THE PLAIN SPEAKER

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BIBLIOGRAPHICAL NOTE

The Plain Speaker: Opinions on Books, Men, and Things, appeared anonymously in 1826 in two volumes (9 × 5½ inches), published by Henry Colburn, New Burlington Street. The imprint behind both title-pages is ‘London: Printed by Thomas Davison, Whitefriars’; but that at the end of the second volume is ‘London: Printed by J. Nichols and Son, Parliament Street.’ A list of ‘Interesting Works, Just published by Henry Colburn,’ at the end of the work contains an announcement of ‘The Spirits of the Age.... The Second Edition, with Additions’ (see vol. IV. p. 186, Bibliographical Note to The Spirit of the Age).

In the edition which was published in 1851, edited by his son, the Essay entitled ‘On a Portrait of a Lady, by Vandyke’ is not included: it was transferred to ‘Criticisms on Art.’

In the present issue the Essays have been numbered consecutively: in the original two-volume edition the ‘Second Series’ began with Essay I. ‘On the Qualifications Necessary to Success in Life.’

See also Bibliographical Note to Table Talk.

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CONTENTS

ESSAY I.

PAGE

On the Prose-Style of Poets 5

ESSAY II.

On Dreams 17

ESSAY III.

On the Conversation of Authors 24

ESSAY IV.

The same Subject continued 35

ESSAY V.

On Reason and Imagination 44

ESSAY VI.

On Application to Study 55

ESSAY VII.

On Londoners and Country People 66

ESSAY VIII.

On the Spirit of Obligations 78

ESSAY IX.

On the Old Age of Artists 88

ESSAY X.

On Envy (A Dialogue) 97

ESSAY XI.

On Sitting for one’s Picture 107

ESSAY XII.

Whether Genius is conscious of its Powers? 117

ESSAY XIII.

On the Pleasure of Hating 127

ESSAY XIV.

On Dr. Spurzheim’s Theory 137

ESSAY XV.

On Egotism 157

4ESSAY XVI.

Hot and Cold 169

ESSAY XVII.

The New School of Reform (A Dialogue between a Rationalist and a Sentimentalist) 179

ESSAY XVIII.

On the Qualifications necessary to Success in Life 195

ESSAY XIX.

On the Look of a Gentleman 209

ESSAY XX.

On Reading Old Books 220

ESSAY XXI.

On Personal Character 230

ESSAY XXII.

On People of Sense 242

ESSAY XXIII.

On Antiquity 252

ESSAY XXIV.

On the Difference between Writing and Speaking 262

ESSAY XXV.

On a Portrait of an English Lady, by Vandyke 280

ESSAY XXVI.

On Novelty and Familiarity 294

ESSAY XXVII.

On Old English Writers and Speakers 311

ESSAY XXVIII.

Madame Pasta and Mademoiselle Mars 324

ESSAY XXIX.

Sir Walter Scott, Racine, and Shakespear 336

ESSAY XXX.

On Depth and Superficiality 346

ESSAY XXXI.

On Respectable People 360

ESSAY XXXII.

On Jealousy and Spleen of Party 365

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THE PLAIN SPEAKER

ESSAY I ON THE PROSE-STYLE OF POETS

‘Do you read or sing? If you sing, you sing very ill!’

I have but an indifferent opinion of the prose-style of poets: not that it is not sometimes good, nay, excellent; but it is never the better, and generally the worse from the habit of writing verse. Poets are winged animals, and can cleave the air, like birds, with ease to themselves and delight to the beholders; but like those ‘feathered, two-legged things,’ when they light upon the ground of prose and matter-of-fact, they seem not to have the same use of their feet.

What is a little extraordinary, there is a want of rhythmus and cadence in what they write without the help of metrical rules. Like persons who have been accustomed to sing to music, they are at a loss in the absence of the habitual accompaniment and guide to their judgment. Their style halts, totters, is loose, disjointed, and without expressive pauses or rapid movements. The measured cadence and regular sing-song of rhyme or blank verse have destroyed, as it were, their natural ear for the mere characteristic harmony which ought to subsist between the sound and the sense. I should almost guess the Author of Waverley to be a writer of ambling verses from the desultory vacillation and want of firmness in the march of his style. There is neither momentum nor elasticity in it; I mean as to the score, or effect upon the ear. He has improved since in his other works: to be sure, he has had practice enough^[1]. Poets either get into this incoherent, undetermined, shuffling style, made up of ‘unpleasing flats and sharps,’ of unaccountable starts and pauses, of doubtful odds and ends, flirted about like straws in a gust of wind; or, to avoid it and 6steady themselves, mount into a sustained and measured prose (like the translation of Ossian’s Poems, or some parts of Shaftesbury’s Characteristics) which is more odious still, and as bad as being at sea in a calm. Dr. Johnson’s style (particularly in his Rambler,) is not free from the last objection. There is a tune in it, a mechanical recurrence of the same rise and fall in the clauses of his sentences, independent of any reference to the meaning of the text, or progress or inflection of the sense. There is the alternate roll of his cumbrous cargo of words; his periods complete their revolutions at certain stated intervals, let the matter be longer or shorter, rough or smooth, round or square, different or the same. This monotonous and balanced mode of composition may be compared to that species of portrait-painting which prevailed about a century ago, in which each face was cast in a regular and preconceived mould. The eye-brows were arched mathematically as if with a pair of compasses, and the distances between the nose and mouth, the forehead and chin, determined according to a ‘foregone conclusion,’ and the features of the identical individual were afterwards accommodated to them, how they could!^[2]

Horne Tooke used to maintain that no one could write a good prose style, who was not accustomed to express himself vivâ voce, or to talk in company. He argued that this was the fault of Addison’s prose, and that its smooth, equable uniformity, and want of sharpness and spirit, arose from his not having familiarised his ear to the sound of his own voice, or at least only among friends and admirers, where there was but little collision, dramatic fluctuation, or sudden contrariety of opinion to provoke animated discussion, and give birth to different intonations and lively transitions of speech. His style (in this view of it) was not indented, nor did it project from the surface. There was no stress laid on one word more than another—it did not hurry on or stop short, or sink or swell with the occasion: it was throughout equally insipid, flowing, and harmonious, and had the effect of a studied recitation rather than of a natural discourse. This would not have happened (so the Member for Old Sarum contended) had Addison laid himself out to argue at his club, or to speak in public; for then his ear would have caught the necessary modulations of sound arising out of the feeling of the moment, and he would have transferred them unconsciously to paper. Much might be said on both sides of this question^[3]: but Mr. Tooke was himself an unintentional confirmation 7of his own argument; for the tone of his written compositions is as flat and unraised as his manner of speaking was hard and dry. Of the poet it is said by some one, that

‘He murmurs by the running brooks

A music sweeter than their own.’

On the contrary, the celebrated person just alluded to might be said to grind the sentences between his teeth, which he afterwards committed to paper, and threw out crusts to the critics, or bon mots to the Electors of Westminster (as we throw bones to the dogs,) without altering a muscle, and without the smallest tremulousness of voice or eye^[4]! I certainly so far agree with the above theory as to conceive that no style is worth a farthing that is not calculated to be read out, or that is not allied to spirited conversation: but I at the same time think the process of modulation and inflection may be quite as complete, or more so, without the external enunciation; and that an author had better try the effect of his sentences on his stomach than on his ear. He may be deceived by the last, not by the first. No person, I imagine, can dictate a good style; or spout his own compositions with impunity. In the former case, he will flounder on before the sense or words are ready, sooner than suspend his voice in air; and in the latter, he can supply what intonation he pleases, without consulting his readers. Parliamentary speeches sometimes read well aloud; but we do not find, when such persons sit down to write, that the prose-style of public speakers and great orators is the best, most natural, or varied of all others. It has almost always either a professional twang, a mechanical rounding off, or else is stunted and unequal. Charles Fox was the most rapid and even hurried of speakers; but his written style halts and creeps slowly along the ground^[5].—A speaker is 8necessarily kept within bounds in expressing certain things, or in pronouncing a certain number of words, by the limits of the breath or power of respiration: certain sounds are observed to join in harmoniously or happily with others: an emphatic phrase must not be placed, where the power of utterance is enfeebled or exhausted, &c. All this must be attended to in writing, (and will be so unconsciously by a practised hand,) or there will be hiatus in manuscriptis. The words must be so arranged, in order to make an efficient readable style, as ‘to come trippingly off the tongue.’ Hence it seems that there is a natural measure of prose in the feeling of the subject and the power of expression in the voice, as there is an artificial one of verse in the number and co-ordination of the syllables; and I conceive that the trammels of the last do not (where they have been long worn) greatly assist the freedom or the exactness of the first.

