The inventor +would be too eager; the critic too scrupulous; and so a heavy code of +ancient errors would be chained upon mankind. Nor would the case +be at all the better if by some freak of events the propounder of the +new doctrine were to gain full control, and to prohibit all he did not +like. He would try, and try in vain, to make the inert mass of men +accept or care for his new theory, and his particular enemy would +be the careful critic who went with him a little way and then refused +to go any further. If you allow persecution, the partisans of the +new sort of beauty will, if they can, attack those of the old sort; +and the partisans of the old sort will attack those of the new sort; +while both will turn on the quiet and discriminating person who is +trying to select what is good from each. Some chance taste will be +fixed for ages.</p> + +<p>But it will be said, ‘Whoever heard of such nonsense as an +æsthetical persecution? Everybody knows such matters of taste +must be left to take care of themselves; as far as they are concerned, +nobody wants to persecute or prohibit.’ But I have spoken +of matters of taste because it is sometimes best to speak in parables. +The case of morals and religion, in which people have always persecuted +and still wish to persecute, is the very same. If there are (as +I myself think there are) ultimate truths of morals and religion +which more or less vary for each mind, some sort of standard and +some kind of agreement can only be arrived at about it in the very +same way. The same comparison of one mind with another is necessary; +the same discussion; the same use of criticising minds; the +same use of original ones. The mode of arriving at truth is the +same, and also the mode of stopping it.</p> + +<p>We now see the reason why, as I said before, religious persecution +often extirpates new doctrines, but commonly fails to maintain the +belief in old tenets. You can prevent whole classes of men from +hearing of the religion which is congenial to them, but you cannot +make men believe a religion which is uncongenial. You can prevent +the natural admirers of Gothic architecture from hearing anything of +it, or from seeing it; but you cannot make them admire classical +architecture. You may prevent the admirers of Claude from seeing +<span class="pagenum" id="Page_435">[435]</span>his pictures, or from praising them; but you cannot make them +admirers of Turner. Just so, you may by persecution prevent minds +prone to be Protestant from being Protestant; but you will not +make men real Catholics: you may prevent naturally Catholic +minds from being Catholic; but you will not make them genuine +Protestants. You will not make those believe your religion who are +predisposed by nature in favour of a different kind of religion; you +will make of them, instead, more or less conscious sceptics. Being +denied the sort of religion of which the roots are in their minds +and which they could believe, they will for ever be conscious of an +indefinite want. They will constantly feel after something which +they are never able to attain; they will never be able to settle upon +anything; they will feel an instinctive repulsion from everything; +they will be sceptics at heart, because they were denied the creed +for which their heart craves; they will live as indifferentists, because +they were withheld by force from the only creed to which they would +not be indifferent. Persecution in intellectual countries produces a +superficial conformity, but also underneath an intense, incessant, +implacable doubt.</p> + +<p>Upon examination, therefore, the admission that certain truths +are not gained by discussion introduces no new element into the +subject. The discussion of such truths is as necessary as of all other +truths. The only limitations are that men’s minds shall in the particular +society be mature enough to bear the discussion, and that the +discussion shall not destroy the society.</p> + +<p>I acknowledge these two limitations to the doctrine that discussion +should be free, but I do not admit another which is often urged. It +is said that those who write against toleration should not be tolerated; +that discussion should not aid the enemies of discussion. But why +not? If there is a strong Government and a people fit for discussion, +why should not the cause be heard? We must not assume that the +liberty of discussion has no case of exception. We have just seen +that there are, in fact, several such. In each instance, let the people +decide whether the particular discussion shall go on or not. Very +likely, in some cases, they may decide wrong; but it is better that +they should so decide, than that we should venture to anticipate all +experience, and to make sure that they cannot possibly be right.