The Idea of a University Defined and Illustrated: In Nine Discourses Delivered to the Catholics of Dublin Part 14

Lecture II.

Literature. A Lecture in the School of Philosophy and Letters.

1.

Wis.h.i.+ng to address you, Gentlemen, at the commencement of a new Session, I tried to find a subject for discussion, which might be at once suitable to the occasion, yet neither too large for your time, nor too minute or abstruse for your attention. I think I see one for my purpose in the very t.i.tle of your Faculty. It is the Faculty of Philosophy and Letters. Now the question may arise as to what is meant by "Philosophy," and what is meant by "Letters." As to the other Faculties, the subject-matter which they profess is intelligible, as soon as named, and beyond all dispute. We know what Science is, what Medicine, what Law, and what Theology; but we have not so much ease in determining what is meant by Philosophy and Letters. Each department of that twofold province needs explanation: it will be sufficient, on an occasion like this, to investigate one of them.

Accordingly I shall select for remark the latter of the two, and attempt to determine what we are to understand by Letters or Literature, in what Literature consists, and how it stands relatively to Science. We speak, for instance, of ancient and modern literature, the literature of the day, sacred literature, light literature; and our lectures in this place are devoted to cla.s.sical literature and English literature. Are Letters, then, synonymous with books? This cannot be, or they would include in their range Philosophy, Law, and, in short, the teaching of all the other Faculties. Far from confusing these various studies, we view the works of Plato or Cicero sometimes as philosophy, sometimes as literature; on the other hand, no one would ever be tempted to speak of Euclid as literature, or of Matthiae's Greek Grammar. Is, then, literature synonymous with composition? with books written with an attention to style? is literature fine writing? again, is it studied and artificial writing?

There are excellent persons who seem to adopt this last account of Literature as their own idea of it. They depreciate it, as if it were the result of a mere art or trick of words. Professedly indeed, they are aiming at the Greek and Roman cla.s.sics, but their criticisms have quite as great force against all literature as against any. I think I shall be best able to bring out what I have to say on the subject by examining the statements which they make in defence of their own view of it. They contend then, 1. that fine writing, as exemplified in the Cla.s.sics, is mainly a matter of conceits, fancies, and prettinesses, decked out in choice words; 2. that this is the proof of it, that the cla.s.sics will not bear translating;-(and this is why I have said that the real attack is upon literature altogether, not the cla.s.sical only; for, to speak generally, all literature, modern as well as ancient, lies under this disadvantage. This, however, they will not allow; for they maintain,) 3.

that Holy Scripture presents a remarkable contrast to secular writings on this very point, viz., in that Scripture does easily admit of translation, though it is the most sublime and beautiful of all writings.

2.

Now I will begin by stating these three positions in the words of a writer, who is cited by the estimable Catholics in question as a witness, or rather as an advocate, in their behalf, though he is far from being able in his own person to challenge the respect which is inspired by themselves.

"There are two sorts of eloquence," says this writer, "the one indeed scarce deserves the name of it, which consists chiefly in laboured and polished periods, an over-curious and artificial arrangement of figures, tinselled over with a gaudy embellishment of words, which glitter, but convey little or no light to the understanding. This kind of writing is for the most part much affected and admired by the people of weak judgment and vicious taste; but it is a piece of affectation and formality the sacred writers are utter strangers to. It is a vain and boyish eloquence; and, as it has always been esteemed below the great geniuses of all ages, so much more so with respect to those writers who were actuated by the spirit of Infinite Wisdom, and therefore wrote with that force and majesty with which never man writ. The other sort of eloquence is quite the reverse to this, and which may be said to be the true characteristic of the Holy Scriptures; where the excellence does not arise from a laboured and far-fetched elocution, but from a surprising mixture of simplicity and majesty, which is a double character, so difficult to be united that it is seldom to be met with in compositions merely human. We see nothing in Holy Writ of affectation and superfluous ornament.... Now, it is observable that the most excellent profane authors, whether Greek or Latin, lose most of their graces whenever we find them literally translated. Homer's famed representation of Jupiter-his cried-up description of a tempest, his relation of Neptune's shaking the earth and opening it to its centre, his description of Pallas's horses, with numbers of other long-since admired pa.s.sages, flag, and almost vanish away, in the vulgar Latin translation.

