Literary Character of Men of Genius Part 12

Want of mutual esteem among men of genius often originates in a deficiency of a.n.a.logous ideas.--It is not always envy or jealousy which induces men of genius to undervalue each other.

Among men of genius, that want of mutual esteem, usually attributed to envy or jealousy, often originates in a deficiency of a.n.a.logous ideas, or of sympathy, in the parties. On this principle, several curious phenomena in the history of genius may be explained.

Every man of genius has a manner of his own; a mode of thinking and a habit of style, and usually decides on a work as it approximates or varies from his own. When one great author depreciates another, his depreciation has often no worse source than his own taste. The witty Cowley despised the natural Chaucer; the austere cla.s.sical Boileau the rough sublimity of Creibillon; the refining Marivaux the familiar Moliere. Fielding ridiculed Richardson, whose manner so strongly contrasted with his own; and Richardson contemned Fielding, and declared he would not last. c.u.mberland escaped a fit of unforgiveness, not living to read his own character by Bishop Watson, whose logical head tried the lighter elegancies of that polished man by his own nervous genius, dest.i.tute of the beautiful in taste. There was no envy in the breast of Johnson when he advised Mrs.

Thrale not to purchase "Gray's Letters," as trifling and dull, no more than there was in Gray himself when he sunk the poetical character of Shenstone, and debased his simplicity and purity of feeling by an image of ludicrous contempt. I have heard that WILKES, a mere wit and elegant scholar, used to treat GIBBON as a mere bookmaker; and applied to that philosophical historian the verse by which Voltaire described, with so much caustic facetiousness, the genius of the Abbe Trablet--

Il a compile, compile, compile.

The deficient sympathy in these men of genius for modes of feeling opposite to their own was the real cause of their opinions; and thus it happens that even superior genius is so often liable to be unjust and false in its decisions.

The same principle operates still more strikingly in the remarkable contempt of men of genius for those pursuits which require talents distinct from their own, and a cast of mind thrown by nature into another mould. Hence we must not be surprised at the poetical antipathies of Selden and Locke, as well as Longuerue and Buffon. Newton called poetry "ingenious nonsense." On the other side, poets undervalue the pursuits of the antiquary, the naturalist, and the metaphysician, forming their estimate by their own favourite scale of imagination. As we can only understand in the degree we comprehend, and feel in the degree in which we sympathize, we may be sure that in both these cases the parties will be found altogether deficient in those qualities of genius which const.i.tute the excellence of the other. To this cause, rather than to the one the friends of MICKLE ascribed to ADAM SMITH, namely, a personal dislike to the poet, may we place the severe mortification which the unfortunate translator of Camoens suffered from the person to whom he dedicated "The Lusiad." The Duke of Buccleugh was the pupil of the great political economist, and so little valued an epic poem, that his Grace had not even the curiosity to open the leaves of the presentation copy.

A professor of polite literature condemned the study of botany, as adapted to mediocrity of talent, and only demanding patience; but LINNaeUS showed how a man of genius becomes a creator even in a science which seems to depend only on order and method. It will not be a question with some whether a man must be endowed with the energy and apt.i.tude of genius, to excel in antiquarianism, in natural history, and similar pursuits. The prejudices raised against the claims of such to the honours of genius have probably arisen from the secluded nature of their pursuits, and the little knowledge which the men of wit and imagination possess of these persons, who live in a society of their own. On this subject a very curious circ.u.mstance has been revealed respecting PEIRESC, whose enthusiasm for science was long felt throughout Europe. His name was known in every country, and his death was lamented in forty languages; yet was this great literary character unknown to several men of genius in his own country; Rochefoucauld declared he had never heard of his name, and Malherbe wondered why his death created so universal a sensation.

Madame DE STaEL was an experienced observer of the habits of the literary character, and she has remarked how one student usually revolts from the other when _their occupations are different_, because they are a reciprocal annoyance. The scholar has nothing to say to the poet, the poet to the naturalist; and even among men of science, those who are differently occupied avoid each other, taking little interest in what is out of their own circle. Thus we see the cla.s.ses of literature, like the planets, revolving as distinct worlds; and it would not be less absurd for the inhabitants of Venus to treat with contempt the powers and faculties of those of Jupiter, than it is for the men of wit and imagination those of the men of knowledge and curiosity. The wits are incapable of exerting the peculiar qualities which give a real value to these pursuits, and therefore they must remain ignorant of their nature and their result.