Again, in poetry, from the restraints in many respects, a greater number of inversions, or a latitude in the transposition of words is allowed, which is not conformable to the strict laws of prose. Consequently, a poet will be at a loss, and flounder about for the common or (as we understand it) natural order of words in prose-composition. Dr. Johnson endeavoured to give an air of dignity and novelty to his diction by affecting the order of words usual in poetry. Milton’s prose has not only this draw-back, but it has also the disadvantage of being formed on a classic model. It is like a fine translation from the Latin; and indeed, he wrote originally in Latin. The frequency of epithets and ornaments, too, is a resource for which the poet finds it difficult to obtain an equivalent. A direct, or simple prose-style seems to him bald and flat; and, instead of forcing an interest in the subject by severity of description and reasoning, he is repelled from it altogether by the absence of those obvious and meretricious allurements, by which his senses and his imagination have been hitherto stimulated and dazzled. Thus there is often at the same time a want of splendour and a want of energy in what he writes, without the invocation of the Muse—invita Minervâ. It is like setting a rope-dancer to perform a tumbler’s tricks—the hardness of the ground jars his nerves; or it is the same thing as a painter’s attempting to carve a block of marble for the first time—the coldness chills him, the colourless uniformity distracts him, the precision of form demanded disheartens him. So in prose-writing, the severity of composition required damps the enthusiasm, and cuts off the resources of the poet. 9He is looking for beauty, when he should be seeking for truth; and aims at pleasure, which he can only communicate by increasing the sense of power in the reader. The poet spreads the colours of fancy, the illusions of his own mind, round every object, ad libitum; the prose-writer is compelled to extract his materials patiently and bit by bit, from his subject. What he adds of ornament, what he borrows from the pencil, must be sparing, and judiciously inserted. The first pretends to nothing but the immediate indulgence of his feelings: the last has a remote practical purpose. The one strolls out into the adjoining fields or groves to gather flowers: the other has a journey to go, sometimes through dirty roads, and at others through untrodden and difficult ways. It is this effeminacy, this immersion in sensual ideas, or craving after continual excitement, that spoils the poet for his prose-task. He cannot wait till the effect comes of itself, or arises out of the occasion: he must force it upon all occasions, or his spirit droops and flags under a supposed imputation of dulness. He can never drift with the current, but is always hoisting sail, and has his streamers flying. He has got a striking simile on hand; he lugs it in with the first opportunity, and with little connexion, and so defeats his object. He has a story to tell: he tells it in the first page, and where it would come in well, has nothing to say; like Goldsmith, who having to wait upon a Noble Lord, was so full of himself and of the figure he should make, that he addressed a set speech, which he had studied for the occasion, to his Lordship’s butler, and had just ended as the nobleman made his appearance. The prose ornaments of the poet are frequently beautiful in themselves, but do not assist the subject. They are pleasing excrescences—hindrances, not helps in an argument. The reason is, his embellishments in his own walk grow out of the subject by natural association; that is, beauty gives birth to kindred beauty, grandeur leads the mind on to greater grandeur. But in treating a common subject, the link is truth, force of illustration, weight of argument, not a graceful harmony in the immediate ideas; and hence the obvious and habitual clue which before guided him is gone, and he hangs on his patchwork, tinsel finery at random, in despair, without propriety, and without effect. The poetical prose-writer stops to describe an object, if he admires it, or thinks it will bear to be dwelt on: the genuine prose-writer only alludes to or characterises it in passing, and with reference to his subject. The prose-writer is master of his materials: the poet is the slave of his style. Every thing showy, every thing extraneous tempts him, and he reposes idly on it: he is bent on pleasure, not on business. He aims at effect, at captivating the reader, and yet is contented with common-place ornaments, rather than none. Indeed, this last result 10must necessarily follow, where there is an ambition to shine, without the effort to dig for jewels in the mine of truth. The habits of a poet’s mind are not those of industry or research: his images come to him, he does not go to them; and in prose-subjects, and dry matters of fact and close reasoning, the natural stimulus that at other times warms and rouses, deserts him altogether. He sees no unhallowed visions, he is inspired by no day-dreams. All is tame, literal, and barren, without the Nine. Nor does he collect his strength to strike fire from the flint by the sharpness of collision, by the eagerness of his blows. He gathers roses, he steals colours from the rainbow. He lives on nectar and ambrosia. He ‘treads the primrose path of dalliance,’ or ascends ‘the highest heaven of invention,’ or falls flat to the ground. He is nothing, if not fanciful!

I shall proceed to explain these remarks, as well as I can, by a few instances in point.

It has always appeared to me that the most perfect prose-style, the most powerful, the most dazzling, the most daring, that which went the nearest to the verge of poetry, and yet never fell over, was Burke’s. It has the solidity, and sparkling effect of the diamond: all other fine writing is like French paste or Bristol-stones in the comparison. Burke’s style is airy, flighty, adventurous, but it never loses sight of the subject; nay, is always in contact with, and derives its increased or varying impulse from it. It may be said to pass yawning gulfs ‘on the unstedfast footing of a spear:’ still it has an actual resting-place and tangible support under it—it is not suspended on nothing. It differs from poetry, as I conceive, like the chamois from the eagle: it climbs to an almost equal height, touches upon a cloud, overlooks a precipice, is picturesque, sublime—but all the while, instead of soaring through the air, it stands upon a rocky cliff, clambers up by abrupt and intricate ways, and browzes on the roughest bark, or crops the tender flower. The principle which guides his pen is truth, not beauty—not pleasure, but power. He has no choice, no selection of subject to flatter the reader’s idle taste, or assist his own fancy: he must take what comes, and make the most of it. He works the most striking effects out of the most unpromising materials, by the mere activity of his mind. He rises with the lofty, descends with the mean, luxuriates in beauty, gloats over deformity. It is all the same to him, so that he loses no particle of the exact, characteristic, extreme impression of the thing he writes about, and that he communicates this to the reader, after exhausting every possible mode of illustration, plain or abstracted, figurative or literal. Whatever stamps the original image more distinctly on the mind, is welcome. The nature of his task precludes continual beauty; but it does not preclude 11continual ingenuity, force, originality. He had to treat of political questions, mixed modes, abstract ideas, and his fancy (or poetry, if you will) was ingrafted on these artificially, and as it might sometimes be thought, violently, instead of growing naturally out of them, as it would spring of its own accord from individual objects and feelings. There is a resistance in the matter to the illustration applied to it—the concrete and abstract are hardly co-ordinate; and therefore it is that, when the first difficulty is overcome, they must agree more closely in the essential qualities, in order that the coincidence may be complete. Otherwise, it is good for nothing; and you justly charge the author’s style with being loose, vague, flaccid and imbecil. The poet has been said

‘To make us heirs

Of truth and pure delight in endless lays.’

Not so the prose-writer, who always mingles clay with his gold, and often separates truth from mere pleasure. He can only arrive at the last through the first. In poetry, one pleasing or striking image obviously suggests another: the increasing the sense of beauty or grandeur is the principle of composition: in prose, the professed object is to impart conviction, and nothing can be admitted by way of ornament or relief, that does not add new force or clearness to the original conception. The two classes of ideas brought together by the orator or impassioned prose-writer, to wit, the general subject and the particular image, are so far incompatible, and the identity must be more strict, more marked, more determinate, to make them coalesce to any practical purpose. Every word should be a blow: every thought should instantly grapple with its fellow. There must be a weight, a precision, a conformity from association in the tropes and figures of animated prose to fit them to their place in the argument, and make them tell, which may be dispensed with in poetry, where there is something much more congenial between the subject-matter and the illustration—

‘Like beauty making beautiful old rime!’