</p> + +<p>It is plain, too, that the argument, here applied to the toleration +of opinion has no application to that of actions. The human mind, +in the cases supposed, learns by freely hearing all arguments, but in +no case does it learn by trying freely all practices. Society, as we now +<span class="pagenum" id="Page_436">[436]</span>have it, cannot exist at all unless certain acts are prohibited. It goes +on much better because many other acts are prohibited also. The +Government must take the responsibility of saying what actions it +will allow; that is its first business, and the allowance of all would +be the end of civilisation. But it must, under the conditions specified, +hear all opinions, for the tranquil discussion of all more than anything +else promotes the progressive knowledge of truth, which is the +mainspring of civilisation.</p> + +<p>Nor does the argument that the law should not impose a penalty +on the expression of any opinion equally prove that society should +not in many cases apply a penalty to that expression. Society can +deal much more severely than the law with many kinds of acts, +because it need be far less strict in the evidence it requires. It can +take cognisance of matters of common repute and of things of which +everyone is sure, but which nobody can prove. Particularly, it can +fairly well compare the character of the doctrine with the character +of the agent, which law can do but imperfectly, if at all. And it is +certain that opinions are evidence of the character of those who hold +them—not conclusive evidence, but still presumptive. Experience +shows that every opinion is compatible with what every one would +admit to be a life fairly approvable, a life far higher than that of the +mass of men. Great scepticism and great belief have both been +found in characters whom both sceptics and believers must admire. +Still, on the whole, there is a certain kinship between belief and +character; those who disagree with a man’s fundamental creed will +generally disapprove of his habitual character. If, therefore, society +sees a man maintaining opinions which by experience it has been led +to connect with actions such as it discountenances, it is justified in +provisionally discountenancing the man who holds those opinions. +Such a man should be put to the proof to show by his life that the +opinions which he holds are not connected with really pernicious +actions, as society thinks they are. If he is visibly leading a high +life, society should discountenance him no longer; it is then clear that +he did not lead a bad life, and the idea that he did or might lead such +a life was the only reason for so doing. A doubt was suggested, but +it also has been removed. This habit of suspicion does not, on the +whole, impair free discussion; perhaps even it improves it. It keeps +out the worst disputants, men of really bad character, whose opinions +are the results of that character, and who refrain from publishing +them, because they fear what society may say. If the law could +similarly distinguish between good disputants and bad, it might usefully +<span class="pagenum" id="Page_437">[437]</span>impose penalties on the bad. But, of course, this is impossible. +Law cannot distinguish between the niceties of character; it must +punish the publication of an opinion, if it punishes at all, no matter +whether the publisher is a good man or whether he is a bad one. In +such a matter, society is a discriminating agent: the law is but a +blind one.</p> + +<p>To most people I may seem to be slaying the slain, and proving +what no one doubts. People, it will be said, no longer wish to +persecute. But I say, they <i>do</i> wish to persecute. In fact, from their +writings, and still better from their conversation, it is easy to see +that very many believers would persecute sceptics, and that very +many sceptics would persecute believers. Society may be wiser; but +most earnest believers and most earnest unbelievers are not at all +wiser.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_438">[438]</span></p> + +<h3 class="nobreak" id="APPENDIX_IV"><i>THE PUBLIC +WORSHIP REGULATION BILL.</i>⁠<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a><br> +<span class="smaller">(1874.)</span></h3> + +</div> + +<p>If the ‘Public Worship Regulation Bill’ dealt only with subjects +theological or religious, we should not interfere in the discussion; but +it deals also with political questions, on which we do not think it +right to be silent, especially as many whom we much respect have, +we think, selected a policy of which the effect will be the reverse of +what they expect, and the success of which they may hereafter much +regret.