It is not then always envy or jealousy which induces men of genius to undervalue each other; the want of sympathy will sufficiently account for the want of judgment. Suppose NEWTON, QUINAULT, and MACHIAVEL accidentally meeting together, and unknown to each other, would they not soon have desisted from the vain attempt of communicating their ideas? The philosopher would have condemned the poet of the Graces as an intolerable trifler, and the author of "The Prince" as a dark political spy. Machiavel would have conceived Newton to be a dreamer among the stars, and a mere almanack-maker among men; and the other a rhymer, nauseously _doucereux_.

Quinault might have imagined that he was seated between two madmen. Having annoyed each other for some time, they would have relieved their ennui by reciprocal contempt, and each have parted with a determination to avoid henceforward two such disagreeable companions.

CHAPTER XV.

Self-praise of genius.--The love of praise instinctive in the nature of genius.--A high opinion of themselves necessary for their great designs.

--The Ancients openly claimed their own praise.--And several Moderns.--An author knows more of his merits than his readers.--And less of his defects.--Authors versatile in their admiration and their malignity.

Vanity, egotism, a strong sense of their own sufficiency, form another accusation against men of genius; but the complexion of self-praise must alter with the occasion; for the simplicity of truth may appear vanity, and the consciousness of superiority seem envy--to Mediocrity. It is we who do nothing, and cannot even imagine anything to be done, who are so much displeased with self-lauding, self-love, self-independence, self-admiration, which with the man of genius may often be nothing but an ostensible modification of the pa.s.sion of glory.

He who exults in himself is at least in earnest; but he who refuses to receive that praise in public for which he has devoted so much labour in his privacy, is not; for he is compelled to suppress the very instinct of his nature. We censure no man for loving fame, but only for showing us how much he is possessed by the pa.s.sion: thus we allow him to create the appet.i.te, but we deny him its aliment. Our effeminate minds are the willing dupes of what is called the modesty of genius, or, as it has been termed, "the polished reserve of modern times;" and this from the selfish principle that it serves at least to keep out of the company its painful pre-eminence. But this "polished reserve," like something as fas.h.i.+onable, the ladies' rouge, at first appearing with rather too much colour, will in the heat of an evening die away till the true complexion come out. What subterfuges are resorted to by these pretended modest men of genius, to extort that praise from their private circle which is thus openly denied them! They have been taken by surprise enlarging their own panegyric, which might rival Pliny's on Trajan, for care and copiousness; or impudently veiling themselves with the transparency of a third person; or never prefixing their name to the volume, which they would not easily forgive a friend to pa.s.s unnoticed.

Self-love is a principle of action; but among no cla.s.s of human beings has nature so profusely distributed this principle of life and action as through the whole sensitive family of genius. It reaches even to a feminine susceptibility. The love of praise is instinctive in their nature. Praise with them is the evidence of the past and the pledge of the future. The generous qualities and the virtues of a man of genius are really produced by the applause conferred on him. "To him whom the world admires, the happiness of the world must be dear," said Madame DE STaEL.

ROMNEY, the painter, held as a maxim that every diffident artist required "almost a daily portion of cheering applause." How often do such find their powers paralysed by the depression of confidence or the appearance of neglect! When the North American Indians, amid their circle, chant their G.o.ds and their heroes, the honest savages laud the living worthies, as well as their departed; and when, as we are told, an auditor hears the shout of his own name, he answers by a cry of pleasure and of pride. The savage and the man of genius are here true to nature, but pleasure and pride in his own name must raise no emotion in the breast of genius amidst a polished circle. To bring himself down to their usual mediocrity, he must start at an expression of regard, and turn away even from one of his own votaries. Madame De Stael, an exquisite judge of the feelings of the literary character, was aware of this change, which has rather occurred in our manners than in men of genius themselves. "Envy," says that eloquent writer, "among the Greeks, existed sometimes between rivals; it has now pa.s.sed to the spectators; and by a strange singularity the ma.s.s of men are jealous of the efforts which are tried to add to their pleasures or to merit their approbation."