What can be more remote, for instance, and at the same time more apposite, more the same, than the following comparison of the English Constitution to ‘the proud Keep of Windsor,’ in the celebrated Letter to a Noble Lord?

‘Such are their ideas; such their religion, and such their law. But as to our country and our race, as long as the well-compacted structure of our church and state, the sanctuary, the holy of holies of that ancient law, defended by reverence, defended by power—a fortress 12at once and a temple^[6]—shall stand inviolate on the brow of the British Sion; as long as the British Monarchy—not more limited than fenced by the orders of the State—shall, like the proud Keep of Windsor, rising in the majesty of proportion, and girt with the double belt of its kindred and coeval towers; as long as this awful structure shall oversee and guard the subjected land, so long the mounds and dykes of the low, fat, Bedford level will have nothing to fear from all the pickaxes of all the levellers of France. As long as our Sovereign Lord the King, and his faithful subjects, the Lords and Commons of this realm—the triple cord which no man can break; the solemn, sworn, constitutional frank-pledge of this nation; the firm guarantees of each other’s being, and each other’s rights; the joint and several securities, each in its place and order, for every kind and every quality of property and of dignity—As long as these endure, so long the Duke of Bedford is safe: and we are all safe together—the high from the blights of envy and the spoliations of rapacity; the low from the iron hand of oppression and the insolent spurn of contempt. Amen! and so be it: and so it will be,

“Dum domus Æneæ Capitoli immobile saxum

Accolet; imperiumque pater Romanus habebit.”’

Nothing can well be more impracticable to a simile than the vague and complicated idea which is here embodied in one; yet how finely, how nobly it stands out, in natural grandeur, in royal state, with double barriers round it to answer for its identity, with ‘buttress, frieze, and coigne of ‘vantage’ for the imagination to ‘make its pendant bed and procreant cradle,’ till the idea is confounded with the object representing it—the wonder of a kingdom; and then how striking, how determined the descent, ‘at one fell swoop,’ to the ‘low, fat, Bedford level!’ Poetry would have been bound to maintain a certain decorum, a regular balance between these two ideas; sterling prose throws aside all such idle respect to appearances, and with its pen, like a sword, ‘sharp and sweet,’ lays open the naked truth! The poet’s Muse is like a mistress, whom we keep only while she is young and beautiful, durante bene placito; the Muse of prose is like a wife, whom we take during life, for better for worse. Burke’s execution, like that of all good prose, savours of the texture of what he describes, and his pen slides or drags over the ground of his subject, like the painter’s pencil. The most rigid fidelity and the most fanciful extravagance meet, and are reconciled in his pages. I never pass Windsor but I think of this passage in Burke, and hardly know to 13which I am indebted most for enriching my moral sense, that or the fine picturesque stanza, in Gray,

‘From Windsor’s heights the expanse below

Of mead, of lawn, of wood survey,’ &c.

I might mention that the so much admired description in one of the India speeches, of Hyder Ally’s army (I think it is) which ‘now hung like a cloud upon the mountain, and now burst upon the plain like a thunder bolt,’ would do equally well for poetry or prose. It is a bold and striking illustration of a naturally impressive object. This is not the case with the Abbe Sieyes’s far-famed ‘pigeon-holes,’ nor with the comparison of the Duke of Bedford to ‘the Leviathan, tumbling about his unwieldy bulk in the ocean of royal bounty.’ Nothing here saves the description but the force of the invective; the startling truth, the vehemence, the remoteness, the aptitude, the perfect peculiarity and coincidence of the allusion. No writer would ever have thought of it but himself; no reader can ever forget it. What is there in common, one might say, between a Peer of the Realm, and ‘that sea-beast,’ of those

‘Created hugest that swim the ocean-stream?’

Yet Burke has knit the two ideas together, and no man can put them asunder. No matter how slight and precarious the connection, the length of line it is necessary for the fancy to give out in keeping hold of the object on which it has fastened, he seems to have ‘put his hook in the nostrils’ of this enormous creature of the crown, that empurples all its track through the glittering expanse of a profound and restless imagination!

In looking into the Iris of last week, I find the following passages, in an article on the death of Lord Castlereagh.

‘The splendour of Majesty leaving the British metropolis, careering along the ocean, and landing in the capital of the North, is distinguished only by glimpses through the dense array of clouds in which Death hid himself, while he struck down to the dust the stateliest courtier near the throne, and the broken train of which pursues and crosses the Royal progress wherever its glories are presented to the eye of imagination....

‘The same indefatigable mind—a mind of all work—which thus ruled the Continent with a rod of iron, the sword—within the walls of the House of Commons ruled a more distracted region with a more subtle and finely-tempered weapon, the tongue; and truly, if this was the only weapon his Lordship wielded there, where he had daily to encounter, and frequently almost alone, enemies more formidable than 14Buonaparte, it must be acknowledged that he achieved greater victories than Demosthenes or Cicero ever gained in far more easy fields of strife; nay, he wrought miracles of speech, outvying those miracles of song, which Orpheus is said to have performed, when not only men and brutes, but rocks, woods, and mountains, followed the sound of his voice and lyre....

‘But there was a worm at the root of the gourd that flourished over his head in the brightest sunshine of a court; both perished in a night, and in the morning, that which had been his glory and his shadow, covered him like a shroud; while the corpse, notwithstanding all his honours, and titles, and offices, lay unmoved in the place where it fell, till a judgment had been passed upon him, which the poorest peasant escapes when he dies in the ordinary course of nature.’

Sheffield Advertiser, Aug. 20, 1822.

This, it must be confessed, is very unlike Burke: yet Mr. Montgomery is a very pleasing poet, and a strenuous politician. The whole is travelling out of the record, and to no sort of purpose. The author is constantly getting away from the impression of his subject, to envelop himself in a cloud of images, which weaken and perplex, instead of adding force and clearness to it. Provided he is figurative, he does not care how common-place or irrelevant the figures are, and he wanders on, delighted in a labyrinth of words, like a truant school-boy, who is only glad to have escaped from his task. He has a very slight hold of his subject, and is tempted to let it go for any fallacious ornament of style. How obscure and circuitous is the allusion to ‘the clouds in which Death hid himself, to strike down the stateliest courtier near the throne!’ How hackneyed is the reference to Demosthenes and Cicero, and how utterly quaint and unmeaning is the ringing the changes upon Orpheus and his train of men, beasts, woods, rocks, and mountains in connection with Lord Castlereagh! But he is better pleased with this classical fable than with the death of the Noble Peer, and delights to dwell upon it, to however little use. So he is glad to take advantage of the scriptural idea of a gourd; not to enforce, but as a relief to his reflections; and points his conclusion with a puling sort of common-place, that a peasant, who dies a natural death, has no Coroner’s Inquest to sit upon him. All these are the faults of the ordinary poetical style. Poets think they are bound, by the tenour of their indentures to the Muses, to ‘elevate and surprise’ in every line; and not having the usual resources at hand in common or abstracted subjects, aspire to the end without the means. They make, or pretend, an extraordinary interest where there is none. They are ambitious, vain, and indolent—more busy in preparing idle 15ornaments, which they take their chance of bringing in somehow or other, than intent on eliciting truths by fair and honest inquiry. It should seem as if they considered prose as a sort of waiting-maid to poetry, that could only be expected to wear her mistress’s cast-off finery. Poets have been said to succeed best in fiction; and the account here given may in part explain the reason. That is to say, they must choose their own subject, in such a manner as to afford them continual opportunities of appealing to the senses and exciting the fancy. Dry details, abstruse speculations, do not give scope to vividness of description; and, as they cannot bear to be considered dull, they become too often affected, extravagant, and insipid.