</p> + +<p>All changes in England should be made slowly and after long +discussion. Public opinion should be permitted to ripen upon them. +And the reason is, that all the important English institutions are +the relics of a long past; that they have undergone many transformations; +that, like old houses which have been altered many times, +they are full both of conveniences and inconveniences which at first +sight would not be imagined. Very often a rash alterer would pull +down the very part which makes them habitable, to cure a minor +evil or improve a defective outline.</p> + +<p>The English Church is one of those among our institutions which, +if it is to be preserved at all, should be touched most anxiously. It +is one of our oldest institutions. Every part of it has a history, +which few of us thoroughly understand, but which we all know to +be long and important. In its political relations it has been altered +many times, and each time under circumstances of considerable complexity. +The last settlement was made more than two hundred years +ago, when men’s minds were in a very different state from what they +are now: when Newton had not written, when Locke had not +thought, when physical science, as we now have it, did not exist, +when modern philosophy, for England at least, had not begun. The +<span class="pagenum" id="Page_439">[439]</span>railways, the telegraphs, the very common sense of these times, would +have been unintelligible in the year 1660; they would have been +still more unintelligible in the reign of Queen Elizabeth. To attempt +to enforce on us now a settlement made in times so different, is a +grave undertaking; it ought only to be made after the most ample +discussion, and when every competent person has had time to consider +the effect.</p> + +<p>We have as yet felt little inconvenience from our old law, because +we have dealt with it in a truly English manner. Always refusing +to change it explicitly, always saying that we would never so change +it, we were changing it silently all the while. Year by year this +practice was omitted, or this habit insensibly changed. Each generation +differed from its fathers; and though they might in part utter +the same words, they did not mean the same things; their intellectual +life was different. Incessant changes in science, in literature, in art, +and in politics—in all that forms thinking minds—have made it +impossible that really and in fact we should think the same things in +1874 as our ancestors in 1674 or 1774. Just as in legal theory Queen +Victoria has pretty much the same prerogative as Queen Elizabeth, so +too in legal theory the English Church may be identical with that +of two hundred years ago; but the Church is not a legal theory, it is +‘a congregation of faithful men;’ and no one of these is in a state of +mind identical, or nearly identical, with those of two hundred years +ago.</p> + +<p>Many Continental statesmen would be much puzzled at this +insensible alteration; they would have a difficulty in imagining a +law which was a law in theory but not a law in practice, which no +one would alter in word and no one enforce in reality. But the +English are very practised in this sort of arrangement—they have a +kind of genius for the compensation of errors. For many years we +had probably the worst and most bloody penal law in Europe; it is +awful to read the old statutes which fix death as the penalty for +minor acts altogether undeserving of it. But these statutes did not +work nearly so much evil as might have been expected. There was +besides a complex system of indictments which let off very many +culprits upon trifling flaws, and there was also an absurd system of incessant +remissions and pardons; the worst evils of an excessively bad +law were exceedingly mitigated by a very bad mode of applying it. +Speaking roughly, and subject to minor criticism, the history has +been the same in the Church; in it, too, an imperfect law has been +remedied by an imperfect mode of procedure. The Church has been +<span class="pagenum" id="Page_440">[440]</span>allowed to change in this and that because it has been exceedingly +difficult to interfere with it. The legal penalty against change has +been distant, costly, and uncertain; and therefore it has not been +applied. Change has been possible because the punishment of change +was difficult. But the essence of the ‘Public Worship Regulation +Bill’ is to make that punishment easy. ‘If the Rubric says so,’ say +its supporters, ‘the Rubric ought to be enforced.’ This is as if Sir +Samuel Romilly had attacked, not our bad penal code, but our bad +penal procedure. If, by the historical growth of approximate equivalents, +<i>A</i> mitigates <i>B</i>, you will deteriorate, not improve the world, if +you change <i>A</i> without changing <i>B</i>, though both may be evils.