But this, it seems, is not always the case with men of genius, since the accusation we are noticing has been so often reiterated. Take from some that supreme confidence in themselves, that pride of exultation, and you crush the germ of their excellence. Many vast designs must have perished in the conception, had not their authors breathed this vital air of self-delight, this creative spirit, so operative in great undertakings. We have recently seen this principle in the literary character unfold itself in the life of the late Bishop of Landaff. Whatever he did, he felt it was done as a master: whatever he wrote, it was, as he once declared, the best work on the subject yet written. With this feeling he emulated Cicero in retirement or in action. "When I am dead, you will not soon meet with another JOHN HUNTER," said the great anatomist to one of his garrulous friends. An apology is formed by his biographer for relating the fact, but the weakness is only in the apology. When HOGARTH was engaged in his work of the _Marriage a-la-Mode_, he said to Reynolds, "I shall very soon gratify the world with such a sight as they have never seen equalled."

--"One of his foibles," adds Northcote, "it is well known, was the excessive high opinion he had of his own abilities." So p.r.o.nounced Northcote, who had not an atom of his genius. Was it a _foible_ in Hogarth to cast the glove, when he always more than redeemed the pledge?

CORNEILLE has given a very n.o.ble full-length of the sublime egotism which accompanied him through life;[A] but I doubt, if we had any such author in the present day, whether he would dare to be so just to himself, and so hardy to the public. The self-praise of BUFFON at least equalled his genius; and the inscription beneath his statue in the library of the Jardin des Plantes, which I have been told was raised to him in his lifetime, exceeds all panegyric; it places him alone in nature, as the first and the last interpreter of her works. He said of the great geniuses of modern ages, that "there were not more than five; Newton, Bacon, Leibnitz, Montesquieu, and Myself." With this spirit he conceived and terminated his great works, and sat in patient meditation at his desk for half a century, till all Europe, even in a state of war, bowed to the modern Pliny.

[Footnote A: See it versified in "Curiosities of Literature," vol. i. p.

431.]

Nor is the vanity of Buffon, and Voltaire, and Rousseau purely national; for men of genius in all ages have expressed a consciousness of the internal force of genius. No one felt this self-exultation more potent than our HOBBES; who has indeed, in his controversy with Wallis, a.s.serted that there may be nothing more just than self-commendation.[A] There is a curious pa.s.sage in the "Purgatorio" of DANTE, where, describing the transitory nature of literary fame, and the variableness of human opinion, the poet alludes with confidence to his own future greatness. Of two authors of the name of Guido, the one having eclipsed the other, the poet writes:--

Cos ha tolto l'uno all'altro Guido La gloria della lingua; e _forse e nato Chi l'uno e l'altro caccera di nido_.

Thus has one Guido from the other s.n.a.t.c.h'd The letter'd pride; _and he perhaps is born Who shall drive either from their nest_.[B]

[Footnote A: See "Quarrels of Authors," p. 471.]

[Footnote B: Cary.]

DE THOU, one of the most n.o.ble-minded of historians, in the Memoirs of his own life, composed in the third person, has surprised and somewhat puzzled the critics, by that frequent distribution of self-commendation which they knew not how to reconcile with the modesty and gravity with which the President was so amply endowed. After his great and solemn labour, amidst the injustice of his persecutors, this eminent man had sufficient experience of his real worth to a.s.sert it. KEPLER, amidst his sublime discoveries, looks down like a superior being on other men. He breaks forth in glory and daring egotism: "I dare insult mankind by confessing that I am he who has turned science to advantage. If I am pardoned, I shall rejoice; if blamed, I shall endure. The die is cast; I have written this book, and whether it be read by posterity or by my contemporaries is of no consequence; it may well wait for a reader during one century, when G.o.d himself during six thousand years has not sent an observer like myself." He truly predicts that "his discoveries would be verified in succeeding ages," and prefers his own glory to the possession of the electorate of Saxony. It was this solitary majesty, this futurity of their genius, which hovered over the sleepless pillow of Bacon, of Newton, and of Montesquieu; of Ben Jonson, of Milton, and Corneille; and of Michael Angelo. Such men antic.i.p.ate their contemporaries; they know they are creators, long before they are hailed as such by the tardy consent of the public. These men stand on Pisgah heights, and for them the sun s.h.i.+nes on a land which none can view but themselves.