I am indebted to Mr. Coleridge for the comparison of poetic prose to the second-hand finery of a lady’s maid (just made use of). He himself is an instance of his own observation, and (what is even worse) of the opposite fault—an affectation of quaintness and originality. With bits of tarnished lace and worthless frippery, he assumes a sweeping oriental costume, or borrows the stiff dresses of our ancestors, or starts an eccentric fashion of his own. He is swelling and turgid—everlastingly aiming to be greater than his subject; filling his fancy with fumes and vapours in the pangs and throes of miraculous parturition, and bringing forth only still births. He has an incessant craving, as it were, to exalt every idea into a metaphor, to expand every sentiment into a lengthened mystery, voluminous and vast, confused and cloudy. His style is not succinct, but incumbered with a train of words and images that have no practical, and only a possible relation to one another—that add to its stateliness, but impede its march. One of his sentences winds its ‘forlorn way obscure’ over the page like a patriarchal procession with camels laden, wreathed turbans, household wealth, the whole riches of the author’s mind poured out upon the barren waste of his subject. The palm-tree spreads its sterile branches overhead, and the land of promise is seen in the distance. All this is owing to his wishing to overdo every thing—to make something more out of everything than it is, or than it is worth. The simple truth does not satisfy him—no direct proposition fills up the moulds of his understanding. All is foreign, far-fetched, irrelevant, laboured, unproductive. To read one of his disquisitions is like hearing the variations to a piece of music without the score. Or, to vary the simile, he is not like a man going a journey by the stage-coach along the high-road, but is always getting into a balloon, and mounting into the air, above the plain ground of prose. Whether he soars to the empyrean, or dives to the centre (as he sometimes does), it is equally to get away from the question before him, and to prove that he owes every thing to his own mind. His 16object is to invent; he scorns to imitate. The business of prose is the contrary. But Mr. Coleridge is a poet, and his thoughts are free.

I think the poet-laureat is a much better prose-writer. His style has an antique quaintness, with a modern familiarity. He has just a sufficient sprinkling of archaisms, of allusions to old Fuller, and Burton, and Latimer, to set off or qualify the smart flippant tone of his apologies for existing abuses, or the ready, galling virulence of his personal invectives. Mr. Southey is a faithful historian, and no inefficient partisan. In the former character, his mind is tenacious of facts; and in the latter, his spleen and jealousy prevent the ‘extravagant and erring spirit’ of the poet from losing itself in Fancy’s endless maze. He ‘stoops to earth,’ at least, and prostitutes his pen to some purpose (not at the same time losing his own soul, and gaining nothing by it)—and he vilifies Reform, and praises the reign of George III. in good set terms, in a straightforward, intelligible, practical, pointed way. He is not buoyed up by conscious power out of the reach of common apprehensions, but makes the most of the obvious advantages he possesses. You may complain of a pettiness and petulance of manner, but certainly there is no want of spirit or facility of execution. He does not waste powder and shot in the air, but loads his piece, takes a level aim, and hits his mark. One would say (though his Muse is ambidexter) that he wrote prose with his right hand; there is nothing awkward, circuitous, or feeble in it. ‘The words of Mercury are harsh after the songs of Apollo:’ but this would not apply to him. His prose-lucubrations are pleasanter reading than his poetry. Indeed, he is equally practised and voluminous in both; and it is no improbable conjecture, that Mr. Southey may have had some idea of rivalling the reputation of Voltaire in the extent, the spirit, and the versatility of his productions in prose and verse, except that he has written no tragedies but Wat Tyler!

To my taste, the Author of Rimini, and Editor of the Examiner, is among the best and least corrupted of our poetical prose-writers. In his light but well supported columns we find the raciness, the sharpness, and sparkling effect of poetry, with little that is extravagant or far-fetched, and no turgidity or pompous pretension. Perhaps there is too much the appearance of relaxation and trifling (as if he had escaped the shackles of rhyme), a caprice, a levity, and a disposition to innovate in words and ideas. Still the genuine master-spirit of the prose-writer is there; the tone of lively, sensible conversation; and this may in part arise from the author’s being himself an animated talker. Mr. Hunt wants something of the heat and earnestness of the political partisan; but his familiar and miscellaneous papers have 17all the ease, grace, and point of the best style of Essay-writing. Many of his effusions in the Indicator show, that if he had devoted himself exclusively to that mode of writing, he inherits more of the spirit of Steele than any man since his time.

Lord Byron’s prose is bad; that is to say, heavy, laboured, and coarse: he tries to knock some one down with the butt-end of every line, which defeats his object—and the style of the Author of Waverley (if he comes fairly into this discussion) as mere style, is villainous. It is pretty plain he is a poet; for the sound of names runs mechanically in his ears, and he rings the changes unconsciously on the same words in a sentence, like the same rhymes in a couplet.

Not to spin out this discussion too much, I would conclude by observing, that some of the old English prose-writers (who were not poets) are the best, and, at the same time, the most poetical in the favourable sense. Among these we may reckon some of the old divines, and Jeremy Taylor at the head of them. There is a flush like the dawn over his writings; the sweetness of the rose, the freshness of the morning-dew. There is a softness in his style, proceeding from the tenderness of his heart: but his head is firm, and his hand is free. His materials are as finely wrought up as they are original and attractive in themselves. Milton’s prose-style savours too much of poetry, and, as I have already hinted, of an imitation of the Latin. Dryden’s is perfectly unexceptionable, and a model, in simplicity, strength, and perspicuity, for the subjects he treated of.

ESSAY II ON DREAMS

Dr. Spurzheim, in treating of the Physiology of the Brain, has the following curious passage:

‘The state of somnambulism equally proves the plurality of the organs. This is a state of incomplete sleep, wherein several organs are watching. It is known that the brain acts upon the external world by means of voluntary motion, of the voice, and of the five external senses. Now, if in sleeping some organs be active, dreams take place; if the action of the brain be propagated to the muscles, there follow motions; if the action of the brain be propagated to the vocal organs, the sleeping person speaks. Indeed, it is known that sleeping persons dream and speak; others dream, speak, hear, and 18answer; others still dream, rise, do various things, and walk. This latter state is called somnambulism, that is, the state of walking during sleep. Now, as the ear can hear, so the eyes may see, while the other organs sleep; and there are facts quite positive which prove that several persons in the state of somnambulism have seen, but always with open eyes. There are also convulsive fits, in which the patients see without hearing, and vice versâ. Some somnambulists do things of which they are not capable in a state of watching; and dreaming persons reason sometimes better than they do when awake. This phenomenon is not astonishing,’ &c.—Physiognomical System of Drs. Gall and Spurzheim, p. 217.

There is here a very singular mixing up of the flattest truisms with the most gratuitous assumptions; so that the one being told with great gravity, and the other delivered with the most familiar air, one is puzzled in a cursory perusal to distinguish which is which. This is an art of stultifying the reader, like that of the juggler, who shows you some plain matter-of-fact experiment just as he is going to play off his capital trick. The mind is, by this alternation of style, thrown off its guard; and between wondering first at the absurdity, and then at the superficiality of the work, becomes almost a convert to it. A thing exceedingly questionable is stated so roundly, you think there must be something in it: the plainest proposition is put in so doubtful and cautious a manner, you conceive the writer must see a great deal farther into the subject than you do. You mistrust your ears and eyes, and are in a fair way to resign the use of your understanding. It is a fine style of mystifying. Again, it is the practice with the German school, and in particular with Dr. Spurzheim, to run counter to common sense and the best authenticated opinions. They must always be more knowing than every body else, and treat the wisdom of the ancients, and the wisdom of the moderns, much in the same supercilious way. It has been taken for granted generally that people see with their eyes; and therefore it is stated in the above passage as a discovery of the author, ‘imparted in dreadful secresy,’ that sleep-walkers always see with their eyes open. The meaning of which is, that we are not to give too implicit or unqualified an assent to the principle, at which modern philosophers have arrived with some pains and difficulty, that we acquire our ideas of external objects through the senses. The transcendental sophists wish to back out of that, as too conclusive and well-defined a position. They would be glad to throw the whole of what has been done on this question into confusion again, in order to begin de novo, like children who construct houses with cards, and when the pack is built up, shuffle them all together on the table again. These intellectual Sysiphuses are always 19rolling the stone of knowledge up a hill, for the perverse pleasure of rolling it down again. Having gone as far as they can in the direction of reason and good sense, rather than seem passive or the slaves of any opinion, they turn back with a wonderful look of sagacity to all sorts of exploded prejudices and absurdity. It is a pity that we cannot let well done alone, and that after labouring for centuries to remove ignorance, we set our faces with the most wilful officiousness against the stability of knowledge. The Physiognomical System of Drs. Gall and Spurzheim is full of this sort of disgusting cant. We are still only to believe in all unbelief—in what they tell us. The less credulous we are of other things, the more faith we shall have in reserve for them: by exhausting our stock of scepticism and caution on such obvious matters of fact as that people always see with their eyes open, we shall be prepared to swallow their crude and extravagant theories whole, and not be astonished at ‘the phenomenon, that persons sometimes reason better asleep than awake!’