"Let any one but take the pains to read the common Latin interpretations of Virgil, Theocritus, or even of Pindar, and one may venture to affirm he will be able to trace out but few remains of the graces which charmed him so much in the original. The natural conclusion from hence is, that in the cla.s.sical authors, the expression, the sweetness of the numbers, occasioned by a musical placing of words, const.i.tute a great part of their beauties; whereas, in the sacred writings, they consist more in the greatness of the things themselves than in the words and expressions. The ideas and conceptions are so great and lofty in their own nature that they necessarily appear magnificent in the most artless dress. Look but into the Bible, and we see them s.h.i.+ne through the most simple and literal translations. That glorious description which Moses gives of the creation of the heavens and the earth, which Longinus ... was so greatly taken with, has not lost the least whit of its intrinsic worth, and though it has undergone so many translations, yet triumphs over all, and breaks forth with as much force and vehemence as in the original.... In the history of Joseph, where Joseph makes himself known, and weeps aloud upon the neck of his dear brother Benjamin, that all the house of Pharaoh heard him, at that instant none of his brethren are introduced as uttering aught, either to express their present joy or palliate their former injuries to him. On all sides there immediately ensues a deep and solemn silence; a silence infinitely more eloquent and expressive than anything else that could have been subst.i.tuted in its place. Had Thucydides, Herodotus, Livy, or any of the celebrated cla.s.sical historians, been employed in writing this history, when they came to this point they would doubtless have exhausted all their fund of eloquence in furnis.h.i.+ng Joseph's brethren with laboured and studied harangues, which, however fine they might have been in themselves, would nevertheless have been unnatural, and altogether improper on the occasion."(34)

This is eloquently written, but it contains, I consider, a mixture of truth and falsehood, which it will be my business to discriminate from each other. Far be it from me to deny the unapproachable grandeur and simplicity of Holy Scripture; but I shall maintain that the cla.s.sics are, as human compositions, simple and majestic and natural too. I grant that Scripture is concerned with things, but I will not grant that cla.s.sical literature is simply concerned with words. I grant that human literature is often elaborate, but I will maintain that elaborate composition is not unknown to the writers of Scripture. I grant that human literature cannot easily be translated out of the particular language to which it belongs; but it is not at all the rule that Scripture can easily be translated either;-and now I address myself to my task:-

3.

Here, then, in the first place, I observe, Gentlemen, that Literature, from the derivation of the word, implies writing, not speaking; this, however, arises from the circ.u.mstance of the copiousness, variety, and public circulation of the matters of which it consists. What is spoken cannot outrun the range of the speaker's voice, and perishes in the uttering. When words are in demand to express a long course of thought, when they have to be conveyed to the ends of the earth, or perpetuated for the benefit of posterity, they must be written down, that is, reduced to the shape of literature; still, properly speaking, the terms, by which we denote this characteristic gift of man, belong to its exhibition by means of the voice, not of handwriting. It addresses itself, in its primary idea, to the ear, not to the eye. We call it the power of speech, we call it language, that is, the use of the tongue; and, even when we write, we still keep in mind what was its original instrument, for we use freely such terms in our books as "saying," "speaking," "telling," "talking,"

"calling;" we use the terms "phraseology" and "diction;" as if we were still addressing ourselves to the ear.

Now I insist on this, because it shows that speech, and therefore literature, which is its permanent record, is essentially a personal work.

It is not some production or result, attained by the partners.h.i.+p of several persons, or by machinery, or by any natural process, but in its very idea it proceeds, and must proceed, from some one given individual.

Two persons cannot be the authors of the sounds which strike our ear; and, as they cannot be speaking one and the same speech, neither can they be writing one and the same lecture or discourse,-which must certainly belong to some one person or other, and is the expression of that one person's ideas and feelings,-ideas and feelings personal to himself, though others may have parallel and similar ones,-proper to himself, in the same sense as his voice, his air, his countenance, his carriage, and his action, are personal. In other words, Literature expresses, not objective truth, as it is called, but subjective; not things, but thoughts.