</p> + +<p>The analogy, indeed, very imperfectly expresses the truth. In the +recent history of the Church, the English have conspicuously shown +another of their predominant peculiarities—indifference to abstract +truth. When a quarter of a century ago English lawyers in the +Court of Privy Council were first required to decide theological questions, +they did so in a way which astonished theologians. They +declined to supply any abstract proposition. If the enacted formularies +contained such and such words, no clergyman of the Church +could, according to them, contradict those words, but they allowed +the clergy to say anything else. We cannot use theological terms +here; but suppose, by an economical analogy, the formulary had said +that ‘Free trade was beneficial to mankind,’ the lawyers would have +decided that no clergyman could say that free trade was not beneficial; +but they would have allowed him to say that ‘Commercial liberty +was inexpressibly disastrous to mankind,’ because as lawyers they +would not undertake to say that ‘free trade’ and ‘commercial liberty’ +meant the same thing, or that in an abstract subject the two phrases +might not in some way and to some minds seem consistent. In mere +description this kind of decision may not seem very sensible, and it +is utterly contrary to any which a theologian would ever have +adopted; but in practice it preserved the Church Establishment. It +was first applied in the Gorham case, and retained the Evangelical +clergy in the Church; then, in the <i>Essays and Reviews</i> case, it +retained the Broad Church; and lastly, in Mr. Bennett’s case, it retained +the High Church. If the Establishment was to be maintained, +it was necessary that all these parties should be kept side by +side within it, and by this system of interpretation they were thus +kept.</p> + +<p>Unfortunately, the courts of law have not been able to apply the +same sort of judicial decision to the practical directions for the public +<span class="pagenum" id="Page_441">[441]</span>worship of the Church which they applied to her theoretical teachings. +There is inevitably something more distinct and clear about acts +which are required to be done at a given time and place, than in statements +of abstract doctrine. When the courts have been appealed to, +it has not been possible to apply to ritual the same comprehensiveness +which has had such excellent political effects in the case of doctrine. +But, nevertheless, there is exactly the same necessity for it. Almost +every party in the Church is harassed by some of her rules, just as it +is hampered by some of her words. The Broad Church dislikes the +Athanasian creed, and avoids the use of it. The Low Church and +the High Church are in vital and necessary opposition as to the mode +of conducting the Sacramental services. In every characteristic +Church every party thinks probably something is done which the +strict Rubric would forbid, or something omitted which it would +prescribe. Until now this difficulty has not been very acutely felt. +As we have explained, the imperfection of the law was cured by the +imperfection of the procedure. No doubt the rubrics were framed in +other days; no doubt they took no notice of the wants of the present +day; no doubt a strict adherence to them would expel from the +Church very many whose doctrines had been decided to be consistent +with hers. But then, to enforce the observance of the Rubric was +difficult, costly, and dubious, and so the natural evil did not happen. +The wants of various minds were variously met by various deviations +from the law, which in theory were liable to penalties, but which in +practice were unpunished.</p> + +<p>The scope of the ‘Public Worship Regulation Bill’ is to destroy +this variety. It is a new Act of Uniformity as far as ‘public worship’ +is concerned. A short and simple process—which has been so +often stated that we need not here describe it—is prescribed which +will enable objectors to enforce any rubric, and which no doubt will +cause them to be so enforced. The proposers of the Bill have not +enough considered the applicability of this primary assumption: no +Church can have only a single form of public worship unless it has +also a single creed. An apparent uniformity may be maintained in +specified details; but in spirit, in feeling, in its deepest consequences +on those who habitually hear and see, the effect will be different. A +service conducted by a Broad Churchman, explained in his sermon, +and commented upon in his manner, will be very unlike what it +would be if that service is conducted by a <i>bonâ fide</i> dogmatic believer. +No mere Act of Uniformity can prevent this. Still less can it efface +the inevitable difference