I have alluded to this passage because I myself am (or used some time ago to be) a sleep-walker; and know how the thing is. In this sort of disturbed, unsound sleep, the eyes are not closed, and are attracted by the light. I used to get up and go towards the window, and make violent efforts to throw it open. The air in some measure revived me, or I might have tried to fling myself out. I saw objects indistinctly, the houses, for instance, facing me on the opposite side of the street; but still it was some time before I could recognise them or recollect where I was: that is, I was still asleep, and the dimness of my senses (as far as it prevailed) was occasioned by the greater numbness of my memory. This phenomenon is not astonishing, unless we chuse in all such cases to put the cart before the horse. For in fact, it is the mind that sleeps, and the senses (so to speak) only follow the example. The mind dozes, and the eye-lids close in consequence: we do not go to sleep, because we shut our eyes. I can, however, speak to the fact of the eyes being open, when their sense is shut; or rather, when we are unable to draw just inferences from it. It is generally in the night-time indeed, or in a strange place, that the circumstance happens; but as soon as the light dawns on the recollection, the obscurity and perplexity of the senses clear up. The external impression is made before, much in the same manner as it is after we are awake; but it does not lead to the usual train of associations connected with that impression; e.g. the name of the street or town where we are, who lives at the opposite house, how we came to sleep in the room where we are, &c.; all which are ideas belonging to our waking experience, and are at this time cut off or greatly disturbed by sleep. It is just the same as when persons 20recover from a swoon, and fix their eyes unconsciously on those about them, for a considerable time before they recollect where they are. Would any one but a German physiologist think it necessary to assure us that at this time they see, but with their eyes open, or pretend that though they have lost all memory or understanding during their fainting fit, their minds act then more vigorously and freely than ever, because they are not distracted by outward impressions? The appeal is made to the outward sense, in the instances we have seen; but the mind is deaf to it, because its functions are for the time gone. It is ridiculous to pretend with this author, that in sleep some of the organs of the mind rest, while others are active: it might as well be pretended that in sleep one eye watches while the other is shut. The stupor is general: the faculty of thought itself is impaired; and whatever ideas we have, instead of being confined to any particular faculty or the impressions of any one sense, and invigorated thereby, float at random from object to object, from one class of impressions to another, without coherence or control. The conscious or connecting link between our ideas, which forms them into separate groups or compares different parts and views of a subject together, seems to be that which is principally wanting in sleep; so that any idea that presents itself in this anarchy of the mind is lord of the ascendant for the moment, and is driven out by the next straggling notion that comes across it. The bundles of thought are, as it were, untied, loosened from a common centre, and drift along the stream of fancy as it happens. Hence the confusion (not the concentration of the faculties) that continually takes place in this state of half-perception. The mind takes in but one thing at a time, but one part of a subject, and therefore cannot correct its sudden and heterogeneous transitions from one momentary impression to another by a larger grasp of understanding. Thus we confound one person with another, merely from some accidental coincidence, the name or the place where we have seen them, or their having been concerned with us in some particular transaction the evening before. They lose and regain their proper identity perhaps half a dozen times in this rambling way; nor are we able (though we are somewhat incredulous and surprised at these compound creations) to detect the error, from not being prepared to trace the same connected subject of thought to a number of varying and successive ramifications, or to form the idea of a whole. We think that Mr. Such-a-one did so and so: then, from a second face coming across us, like the sliders of a magic lantern, it was not he, but another; then some one calls him by his right name, and he is himself again. We are little shocked at these gross contradictions; for if the mind was capable of perceiving them in all their absurdity, 21it would not be liable to fall into them. It runs into them for the same reason that it is hardly conscious of them when made.

‘——That which was now a horse, a bear, a cloud,

Even with a thought the rack dislimns,

And makes it indistinct as water is in water.’

The difference, so far then, between sleeping and waking seems to be that in the latter we have a greater range of conscious recollections, a larger discourse of reason, and associate ideas in longer trains and more as they are connected one with another in the order of nature; whereas in the former, any two impressions, that meet or are alike, join company, and then are parted again, without notice, like the froth from the wave. So in madness, there is, I should apprehend, the same tyranny of the imagination over the judgment; that is, the mind has slipped its cable, and single images meet, and jostle, and unite suddenly together, without any power to arrange or compare them with others, with which they are connected in the world of reality. There is a continual phantasmagoria: whatever shapes and colours come together are by the heat and violence of the brain referred to external nature, without regard to the order of time, place, or circumstance. From the same want of continuity, we often forget our dreams so speedily: if we cannot catch them as they are passing out at the door, we never set eyes on them again. There is no clue or thread of imagination to trace them by. In a morning sometimes we have had a dream that we try in vain to recollect; it is gone, like the rainbow from the cloud. At other times (so evanescent is their texture) we forget that we have dreamt at all; and at these times the mind seems to have been a mere blank, and sleep presents only an image of death. Hence has arisen the famous dispute, Whether the soul thinks always?—on which Mr. Locke and different writers have bestowed so much tedious and unprofitable discussion; some maintaining that the mind was like a watch that goes continually, though more slowly and irregularly at one time than another; while the opposite party contended that it often stopped altogether, bringing the example of sound sleep as an argument, and desiring to know what proof we could have of thoughts passing through the mind, of which it was itself perfectly unconscious, and retained not the slightest recollection. I grant, we often sleep so sound, or have such faint imagery passing through the brain, that if we awake by degrees, we forget it altogether: we recollect our first waking, and perhaps some imperfect suggestions of fancy just before; but beyond this, all is mere oblivion. But I have observed that whenever I have been waked up suddenly, and not left to myself to recover from this state 22of mental torpor, I have been always dreaming of something, i.e. thinking, according to the tenor of the question. Let any one call you at any time, however fast asleep you may be, you make out their voice in the first surprise to be like some one’s you were thinking of in your sleep. Let an accidental noise, the falling of something in the next room, rouse you up, you constantly find something to associate it with, or translate it back into the language of your slumbering thoughts. You are never taken completely at a nonplus—summoned, as it were, out of a state of non-existence. It is easy for any one to try the experiment upon himself; that is, to examine every time he is waked up suddenly, so that his waking and sleeping state are brought into immediate contact, whether he has not in all such cases been dreaming of something, and not fairly caught napping. For myself, I think I can speak with certainty. It would indeed be rather odd to awake out of such an absolute privation and suspense of thought as is contended for by the partisans of the contrary theory. It would be a peep into the grave, a consciousness of death, an escape from the world of non-entity!

The vividness of our impressions in dreams, of which so much has been said, seems to be rather apparent than real; or, if this mode of expression should be objected to as unwarrantable, rather physical than mental. It is a vapour, a fume, the effect of the ‘heat-oppressed brain.’ The imagination gloats over an idea, and doats at the same time. However warm or brilliant the colouring of these changing appearances, they vanish with the dawn. They are put out by our waking thoughts, as the sun puts out a candle. It is unlucky that we sometimes remember the heroic sentiments, the profound discoveries, the witty repartees we have uttered in our sleep. The one turn to bombast, the others are mere truisms, and the last absolute nonsense. Yet we clothe them certainly with a fancied importance at the moment. This seems to be merely the effervescence of the blood or of the brain, physically acting. It is an odd thing in sleep, that we not only fancy we see different persons, and talk to them, but that we hear them make answers, and startle us with an observation or a piece of news; and though we of course put the answer into their mouths, we have no idea beforehand what it will be, and it takes us as much by surprise as it would in reality. This kind of successful ventriloquism which we practise upon ourselves may perhaps be in some measure accounted for from the short-sightedness and incomplete consciousness which were remarked above as the peculiar characteristics of sleep.