Now this doctrine will become clearer by considering another use of words, which does relate to objective truth, or to things; which relates to matters, not personal, not subjective to the individual, but which, even were there no individual man in the whole world to know them or to talk about them, would exist still. Such objects become the matter of Science, and words indeed are used to express them, but such words are rather symbols than language, and however many we use, and however we may perpetuate them by writing, we never could make any kind of literature out of them, or call them by that name. Such, for instance, would be Euclid's Elements; they relate to truths universal and eternal; they are not mere thoughts, but things: they exist in themselves, not by virtue of our understanding them, not in dependence upon our will, but in what is called the _nature_ of things, or at least on conditions external to us. The words, then, in which they are set forth are not language, speech, literature, but rather, as I have said, symbols. And, as a proof of it, you will recollect that it is possible, nay usual, to set forth the propositions of Euclid in algebraical notation, which, as all would admit, has nothing to do with literature. What is true of mathematics is true also of every study, so far forth as it is scientific; it makes use of words as the mere vehicle of things, and is thereby withdrawn from the province of literature. Thus metaphysics, ethics, law, political economy, chemistry, theology, cease to be literature in the same degree as they are capable of a severe scientific treatment. And hence it is that Aristotle's works on the one hand, though at first sight literature, approach in character, at least a great number of them, to mere science; for even though the things which he treats of and exhibits may not always be real and true, yet he treats them as if they were, not as if they were the thoughts of his own mind; that is, he treats them scientifically. On the other hand, Law or Natural History has before now been treated by an author with so much of colouring derived from his own mind as to become a sort of literature; this is especially seen in the instance of Theology, when it takes the shape of Pulpit Eloquence. It is seen too in historical composition, which becomes a mere specimen of chronology, or a chronicle, when divested of the philosophy, the skill, or the party and personal feelings of the particular writer. Science, then, has to do with things, literature with thoughts; science is universal, literature is personal; science uses words merely as symbols, but literature uses language in its full compa.s.s, as including phraseology, idiom, style, composition, rhythm, eloquence, and whatever other properties are included in it.

Let us then put aside the scientific use of words, when we are to speak of language and literature. Literature is the personal use or exercise of language. That this is so is further proved from the fact that one author uses it so differently from another. Language itself in its very origination would seem to be traceable to individuals. Their peculiarities have given it its character. We are often able in fact to trace particular phrases or idioms to individuals; we know the history of their rise. Slang surely, as it is called, comes of, and breathes of the personal. The connection between the force of words in particular languages and the habits and sentiments of the nations speaking them has often been pointed out. And, while the many use language as they find it, the man of genius uses it indeed, but subjects it withal to his own purposes, and moulds it according to his own peculiarities. The throng and succession of ideas, thoughts, feelings, imaginations, aspirations, which pa.s.s within him, the abstractions, the juxtapositions, the comparisons, the discriminations, the conceptions, which are so original in him, his views of external things, his judgments upon life, manners, and history, the exercises of his wit, of his humour, of his depth, of his sagacity, all these innumerable and incessant creations, the very pulsation and throbbing of his intellect, does he image forth, to all does he give utterance, in a corresponding language, which is as multiform as this inward mental action itself and a.n.a.logous to it, the faithful expression of his intense personality, attending on his own inward world of thought as its very shadow: so that we might as well say that one man's shadow is another's as that the style of a really gifted mind can belong to any but himself. It follows him about _as_ a shadow. His thought and feeling are personal, and so his language is personal.

4.