between a Sacramental service in the hands +<span class="pagenum" id="Page_442">[442]</span>of a High Church clergyman and in those of a Low Church. The +two belong to separate and unlike species. The one believes that the +service contains a supernatural act, the other that it is an edifying rite; +the one regards it as an invisible miracle, the other as a conspicuous +exhortation. Make what laws you like, how can the two perform +these services with the same tone of mind, the same kind of thought, +the same effect on the congregation? You may dress two men up in +the same clothes, but they will be two men for all that. If once you +permit two or more faiths in a Church, you in truth permit two or +more Rituals. The various feelings and the various creeds will somehow +find a means of bringing themselves into contact with the minds +with which they wish to be in contact. You have ‘swallowed the +camel’ when you permitted the creed, and it is useless to strain at +the gnat and forbid the expression of it.</p> + +<p>This is to be especially borne in mind by those who think that +there is a party in the Church that desires to introduce Romanism, +and who approve of this Bill because they think it will counteract +that party. The essence of Romanism is not in its ceremonies, but +in its doctrines. As was explained to the House of Commons on +Wednesday, nothing could be simpler than the mode in which Mr. +Newman used to conduct his services at Oxford; and yet he then held +‘Roman’ doctrine, and penetrated half the young men about him +with a deep faith in the highest sacramental principle. Unless you +reverse the decision in the Bennett case, a doctrine which no common +person will distinguish from Romanism will continue to be, and must +be, taught in the Church of England. We do not believe it will lose +in strength by being denied this or that form of Ritual. It will +attract in any case the minds to whom it is congenial, and it will +rather gain than lose in <i>éclat</i> by seeming to be persecuted.</p> + +<p>We shall be told that this argument proves too much; for that it +proves that this Bill will do nothing at all, and that therefore at least +it will do no harm. But it will, we think, do great harm—at least, +if it be good to keep the Establishment, and if it does harm to weaken +it. The real danger of the Establishment is from within, not from +without. The manner in which its sections have been retained within +its limits has in part developed, and as time goes on is still developing +more largely, a great evil. Specially the Low Church, specially the +Broad Church, and specially the High Church, have all been kept in +her communion because the judges refused to draw certain logical inferences +from her formularies; as lawyers they declined to draw them. +<span class="pagenum" id="Page_443">[443]</span>But intellectual young men, who are thinking of becoming clergymen, +do not like this reasoning. They say: ‘The courts of law may not +like to draw these inferences, but I must. I have spent my youth in +a mental training which has prepared me to draw them, and which +compels me to do so. Educated as I have been, I cannot take half +an argument and leave it; I must work it out to the end. That end +seems to me inconsistent with this or that of the formularies of the +Church. Others say it is not, but I am not sure that it is not; at +any rate, I do not like to risk the happiness of my life upon its being +consistent. If in after years my investigation should run counter to +a vast collection of assertions framed by various men, in various ages, +of various minds, what will be my fate? I must either sacrifice the +profession by which I live, or the creed in which I believe. The +lawyers probably might not turn me out indeed; but my conscience +was not made by lawyers—I shall have to turn myself out.’ This is +the sort of thought which more and more prevents intellectual young +men from taking orders, and we are beginning to see the effect. The +moral excellence and the practical piety of the clergy are as good as +ever; but they want individuality of thought and originality of mind. +They have too universal a conformity to commonplace opinion. They +are not only conscientious, but indecisive; more and more they belong +to the most puzzling class to argue with, for more and more they +‘candidly confess’ that they must admit your premises, but, on +‘account of the obscurity of the subject,’ must decline to draw the +inevitable inference. Already this intellectual poorness is beginning +to be felt; and if it should augment, it will destroy the Establishment. +She will not have in her ranks arguers who can maintain her +position either against those who believe more or against those who +believe less. Scepticism sends trained and logical minds to the intellectual +conflict; Romanism does so also; but the Established Church +refuses them—refuses them silently and indirectly, but still effectually. +The Public Worship Bill will, we conceive, augment this difficulty +almost at the very point at which its being augmented will be most +calamitous. Many young men who are acutely conscious of the +restraints of the Establishment in speculation, are attracted by its +freedom in practice. ‘I may be cramped in metaphysics,’ they think +at heart, ‘but I shall be free in action.’ But this Bill will be a +measure—for aught young men can tell, the first of a series—which +will limit the freedom of their lives, and cramp them on the side of +practice as they already are on the side of thought. The most +<span class="pagenum" id="Page_444">[444]</span>malevolent enemy of the Established Church could deal her no acuter +wound.</p> + +<p>Upon the whole, we can conceive nothing clearer than that this +Bill should not pass this year. We are certain that members of Parliament +have not considered the necessary arguments, and that the +nation has not done so either.</p> + +<p class="titlepage">THE END.</p> + +<p class="center smaller">PRINTED BY<br> +SPOTTISWOODE AND CO., NEW-STREET SQUARE<br> +LONDON</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="footnotes"> + +<div class="chapter"> + +<h2 class="nobreak" id="FOOTNOTES">FOOTNOTES</h2> + +</div> + +<div class="footnote"><p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> <i>The History of the Decline and Fall of the Roman Empire.</i> By Edward +Gibbon, Esq. With Notes by Dean Milman and M. Guizot. Edited, with +additional Notes, by William Smith, LL.D. In Eight Volumes. London, +1855. Murray.</p></div> + +<div class="footnote"><p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> <i>Some Remains (hitherto unpublished) of Joseph Butler, LL.D., some time +Lord Bishop of Durham.</i></p> + +<p><i>Encyclopædia Britannica, Vol. VI. Part II. Article, Joseph Butler.</i> By +Henry Rogers, Author of the ‘Eclipse of Faith.’ Eighth edition.</p></div> + +<div class="footnote"><p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> Trench, <i>On the Synonyms of the New Testament</i> (p. 191).</p></div> + +<div class="footnote"><p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> Trench, <i>ubi supra</i>.</p></div> + +<div class="footnote"><p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> <i>The Prospective Review.</i></p></div> + +<div class="footnote"><p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> Professor Rogers’s <i>Defence of the ‘Eclipse of Faith’</i>, p. 43. It is to be +observed, we are not at all speaking of the facts of the Old Testament; we +are but limiting the considerations on which the above writer has rested its +defence. These refined reasonings but weaken the case they are brought to +support. ‘I did not know,’ said George the Third, ‘that the Bible needed +an apology.’</p></div> + +<div class="footnote"><p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> We doubt, however, if Butler would at all have accepted Mr. Rogers’s +statement of his view, though it is perhaps the most common interpretation +of him. Probably, he really meant no more than what we contend for, though +his language is not always so limited in terms.</p></div> + +<div class="footnote"><p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> <i>The Life of Laurence Sterne.</i> By Percy Fitzgerald, M.A., M.R.I.A. In +two volumes. Chapman and Hall.</p> + +<p><i>Thackeray the Humourist and the Man of Letters.</i> By Theodore Taylor, +Esq. London: John Camden Hotten.</p></div> + +<div class="footnote"><p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> <i>Library Edition.</i> Illustrated by upwards of Two Hundred Engravings +on Steel, after Drawings by Turner, Landseer, Wilkie, Stanfield, Roberts, &c. +including Portraits of the Historical Personages described in the Novels. +25 vols. demy 8vo.</p> + +<p><i>Abbotsford Edition.</i> With One Hundred and Twenty Engravings on Steel, +and nearly Two Thousand on Wood. 12 vols. super-royal 8vo.</p> + +<p><i>Author’s favourite Edition.</i> 48 vols. post 8vo.</p> + +<p><i>Cabinet Edition.</i> 25 vols. foolscap 8vo.</p> + +<p><i>Railway Edition.</i> Now publishing, and to be completed in 25 portable +volumes, large type.</p> + +<p><i>People’s Edition.</i> 5 large volumes royal 8vo.</p></div> + +<div class="footnote"><p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> <i>Cheap Edition of the Works of Mr. Charles Dickens. The Pickwick +Papers, Nicholas Nickleby, &c.</i> London, 1857-8. Chapman and Hall.</p></div> + +<div class="footnote"><p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> <i>The History of England from the Accession of James the Second.