The power of prophesying or foreseeing things in our sleep, as from a higher and more abstracted sphere of thought, need not be 23here argued upon. There is, however, a sort of profundity in sleep; and it may be usefully consulted as an oracle in this way. It may be said, that the voluntary power is suspended, and things come upon us as unexpected revelations, which we keep out of our thoughts at other times. We may be aware of a danger, that yet we do not chuse, while we have the full command of our faculties, to acknowledge to ourselves: the impending event will then appear to us as a dream, and we shall most likely find it verified afterwards. Another thing of no small consequence is, that we may sometimes discover our tacit, and almost unconscious sentiments, with respect to persons or things in the same way. We are not hypocrites in our sleep. The curb is taken off from our passions, and our imagination wanders at will. When awake, we check these rising thoughts, and fancy we have them not. In dreams, when we are off our guard, they return securely and unbidden. We may make this use of the infirmity of our sleeping metamorphosis, that we may repress any feelings of this sort that we disapprove in their incipient state, and detect, ere it be too late, an unwarrantable antipathy or fatal passion. Infants cannot disguise their thoughts from others; and in sleep we reveal the secret to ourselves.

It should appear that I have never been in love, for the same reason. I never dream of the face of any one I am particularly attached to. I have thought almost to agony of the same person for years, nearly without ceasing, so as to have her face always before me, and to be haunted by a perpetual consciousness of disappointed passion, and yet I never in all that time dreamt of this person more than once or twice, and then not vividly. I conceive, therefore, that this perseverance of the imagination in a fruitless track must have been owing to mortified pride, to an intense desire and hope of good in the abstract, more than to love, which I consider as an individual and involuntary passion, and which therefore, when it is strong, must predominate over the fancy in sleep. I think myself into love, and dream myself out of it. I should have made a very bad Endymion, in this sense; for all the time the heavenly Goddess was shining over my head, I should never have had a thought about her. If I had waked and found her gone, I might have been in a considerable taking. Coleridge used to laugh at me for my want of the faculty of dreaming; and once, on my saying that I did not like the preternatural stories in the Arabian Nights (for the comic parts I love dearly), he said, ‘That must be because you never dream. There is a class of poetry built on this foundation, which is surely no inconsiderable part of our nature, since we are asleep and building up imaginations of this sort half our time.’ I had nothing to say against 24it: it was one of his conjectural subtleties, in which he excels all the persons I ever knew; but I had some satisfaction in finding afterwards, that I had Bishop Atterbury expressly on my side in this question, who has recorded his detestation of Sinbad the Sailor, in an interesting letter to Pope. Perhaps he too did not dream!

Yet I dream sometimes; I dream of the Louvre—Intus et in cute. I dreamt I was there a few weeks ago, and that the old scene returned—that I looked for my favourite pictures, and found them gone or erased. The dream of my youth came upon me; a glory and a vision unutterable, that comes no more but in darkness and in sleep: my heart rose up, and I fell on my knees, and lifted up my voice and wept, and I awoke. I also dreamt a little while ago, that I was reading the New Eloise to an old friend, and came to the concluding passage in Julia’s farewell letter, which had much the same effect upon me.—The words are, ‘Trop heureuse d’acheter au prix de ma vie le droit de t’aimer toujours sans crime et de te le dire encore une fois, avant que je meurs!’ I used to sob over this passage twenty years ago; and in this dream about it lately, I seemed to live these twenty years over again in one short moment! I do not dream ordinarily; and there are people who never could see anything in the New Eloise. Are we not quits!

ESSAY III ON THE CONVERSATION OF AUTHORS

An author is bound to write—well or ill, wisely or foolishly: it is his trade. But I do not see that he is bound to talk, any more than he is bound to dance, or ride, or fence better than other people. Reading, study, silence, thought, are a bad introduction to loquacity. It would be sooner learnt of chambermaids and tapsters. He understands the art and mystery of his own profession, which is bookmaking: what right has any one to expect or require him to do more—to make a bow gracefully on entering or leaving a room, to make love charmingly, or to make a fortune at all? In all things there is a division of labour. A lord is no less amorous for writing ridiculous love-letters, nor a General less successful for wanting wit and honesty. Why then may not a poor author say nothing, and yet pass muster? Set him on the top of a stage-coach, he will make no figure; he is mum-chance, while the slang-wit flies about as fast as the 25dust, with the crack of the whip and the clatter of the horses’ heels: put him in a ring of boxers, he is a poor creature—

‘And of his port as meek as is a maid.’

Introduce him to a tea-party of milliner’s girls, and they are ready to split their sides with laughing at him: over his bottle, he is dry: in the drawing-room, rude or awkward: he is too refined for the vulgar, too clownish for the fashionable:—‘he is one that cannot make a good leg, one that cannot eat a mess of broth cleanly, one that cannot ride a horse without spur-galling, one that cannot salute a woman, and look on her directly:’—in courts, in camps, in town and country, he is a cypher or a butt: he is good for nothing but a laughing-stock or a scare-crow. You can scarcely get a word out of him for love or money. He knows nothing. He has no notion of pleasure or business, or of what is going on in the world; he does not understand cookery (unless he is a doctor in divinity) nor surgery, nor chemistry (unless he is a Quidnunc) nor mechanics, nor husbandry and tillage (unless he is as great an admirer of Tull’s Husbandry, and has profited as much by it as the philosopher of Botley)—no, nor music, painting, the Drama, nor the Fine Arts in general.

‘What the deuce is it then, my good sir, that he does understand, or know anything about?’

‘BOOKS, VENUS, BOOKS!’

‘What books?’

‘Not receipt-books, Madona, nor account-books, nor books of pharmacy, or the veterinary art (they belong to their respective callings and handicrafts) but books of liberal taste and general knowledge.’

‘What do you mean by that general knowledge which implies not a knowledge of things in general, but an ignorance (by your own account) of every one in particular: or by that liberal taste which scorns the pursuits and acquirements of the rest of the world in succession, and is confined exclusively, and by way of excellence, to what nobody takes an interest in but yourself, and a few idlers like yourself? Is this what the critics mean by the belles-lettres, and the study of humanity?’