There is an admirable essay in Plutarch, "On the manner by which we may praise ourselves without exciting envy in others." The sage seems to consider self-praise as a kind of ill.u.s.trious impudence, and has one very striking image: he compares these eulogists to famished persons, who finding no other food, in their rage have eaten their own flesh, and thus shockingly nourished themselves by their own substance. He allows persons in high office to praise themselves, if by this they can repel calumny and accusation, as did Pericles before the Athenians: but the Romans found fault with Cicero, who so frequently reminded them of his exertions in the conspiracy of Catiline; while, when Scipio told them that "they should not presume to judge of a citizen to whom they owed the power of judging all men," the people covered themselves with flowers, and followed him to the capitol to join in a thanksgiving to Jove. "Cicero," adds Plutarch, "praised himself without necessity. Scipio was in personal danger, and this took away what is odious in self-praise." An author seems sometimes to occupy the situation of a person in high office; and there may be occasions when with a n.o.ble simplicity, if he appeal to his works, of which all men may judge, he may be permitted to a.s.sert or to maintain his claims. It has at least been the practice of men of genius, for in this very essay we find Timotheus, Euripides, and Pindar censured, though they deserved all the praise they gave themselves.

EPICURUS, writing to a minister of state, declares, "If you desire glory, nothing can bestow it more than the letters I write to you:" and SENECA, in quoting these words, adds, "What Epicurus promised to his friend, that, my Lucilius, I promise you." _Orna me!_ was the constant cry of CICERO; and he desires the historian Lucceius to write separately the conspiracy of Catiline, and to publish quickly, that while he yet lived he might taste the sweetness of his glory. HORACE and OVID wore equally sensible to their immortality; but what modern poet would be tolerated with such an avowal? Yet DRYDEN honestly declares that it was better for him to own this failing of vanity, than the world to do it for him; and adds, "For what other reason have I spent my life in so unprofitable a study? Why am I grown old in seeking so barren a reward as fame? The same parts and application which have made me a poet might have raised me to any honours of the gown." Was not CERVANTES very sensible to his own merits when a rival started up? and did he not a.s.sert them too, and distinguish his own work by a handsome compliment? LOPE DE VEGA celebrated his own poetic powers under the pseudonyme of a pretended editor, Thomas Barguillos. I regret that his n.o.ble biographer, than whom no one can more truly sympathise with the emotions of genius, has censured the bard for his querulous or his intrepid tone, and for the quaint conceit of his t.i.tle-page, where his detractor is introduced as a beetle in a _vega_ or garden, attacking its flowers, but expiring in the very sweetness he would injure. The inscription under BOILEAU'S portrait, which gives a preference to the French satirist over Juvenal and Horace, is known to have been written by himself. Nor was BUTLER less proud of his own merits; for he has done ample justice to his "Hudibras," and traced out, with great self-delight, its variety of excellences. RICHARDSON, the novelist, exhibits one of the most striking instances of what is called literary vanity, the delight of an author in his works; he has pointed out all the beauties of his three great works, in various manners.[A] He always taxed a visitor by one of his long letters. It was this intense self-delight which produced his voluminous labours.

[Footnote A: I have observed them in "Curiosities of Literature," vol. ii.

p. 64.]

There are certain authors whose very existence seems to require a high conception of their own talents; and who must, as some animals appear to do, furnish the means of life out of their own substance. These men of genius open their career with peculiar tastes, or with a predilection for some great work of no immediate interest; in a word, with many unpopular dispositions. Yet we see them magnanimous, though defeated, proceeding with the public feeling against them. At length we view them ranking with their rivals. Without having yielded up their peculiar tastes or their incorrigible viciousness, they have, however, heightened their individual excellences. No human opinion can change their self-opinion. Alive to the consciousness of their powers, their pursuits are placed above impediment, and their great views can suffer no contraction; _possunt quia posse videntur_. Such was the language Lord BACON once applied to himself when addressing a king. "I know," said the great philosopher, "that I am censured of some conceit of my ability or worth; but I pray your majesty impute it to desire--_possunt quia posse videntur_." These men of genius bear a charmed mail on their breast; "hopeless, not heartless," may be often the motto of their ensign; and if they do not always possess reputation, they still look onwards for fame; for these do not necessarily accompany each other.