Thought and speech are inseparable from each other. Matter and expression are parts of one: style is a thinking out into language. This is what I have been laying down, and this is literature; not _things_, not the verbal symbols of things; not on the other hand mere _words_; but thoughts expressed in language. Call to mind, Gentlemen, the meaning of the Greek word which expresses this special prerogative of man over the feeble intelligence of the inferior animals. It is called Logos: what does Logos mean? it stands both for _reason_ and for _speech_, and it is difficult to say which it means more properly. It means both at once: why? because really they cannot be divided,-because they are in a true sense one. When we can separate light and illumination, life and motion, the convex and the concave of a curve, then will it be possible for thought to tread speech under foot, and to hope to do without it-then will it be conceivable that the vigorous and fertile intellect should renounce its own double, its instrument of expression, and the channel of its speculations and emotions.

Critics should consider this view of the subject before they lay down such canons of taste as the writer whose pages I have quoted. Such men as he is consider fine writing to be an _addition from without_ to the matter treated of,-a sort of ornament superinduced, or a luxury indulged in, by those who have time and inclination for such vanities. They speak as if _one_ man could do the thought, and _another_ the style. We read in Persian travels of the way in which young gentlemen go to work in the East, when they would engage in correspondence with those who inspire them with hope or fear. They cannot write one sentence themselves; so they betake themselves to the professional letter-writer. They confide to him the object they have in view. They have a point to gain from a superior, a favour to ask, an evil to deprecate; they have to approach a man in power, or to make court to some beautiful lady. The professional man manufactures words for them, as they are wanted, as a stationer sells them paper, or a schoolmaster might cut their pens. Thought and word are, in their conception, two things, and thus there is a division of labour. The man of thought comes to the man of words; and the man of words, duly instructed in the thought, dips the pen of desire into the ink of devotedness, and proceeds to spread it over the page of desolation. Then the nightingale of affection is heard to warble to the rose of loveliness, while the breeze of anxiety plays around the brow of expectation. This is what the Easterns are said to consider fine writing; and it seems pretty much the idea of the school of critics to whom I have been referring.

We have an instance in literary history of this very proceeding nearer home, in a great University, in the latter years of the last century. I have referred to it before now in a public lecture elsewhere;(35) but it is too much in point here to be omitted. A learned Arabic scholar had to deliver a set of lectures before its doctors and professors on an historical subject in which his reading had lain. A linguist is conversant with science rather than with literature; but this gentleman felt that his lectures must not be without a style. Being of the opinion of the Orientals, with whose writings he was familiar, he determined to buy a style. He took the step of engaging a person, at a price, to turn the matter which he had got together into ornamental English. Observe, he did not wish for mere grammatical English, but for an elaborate, pretentious style. An artist was found in the person of a country curate, and the job was carried out. His lectures remain to this day, in their own place in the protracted series of annual Discourses to which they belong, distinguished amid a number of heavyish compositions by the rhetorical and ambitious diction for which he went into the market. This learned divine, indeed, and the author I have quoted, differ from each other in the estimate they respectively form of literary composition; but they agree together in this,-in considering such composition a trick and a trade; they put it on a par with the gold plate and the flowers and the music of a banquet, which do not make the viands better, but the entertainment more pleasurable; as if language were the hired servant, the mere mistress of the reason, and not the lawful wife in her own house.

But can they really think that Homer, or Pindar, or Shakespeare, or Dryden, or Walter Scott, were accustomed to aim at diction for its own sake, instead of being inspired with their subject, and pouring forth beautiful words because they had beautiful thoughts? this is surely too great a paradox to be borne. Rather, it is the fire within the author's breast which overflows in the torrent of his burning, irresistible eloquence; it is the poetry of his inner soul, which relieves itself in the Ode or the Elegy; and his mental att.i.tude and bearing, the beauty of his moral countenance, the force and keenness of his logic, are imaged in the tenderness, or energy, or richness of his language. Nay, according to the well-known line, "facit indignatio _versus_;" not the words alone, but even the rhythm, the metre, the verse, will be the contemporaneous offspring of the emotion or imagination which possesses him. "Poeta nascitur, non fit," says the proverb; and this is in numerous instances true of his poems, as well as of himself. They are born, not framed; they are a strain rather than a composition; and their perfection is the monument, not so much of his skill as of his power. And this is true of prose as well as of verse in its degree: who will not recognize in the vision of Mirza a delicacy and beauty of style which is very difficult to describe, but which is felt to be in exact correspondence to the ideas of which it is the expression?