Book-knowledge, in a word, then, is knowledge communicable by books: and it is general and liberal for this reason, that it is intelligible and interesting on the bare suggestion. That to which any one feels a romantic attachment, merely from finding it in a book, must be interesting in itself: that which he instantly forms a lively and entire conception of, from seeing a few marks and scratches upon paper, must be taken from common nature: that which, the first time you 26meet with it, seizes upon the attention as a curious speculation, must exercise the general faculties of the human mind. There are certain broader aspects of society and views of things common to every subject, and more or less cognizable to every mind; and these the scholar treats and founds his claim to general attention upon them, without being chargeable with pedantry. The minute descriptions of fishing-tackle, of baits and flies in Walton’s Complete Angler, make that work a great favourite with sportsmen: the alloy of an amiable humanity, and the modest but touching descriptions of familiar incidents and rural objects scattered through it, have made it an equal favourite with every reader of taste and feeling. Montaigne’s Essays, Dilworth’s Spelling Book, and Fearn’s Treatise on Contingent Remainders, are all equally books, but not equally adapted for all classes of readers. The two last are of no use but to school-masters and lawyers: but the first is a work we may recommend to any one to read who has ever thought at all, or who would learn to think justly on any subject. Persons of different trades and professions—the mechanic, the shopkeeper, the medical practitioner, the artist, &c. may all have great knowledge and ingenuity in their several vocations, the details of which will be very edifying to themselves, and just as incomprehensible to their neighbours: but over and above this professional and technical knowledge, they must be supposed to have a stock of common sense and common feeling to furnish subjects for common conversation, or to give them any pleasure in each other’s company. It is to this common stock of ideas, spread over the surface, or striking its roots into the very centre of society, that the popular writer appeals, and not in vain; for he finds readers. It is of this finer essence of wisdom and humanity, ‘etherial mould, sky-tinctured,’ that books of the better sort are made. They contain the language of thought. It must happen that, in the course of time and the variety of human capacity, some persons will have struck out finer observations, reflections, and sentiments than others. These they have committed to books of memory, have bequeathed as a lasting legacy to posterity; and such persons have become standard authors. We visit at the shrine, drink in some measure of the inspiration, and cannot easily ‘breathe in other air less pure, accustomed to immortal fruits.’ Are we to be blamed for this, because the vulgar and illiterate do not always understand us? The fault is rather in them, who are ‘confined and cabin’d in,’ each in their own particular sphere and compartment of ideas, and have not the same refined medium of communication or abstracted topics of discourse. Bring a number of literary, or of illiterate persons together, perfect strangers to each other, and see which party will make the best company. ‘Verily, 27we have our reward.’ We have made our election, and have no reason to repent it, if we were wise. But the misfortune is, we wish to have all the advantages on one side. We grudge, and cannot reconcile it to ourselves, that any one ‘should go about to cozen fortune, without the stamp of learning!’ We think ‘because we are scholars, there shall be no more cakes and ale!’ We don’t know how to account for it, that bar-maids should gossip, or ladies whisper, or bullies roar, or fools laugh, or knaves thrive, without having gone through the same course of select study that we have! This vanity is preposterous, and carries its own punishment with it. Books are a world in themselves, it is true; but they are not the only world. The world itself is a volume larger than all the libraries in it. Learning is a sacred deposit from the experience of ages; but it has not put all future experience on the shelf, or debarred the common herd of mankind from the use of their hands, tongues, eyes, ears, or understandings. Taste is a luxury for the privileged few: but it would be hard upon those who have not the same standard of refinement in their own minds that we suppose ourselves to have, if this should prevent them from having recourse, as usual, to their old frolics, coarse jokes, and horse-play, and getting through the wear and tear of the world, with such homely sayings and shrewd helps as they may. Happy is it, that the mass of mankind eat and drink, and sleep, and perform their several tasks, and do as they like without us—caring nothing for our scribblings, our carpings, and our quibbles; and moving on the same, in spite of our fine-spun distinctions, fantastic theories, and lines of demarcation, which are like the chalk-figures drawn on ball-room floors to be danced out before morning! In the field opposite the window where I write this, there is a country-girl picking stones: in the one next it, there are several poor women weeding the blue and red flowers from the corn: farther on, are two boys, tending a flock of sheep. What do they know or care about what I am writing about them, or ever will—or what would they be the better for it, if they did? Or why need we despise

‘The wretched slave,

Who like a lackey, from the rise to the set,

Sweats in the eye of Phœbus, and all night

Sleeps in Elysium; next day, after dawn,

Doth rise, and help Hyperion to his horse;

And follows so the ever-running year

With profitable labour to his grave?’

Is not this life as sweet as writing Ephemerides? But we put that which flutters the brain idly for a moment, and then is heard no 28more, in competition with nature, which exists every where, and lasts always. We not only underrate the force of nature, and make too much of art—but we also over-rate our own accomplishments and advantages derived from art. In the presence of clownish ignorance, or of persons without any great pretensions, real or affected, we are very much inclined to take upon ourselves, as the virtual representatives of science, art, and literature. We have a strong itch to show off and do the honours of civilization for all the great men whose works we have ever read, and whose names our auditors have never heard of, as noblemen’s lacqueys, in the absence of their masters, give themselves airs of superiority over every one else. But though we have read Congreve, a stage-coachman may be an over-match for us in wit: though we are deep-versed in the excellence of Shakspeare’s colloquial style, a village beldam may outscold us: though we have read Machiavel in the original Italian, we may be easily outwitted by a clown: and though we have cried our eyes out over the New Eloise, a poor shepherd-lad, who hardly knows how to spell his own name, may ‘tell his tale, under the hawthorn in the dale,’ and prove a more thriving wooer. What then is the advantage we possess over the meanest of the mean? Why this, that we have read Congreve, Shakspeare, Machiavel, the New Eloise;—not that we are to have their wit, genius, shrewdness, or melting tenderness.

From speculative pursuits we must be satisfied with speculative benefits. From reading, too, we learn to write. If we have had the pleasure of studying the highest models of perfection in their kind, and can hope to leave any thing ourselves, however slight, to be looked upon as a model, or even a good copy in its way, we may think ourselves pretty well off, without engrossing all the privileges of learning, and all the blessings of ignorance into the bargain.

It has been made a question whether there have not been individuals in common life of greater talents and powers of mind than the most celebrated writers—whether, for instance, such or such a Liverpool merchant, or Manchester manufacturer, was not a more sensible man than Montaigne, of a longer reach of understanding than the Viscount of St. Albans. There is no saying, unless some of these illustrious obscure had communicated their important discoveries to the world. But then they would have been authors!—On the other hand, there is a set of critics who fall into the contrary error; and suppose that unless the proof of capacity is laid before all the world, the capacity itself cannot exist; looking upon all those who have not commenced authors, as literally ‘stocks and stones, and worse than senseless things.’ I remember trying to 29convince a person of this class, that a young lady, whom he knew something of, the niece of a celebrated authoress, had just the same sort of fine tact and ironical turn in conversation, that her relative had shown in her writings when young. The only answer I could get was an incredulous smile, and the observation that when she wrote any thing as good as ——, or ——, he might think her as clever. I said all I meant was, that she had the same family talents, and asked whether he thought that if Miss —— had not been very clever, as a mere girl, before she wrote her novels, she would ever have written them? It was all in vain. He still stuck to his text, and was convinced that the niece was a little fool compared to her aunt at the same age; and if he had known the aunt formerly, he would have had just the same opinion of her. My friend was one of those who have a settled persuasion that it is the book that makes the author, and not the author the book. That’s a strange opinion for a great philosopher to hold. But he wilfully shuts his eyes to the germs and indistinct workings of genius, and treats them with supercilious indifference, till they stare him in the face through the press; and then takes cognizance only of the overt acts and published evidence. This is neither a proof of wisdom, nor the way to be wise. It is partly pedantry and prejudice, and partly feebleness of judgment and want of magnanimity. He dare as little commit himself on the character of books, as of individuals, till they are stamped by the public. If you show him any work for his approbation, he asks, ‘Whose is the superscription?’—He judges of genius by its shadow, reputation—of the metal by the coin. He is just the reverse of another person whom I know—for, as G—— never allows a particle of merit to any one till it is acknowledged by the whole world, C—— withholds his tribute of applause from every person, in whom any mortal but himself can descry the least glimpse of understanding. He would be thought to look farther into a millstone than any body else. He would have others see with his eyes, and take their opinions from him on trust, in spite of their senses. The more obscure and defective the indications of merit, the greater his sagacity and candour in being the first to point them out. He looks upon what he nicknames a man of genius, but as the breath of his nostrils, and the clay in the potter’s hands. If any such inert, unconscious mass, under the fostering care of the modern Prometheus, is kindled into life,—begins to see, speak, and move, so as to attract the notice of other people,—our jealous patroniser of latent worth in that case throws aside, scorns, and hates his own handy-work; and deserts his intellectual offspring from the moment they can go alone and shift for themselves.—But to pass on to our more immediate subject.