</i> By +Thomas Babington Macaulay. Longmans.</p></div> + +<div class="footnote"><p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> <i>Œuvres complètes de</i> C.-J. de Béranger. <i>Nouvelle édition revue par l’Auteur, +contenant les Dix Chansons nouvelles, le facsimile d’une Lettre de</i> Béranger; +<i>illustrée de cinquante-deux gravures sur acier, d’après</i> Charlet, D’Aubigny, +Johannot Grenier, De Lemud, Pauquet, Penguilly, Raffet, Sandoz, <i>exécutées +par les artistes les plus distingués, et d’un beau portrait d’après nature par</i> +Sandoz. 2 vols. 8vo. 1855.</p></div> + +<div class="footnote"><p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> We have been obliged to abridge the above extract, and in so doing have +left out the humour of it.</p></div> + +<div class="footnote"><p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> <i>Poems.</i> By Arthur Hugh Clough, sometime Fellow of Oriel College, Oxford. +With a Memoir. Macmillan.</p></div> + +<div class="footnote"><p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent4">‘——domus Albuneæ resonantis,</div> + <div class="verse indent0">Et præceps Anio, et Tiburni lucus, et uda</div> + <div class="verse indent2">Mobilibus pomaria rivis.’</div> + </div> + </div> +</div> + +</div> + +<div class="footnote"><p><a id="Footnote_16" href="#FNanchor_16" class="label">[16]</a> <i>Diary, Reminiscences, and Correspondence of Henry Crabb Robinson, +Barrister-at-Law, F.S.A.</i> Selected and Edited by Thomas Sadler, Ph.D. In +Three Volumes. London, 1869.</p></div> + +<div class="footnote"><p><a id="Footnote_17" href="#FNanchor_17" class="label">[17]</a> ‘Since writing the above, Baron Rolfe has verified my prediction more +strikingly by being created a peer, by the title of Lord Cranworth, and appointed +a Vice-Chancellor. Soon after his appointment, he called on me, and I +dined with him. I related to Lady Cranworth the anecdote given above, of my +conversation with my brother, with which she was evidently pleased. Lady +Cranworth was the daughter of Mr. Carr, Solicitor to the Excise, whom I +formerly used to visit, and ought soon to find some mention of in my journals. +Lord Cranworth continues to enjoy universal respect.—H. C. R. 1851.’</p></div> + +<div class="footnote"><p><a id="Footnote_18" href="#FNanchor_18" class="label">[18]</a> <i>Enoch Arden, &c.</i> By Alfred Tennyson, D.C.L., Poet Laureate. <i>Dramatis +Personæ.</i> By Robert Browning.</p></div> + +<div class="footnote"><p><a id="Footnote_19" href="#FNanchor_19" class="label">[19]</a> The first words in Lord Jeffrey’s celebrated review of the <i>Excursion</i> +were, ‘This will never do.’</p></div> + +<div class="footnote"><p><a id="Footnote_20" href="#FNanchor_20" class="label">[20]</a> ‘A curious physiologico-botanical theory by Goethe, which appears to be +entirely unknown in this country: though several eminent continental botanists +have noticed it with commendation. It is explained at considerable +length, in this same <i>Morphologie</i>.’</p></div> + +<div class="footnote"><p><a id="Footnote_21" href="#FNanchor_21" class="label">[21]</a> <i>The Poems and Prose Remains of Arthur Hugh Clough</i>, vol. ii. p. 472.</p></div> + +<div class="footnote"><p><a id="Footnote_22" href="#FNanchor_22" class="label">[22]</a> <i>Science in Theology.</i> Sermons preached before the University of Oxford. +By the Rev. Adam S. Farrar. Longmans.</p></div> + +<div class="footnote"><p><a id="Footnote_23" href="#FNanchor_23" class="label">[23]</a> <i>Contemporary Review</i> for April 1871.</p></div> + +<div class="footnote"><p><a id="Footnote_24" href="#FNanchor_24" class="label">[24]</a> It should be stated that this essay was originally read as a paper before +a society which discusses subjects of a metaphysical nature.</p></div> + +<div class="footnote"><p><a id="Footnote_25" href="#FNanchor_25" class="label">[25]</a> <i>Contemporary Review</i> for April 1874.</p></div> + +<div class="footnote"><p><a id="Footnote_26" href="#FNanchor_26" class="label">[26]</a> [This paper originally appeared in the <i>Economist</i> on the occasion of the +adoption by the Government of the late Mr. Russell Gurney’s Public Worship +Regulation Bill. It is here included as a telling practical illustration of the +teaching of the previous essay.—<span class="smcap">Editor.</span>]</p></div> + +</div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78450 ***</div> +</body> +</html> diff --git a/78450-h/images/cover.jpg b/78450-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..1317dea --- /dev/null +++ b/78450-h/images/cover.jpg diff --git a/78450-h/images/line.jpg b/78450-h/images/line.jpg Binary files differnew file mode 100644 index 0000000..86f206b --- /dev/null +++ b/78450-h/images/line.jpg |