5.

And, since the thoughts and reasonings of an author have, as I have said, a personal character, no wonder that his style is not only the image of his subject, but of his mind. That pomp of language, that full and tuneful diction, that felicitousness in the choice and exquisiteness in the collocation of words, which to prosaic writers seem artificial, is nothing else but the mere habit and way of a lofty intellect. Aristotle, in his sketch of the magnanimous man, tells us that his voice is deep, his motions slow, and his stature commanding. In like manner, the elocution of a great intellect is great. His language expresses, not only his great thoughts, but his great self. Certainly he might use fewer words than he uses; but he fertilizes his simplest ideas, and germinates into a mult.i.tude of details, and prolongs the march of his sentences, and sweeps round to the full diapason of his harmony, as if ??de? ?a???, rejoicing in his own vigour and richness of resource. I say, a narrow critic will call it verbiage, when really it is a sort of fulness of heart, parallel to that which makes the merry boy whistle as he walks, or the strong man, like the smith in the novel, flourish his club when there is no one to fight with.

Shakespeare furnishes us with frequent instances of this peculiarity, and all so beautiful, that it is difficult to select for quotation. For instance, in Macbeth:-

"Canst thou not minister to a mind diseased, Pluck from the memory a rooted sorrow, Raze out the written troubles of the brain, And, with some sweet oblivious antidote, Cleanse the foul bosom of that perilous stuff, Which weighs upon the heart?"

Here a simple idea, by a process which belongs to the orator rather than to the poet, but still comes from the native vigour of genius, is expanded into a many-membered period.

The following from Hamlet is of the same kind:-

"'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected haviour of the visage, Together with all forms, modes, shows of grief, That can denote me truly."

Now, if such declamation, for declamation it is, however n.o.ble, be allowable in a poet, whose genius is so far removed from pompousness or pretence, much more is it allowable in an orator, whose very province it is to put forth words to the best advantage he can. Cicero has nothing more redundant in any part of his writings than these pa.s.sages from Shakespeare. No lover then at least of Shakespeare may fairly accuse Cicero of gorgeousness of phraseology or diffuseness of style. Nor will any sound critic be tempted to do so. As a certain unaffected neatness and propriety and grace of diction may be required of any author who lays claim to be a cla.s.sic, for the same reason that a certain attention to dress is expected of every gentleman, so to Cicero may be allowed the privilege of the "os magna sonaturum," of which the ancient critic speaks.

His copious, majestic, musical flow of language, even if sometimes beyond what the subject-matter demands, is never out of keeping with the occasion or with the speaker. It is the expression of lofty sentiments in lofty sentences, the "mens magna in corpore magno." It is the development of the inner man. Cicero vividly realised the _status_ of a Roman senator and statesman, and the "pride of place" of Rome, in all the grace and grandeur which attached to her; and he imbibed, and became, what he admired. As the exploits of Scipio or Pompey are the expression of this greatness in deed, so the language of Cicero is the expression of it in word. And, as the acts of the Roman ruler or soldier represent to us, in a manner special to themselves, the characteristic magnanimity of the lords of the earth, so do the speeches or treatises of her accomplished orator bring it home to our imaginations as no other writing could do. Neither Livy, nor Tacitus, nor Terence, nor Seneca, nor Pliny, nor Quintilian, is an adequate spokesman for the Imperial City. They write Latin; Cicero writes Roman.

6.