An author is more sensible of his own merits, as he also is of his labour, which is invisible to all others, while he is unquestionably much less sensible to his defects than most of his readers. The author not only comprehends his merits better, because they have pa.s.sed through a long process in his mind, but he is familiar with every part, while the reader has but a vague notion of the whole. Why does an excellent work, by repet.i.tion, rise in interest? Because in obtaining this gradual intimacy with an author, we appear to recover half the genius which we had lost on a first perusal. The work of genius too is a.s.sociated, in the mind of the author, with much more than it contains; and the true supplement, which he only can give, has not always accompanied the work itself. We find great men often greater than the books they write. Ask the man of genius if he have written all that he wished to have written? Has he satisfied himself in this work, for which you accuse his pride? Has he dared what required intrepidity to achieve? Has he evaded difficulties which he should have overcome? The mind of the reader has the limits of a mere recipient, while that of the author, even after his work, is teeming with creation. "On many occasions, my soul seems to know more than it can say, and to be endowed with a mind by itself, far superior to the mind I really have,"

said MARIVAUX, with equal truth and happiness.

With these explanations of what are called the vanity and egotism of Genius, be it remembered, that the sense of their own sufficiency is a.s.sumed by men at their own risk. The great man who thinks greatly of himself, is not diminis.h.i.+ng that greatness in heaping fuel on his fire. It is indeed otherwise with his unlucky brethren, with whom an illusion of literary vanity may end in the aberrations of harmless madness; as it happened to PERCIVAL STOCKDALE. After a parallel between himself and Charles XII. of Sweden, he concludes that "some parts will be to _his_ advantage, and some to _mine_;" but in regard to fame, the main object between himself and Charles XII., Percival imagined that "his own will not probably take its fixed and immovable station, and s.h.i.+ne with its expanded and permanent splendour, till it consecrates his ashes, till it illumines his tomb." After this the reader, who may never have heard of the name of Percival Stockdale, must be told that there exist his own "Memoirs of his Life and Writings."[A] The memoirs of a scribbler who saw the prospects of life close on him while he imagined that his contemporaries were unjust, are instructive to literary men. To correct, and to be corrected, should be their daily practice, that they may be taught not only to exult in themselves, but to fear themselves.

[Footnote A: I have sketched a character of PERCIVAL STOCKDALE, in "Calamities of Authors" (pp. 218--224); it was taken _ad vivum_.]

It is hard to refuse these men of genius that _aura vitalis_, of which they are so apt to be liberal to others. Are they not accused of the meanest adulations? When a young writer experiences the notice of a person of some eminence, he has expressed himself in language which transcends that of mortality. A finer reason than reason itself inspires it. The sensation has been expressed with all its fulness by Milton:--

The debt immense of endless grat.i.tude.

Who ever pays an "immense debt" in small sums? Every man of genius has left such honourable traces of his private affections; from LOCKE, whose dedication of his great work is more adulative than could be imagined from a temperate philosopher, to CHURCHILL, whose warm eulogiums on his friends beautifully contrast with his satire. Even in advanced age, the man of genius dwells on the praise he caught in his youth from veteran genius, which, like the aloe, will flower at the end of life. When Virgil was yet a youth, it is said that Cicero heard one of his eclogues, and exclaimed with his accustomed warmth,

Magna spes altera Romae!

"The second hope of mighty Rome!" intending by the first either himself or Lucretius. The words of Cicero were the secret honey on which the imagination of Virgil fed for many a year; for in one of his latest productions, the twelfth book of the aeneid, he applies these very words to Ascanius. So long had the accents of Cicero's praise lingered in the poet's ear!

This extreme susceptibility of praise in men of genius is the same exuberant sensibility which is so alive to censure. I have elsewhere fully shown how some have died of criticism.[A] The self-love of genius is perhaps much more delicate than gross.