You will say that Cicero's language is undeniably studied, but that Shakespeare's is as undeniably natural and spontaneous; and that this is what is meant, when the Cla.s.sics are accused of being mere artists of words. Here we are introduced to a further large question, which gives me the opportunity of antic.i.p.ating a misapprehension of my meaning. I observe, then, that, not only is that lavish richness of style, which I have noticed in Shakespeare, justifiable on the principles which I have been laying down, but, what is less easy to receive, even elaborateness in composition is no mark of trick or artifice in an author. Undoubtedly the works of the Cla.s.sics, particularly the Latin, _are_ elaborate; they have cost a great deal of time, care, and trouble. They have had many rough copies; I grant it. I grant also that there are writers of name, ancient and modern, who really are guilty of the absurdity of making sentences, as the very end of their literary labour. Such was Isocrates; such were some of the sophists; they were set on words, to the neglect of thoughts or things; I cannot defend them. If I must give an English instance of this fault, much as I love and revere the personal character and intellectual vigour of Dr. Johnson, I cannot deny that his style often outruns the sense and the occasion, and is wanting in that simplicity which is the attribute of genius. Still, granting all this, I cannot grant, notwithstanding, that genius never need take pains,-that genius may not improve by practice,-that it never incurs failures, and succeeds the second time,-that it never finishes off at leisure what it has thrown off in the outline at a stroke.

Take the instance of the painter or the sculptor; he has a conception in his mind which he wishes to represent in the medium of his art;-the Madonna and Child, or Innocence, or Fort.i.tude, or some historical character or event. Do you mean to say he does not study his subject? does he not make sketches? does he not even call them "studies"? does he not call his workroom a _studio_? is he not ever designing, rejecting, adopting, correcting, perfecting? Are not the first attempts of Michael Angelo and Raffaelle extant, in the case of some of their most celebrated compositions? Will any one say that the Apollo Belvidere is not a conception patiently elaborated into its proper perfection? These departments of taste are, according to the received notions of the world, the very province of genius, and yet we call them _arts_; they are the "Fine Arts." Why may not that be true of literary composition which is true of painting, sculpture, architecture, and music? Why may not language be wrought as well as the clay of the modeller? why may not words be worked up as well as colours? why should not skill in diction be simply subservient and instrumental to the great prototypal ideas which are the contemplation of a Plato or a Virgil? Our greatest poet tells us,

"The poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And, as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name."

Now, is it wonderful that that pen of his should sometimes be at fault for a while,-that it should pause, write, erase, re-write, amend, complete, before he satisfies himself that his language has done justice to the conceptions which his mind's eye contemplated?

In this point of view, doubtless, many or most writers are elaborate; and those certainly not the least whose style is furthest removed from ornament, being simple and natural, or vehement, or severely business-like and practical. Who so energetic and manly as Demosthenes? Yet he is said to have transcribed Thucydides many times over in the formation of his style. Who so gracefully natural as Herodotus? yet his very dialect is not his own, but chosen for the sake of the perfection of his narrative. Who exhibits such happy negligence as our own Addison? yet artistic fastidiousness was so notorious in his instance that the report has got abroad, truly or not, that he was too late in his issue of an important state-paper, from his habit of revision and recomposition. Such great authors were working by a model which was before the eyes of their intellect, and they were labouring to say what they had to say, in such a way as would most exactly and suitably express it. It is not wonderful that other authors, whose style is not simple, should be instances of a similar literary diligence. Virgil wished his aeneid to be burned, elaborate as is its composition, because he felt it needed more labour still, in order to make it perfect. The historian Gibbon in the last century is another instance in point. You must not suppose I am going to recommend his style for imitation, any more than his principles; but I refer to him as the example of a writer feeling the task which lay before him, feeling that he had to bring out into words for the comprehension of his readers a great and complicated scene, and wis.h.i.+ng that those words should be adequate to his undertaking. I think he wrote the first chapter of his History three times over; it was not that he corrected or improved the first copy; but he put his first essay, and then his second, aside-he recast his matter, till he had hit the precise exhibition of it which he thought demanded by his subject.

Now in all these instances, I wish you to observe, that what I have admitted about literary workmans.h.i.+p differs from the doctrine which I am opposing in this,-that the mere dealer in words cares little or nothing for the subject which he is embellis.h.i.+ng, but can paint and gild anything whatever to order; whereas the artist, whom I am acknowledging, has his great or rich visions before him, and his only aim is to bring out what he thinks or what he feels in a way adequate to the thing spoken of, and appropriate to the speaker.