But this fatal susceptibility is the cause of that strange facility which has often astonished the world, by the sudden transitions of sentiment which literary characters have frequently exhibited. They have eulogised men and events which they had reprobated, and reprobated what they had eulogised. The recent history of political revolutions has furnished some monstrous examples of this subservience to power. Guicciardini records one of his own times, which has been often repeated in ours. JOVIa.n.u.s PONTa.n.u.s, the secretary of Ferdinand, King of Naples, was also selected to be the tutor of the prince, his son. When Charles VIII. of France invaded Naples, Ponta.n.u.s was deputed to address the French conqueror. To render himself agreeable to the enemies of his country, he did not avoid expatiating on the demerits of his expelled patrons: "So difficult it is,"

adds the grave and dignified historian, "for ourselves to observe that moderation and those precepts which no man knew better than Ponta.n.u.s, who was endowed with such copious literature, and composed with such facility in moral philosophy, and possessed such acquirements in universal erudition, that he had made himself a prodigy to the eye of the world."[B]

The student, occupied by abstract pursuits, may not indeed always take much interest in the change of dynasties; and perhaps the famous cancelled dedication to Cromwell, by the learned orientalist Dr. CASTELL,[C] who supplied its place by another to Charles II., ought not to be placed to the account of political tergiversation. But the versatile adoration of the continental _savans_ of the republic or the monarchy, the consul or the emperor, has inflicted an unhealing wound on the literary character; since, like PONTa.n.u.s, to gratify their new master, they had not the greatness of mind to save themselves from ingrat.i.tude to their old.

[Footnote A: In the article ent.i.tled "Anecdotes of Censured Authors," in vol. i. of "Curiosities of Literature."]

[Footnote B: Guicciardini, Book II.]

[Footnote C: For the melancholy history of this devoted scholar, see note to the article on "The Rewards of Oriental Students," in "Calamities of Authors," p. 189.]

Their vengeance, as quickly kindled, lasts as long. Genius is a dangerous gift of nature. The same effervescent pa.s.sions form a Catiline or a Cicero. Plato lays great stress on his man of genius possessing the most vehement pa.s.sions, but he adds reason to restrain them. It is Imagination which by their side stands as their good or evil spirit. Glory or infamy is but a different direction of the same pa.s.sion.

How are we to describe symptoms which, flowing from one source, yet show themselves in such opposite forms as those of an intermittent fever, a silent delirium, or a horrid hypochondriasm? Have we no other opiate to still the agony, no other cordial to warm the heart, than the great ingredient in the recipe of Plato's visionary man of genius--calm reason? Must men, who so rarely obtain this tardy panacea, remain with all their tortured and torturing pa.s.sions about them, often self-disgusted, self-humiliated? The enmities of genius are often connected with their morbid imagination. These originate in casual slights, or in unguarded expressions, or in hasty opinions, or in witty derision, or even in the obtruding goodness of tender admonition. The man of genius broods over the phantom that darkens his feelings: he multiplies a single object; he magnifies the smallest; and suspicions become certainties. It is in this unhappy state that he sharpens his vindictive fangs, in a libel called his "Memoirs," or in another species of public outrage, styled a "Criticism."

We are told that COMINES the historian, when residing at the court of the Count de Charolois, afterwards Duke of Burgundy, one day returning from hunting, with inconsiderate jocularity sat down before the Count, and ordered the prince to pull off his boots. The Count would not affect greatness, and having executed his commission, in return for the princely amus.e.m.e.nt, the Count dashed the boot on Comines' nose, which bled; and from that time, he was mortified at the court of Burgundy, by retaining the nickname of _the booted head._ The blow rankled in the heart of the man of genius, and the Duke of Burgundy has come down to us in COMINE'S "Memoirs," blackened by his vengeance. Many, unknown to their readers, like COMINES, have had a booted head; but the secret poison is distilled on their lasting page, as we have recently witnessed in Lord Waldegrave's "Memoirs." Swift's perpetual malevolence to Dryden originated in that great poet's prediction, that "cousin Swift would never be a poet;" a prediction which the wit never could forget. I have elsewhere fully written a tale of literary hatred, where is seen a man of genius, in the character of GILBERT STUART, devoting a whole life to hara.s.sing the industry or the genius which he himself could not attain.[A]