30The conversation of authors is not so good as might be imagined: but, such as it is (and with rare exceptions) it is better than any other. The proof of which is, that, when you are used to it, you cannot put up with any other. That of mixed company becomes utterly intolerable—you cannot sit out a common tea and card party, at least, if they pretend to talk at all. You are obliged in despair to cut all your old acquaintance who are not au fait on the prevailing and most smartly contested topics, who are not imbued with the high gusto of criticism and virtù. You cannot bear to hear a friend whom you have not seen for many years, tell at how much a yard he sells his laces and tapes, when he means to move into his next house, when he heard last from his relations in the country, whether trade is alive or dead, or whether Mr. Such-a-one gets to look old. This sort of neighbourly gossip will not go down after the high-raised tone of literary conversation. The last may be very absurd, very unsatisfactory, and full of turbulence and heart-burnings; but it has a zest in it which more ordinary topics of news or family-affairs do not supply. Neither will the conversation of what we understand by gentlemen and men of fashion, do after that of men of letters. It is flat, insipid, stale, and unprofitable, in the comparison. They talk about much the same things, pictures, poetry, politics, plays; but they do it worse, and at a sort of vapid second-hand. They, in fact, talk out of newspapers and magazines, what we write there. They do not feel the same interest in the subjects they affect to handle with an air of fashionable condescension, nor have they the same knowledge of them, if they were ever so much in earnest in displaying it. If it were not for the wine and the dessert, no author in his senses would accept an invitation to a well-dressed dinner-party, except out of pure good-nature and unwillingness to disoblige by his refusal. Persons in high life talk almost entirely by rote. There are certain established modes of address, and certain answers to them expected as a matter of course, as a point of etiquette. The studied forms of politeness do not give the greatest possible scope to an exuberance of wit or fancy. The fear of giving offence destroys sincerity, and without sincerity there can be no true enjoyment of society, nor unfettered exertion of intellectual activity.—Those who have been accustomed to live with the great are hardly considered as conversible persons in literary society. They are not to be talked with, any more than puppets or echos. They have no opinions but what will please; and you naturally turn away, as a waste of time and words, from attending to a person who just before assented to what you said, and whom you find, the moment after, from something that unexpectedly or perhaps 31by design drops from him, to be of a totally different way of thinking. This bush-fighting is not regarded as fair play among scientific men. As fashionable conversation is a sacrifice to politeness, so the conversation of low life is nothing but rudeness. They contradict you without giving a reason, or if they do, it is a very bad one—swear, talk loud, repeat the same thing fifty times over, get to calling names, and from words proceed to blows. You cannot make companions of servants, or persons in an inferior station in life. You may talk to them on matters of business, and what they have to do for you (as lords talk to bruisers on subjects of fancy, or country-squires to their grooms on horse-racing) but out of that narrow sphere, to any general topic, you cannot lead them; the conversation soon flags, and you go back to the old question, or are obliged to break up the sitting for want of ideas in common. The conversation of authors is better than that of most professions. It is better than that of lawyers, who talk nothing but double entendre—than that of physicians, who talk of the approaching deaths of the College, or the marriage of some new practitioner with some rich widow—than that of divines, who talk of the last place they dined at—than that of University-men, who make stale puns, repeat the refuse of the London newspapers, and affect an ignorance of Greek and mathematics—it is better than that of players, who talk of nothing but the green-room, and rehearse the scholar, the wit, or the fine gentleman, like a part on the stage—or than that of ladies, who, whatever you talk of, think of nothing, and expect you to think of nothing, but themselves. It is not easy to keep up a conversation with women in company. It is thought a piece of rudeness to differ from them: it is not quite fair to ask them a reason for what they say. You are afraid of pressing too hard upon them: but where you cannot differ openly and unreservedly, you cannot heartily agree. It is not so in France. There the women talk of things in general, and reason better than the men in this country. They are mistresses of the intellectual foils. They are adepts in all the topics. They know what is to be said for and against all sorts of questions, and are lively and full of mischief into the bargain. They are very subtle. They put you to your trumps immediately. Your logic is more in requisition even than your gallantry. You must argue as well as bow yourself into the good graces of these modern Amazons. What a situation for an Englishman to be placed in^[7]!

32The fault of literary conversation in general is its too great tenaciousness. It fastens upon a subject, and will not let it go. It resembles a battle rather than a skirmish, and makes a toil of a pleasure. Perhaps it does this from necessity, from a consciousness of wanting the more familiar graces, the power to sport and trifle, to touch lightly and adorn agreeably, every view or turn of a question en passant, as it arises. Those who have a reputation to lose are too ambitious of shining, to please. ‘To excel in conversation,’ said an ingenious man, ‘one must not be always striving to say good things: to say one good thing, one must say many bad, and more indifferent ones.’ This desire to shine without the means at hand, often makes men silent:—

‘The fear of being silent strikes us dumb.’

A writer who has been accustomed to take a connected view of a difficult question, and to work it out gradually in all its bearings, may be very deficient in that quickness and ease, which men of the world, who are in the habit of hearing a variety of opinions, who pick up an observation on one subject, and another on another, and who care about none any farther than the passing away of an idle hour, usually acquire. An author has studied a particular point—he has read, he has inquired, he has thought a great deal upon it: he is not contented to take it up casually in common with others, to throw out a hint, to propose an objection: he will either remain silent, uneasy, and dissatisfied, or he will begin at the beginning and go through with it to the end. He is for taking the whole responsibility upon himself. He would be thought to understand the subject better than others, or indeed would show that nobody else knows any thing about it. There are always three or four points on which the literary novice at his first outset in life fancies he can enlighten every company, and bear down all opposition: but he is cured of this Quixotic and pugnacious spirit, as he goes more into the world, where he finds that there are other opinions and other pretensions to be adjusted besides his own. When this asperity wears off, and a certain scholastic precocity is mellowed down, the conversation of men of letters becomes both interesting and instructive. Men of the world have no fixed principles, no ground-work of thought: mere scholars have too much an object, a theory always in view, to which they wrest every thing, and not unfrequently, common sense itself. By mixing with society, they rub off their hardness of manner, and impracticable, offensive singularity, while they retain a greater depth and coherence of understanding. There is more to be learnt from them than from their books. This was a remark of Rousseau’s, and it is a very true one. In the confidence 33and unreserve of private intercourse, they are more at liberty to say what they think, to put the subject in different and opposite points of view, to illustrate it more briefly and pithily by familiar expressions, by an appeal to individual character and personal knowledge—to bring in the limitation, to obviate misconception, to state difficulties on their own side of the argument, and answer them as well as they can. This would hardly agree with the prudery, and somewhat ostentatious claims of authorship. Dr. Johnson’s conversation in Boswell’s Life is much better than his published works: and the fragments of the opinions of celebrated men, preserved in their letters or in anecdotes of them, are justly sought after as invaluable for the same reason. For instance, what a fund of sense there is in Grimm’s Memoirs! We thus get at the essence of what is contained in their more laboured productions, without the affectation or formality.—Argument, again, is the death of conversation, if carried on in a spirit of hostility: but discussion is a pleasant and profitable thing, where you advance and defend your opinions as far as you can, and admit the truth of what is objected against them with equal impartiality; in short, where you do not pretend to set up for an oracle, but freely declare what you really know about any question, or suggest what has struck you as throwing a new light upon it, and let it pass for what it is worth. This tone of conversation was well described by Dr. Johnson, when he said of some party at which he had been present the night before—‘We had good talk, sir!’ As a general rule, there is no conversation worth any thing but between friends, or those who agree in the same leading views of a subject. Nothing was ever learnt by either side in a dispute. You contradict one another, will not allow a grain of sense in what your adversary advances, are blind to whatever makes against yourself, dare not look the question fairly in the face, so that you cannot avail yourself even of your real advantages, insist most on what you feel to be the weakest points of your argument, and get more and more absurd, dogmatical, and violent every moment. Disputes for victory generally end to the dissatisfaction of all parties; and the one recorded in Gil Blas breaks up just as it ought. I once knew a very ingenious man, than whom, to take him in the way of common chit-chat or fireside gossip, no one could be more entertaining or rational. He would make an apt classical quotation, propose an explanation of a curious passage in Shakspeare’s Venus and Adonis, detect a metaphysical error in Locke, would infer the volatility of the French character from the chapter in Sterne where the Count mistakes the feigned name of Yorick for a proof of his being the identical imaginary character in Hamlet (Et vous êtes Yorick!)—thus confounding words with things twice over—but let a 34difference of opinion be once hitched in, and it was all over with him. His only object from that time was to shut out common sense, and to be proof against conviction. He would argue the most ridiculous point (such as that there were two original languages) for hours together, nay, through the horologe. You would not suppose it was the same person. He was like an obstinate run-away horse, that takes the bit in his mouth, and becomes mischievous and unmanageable. He had made up his mind to one thing, not to admit a single particle of what any one else said for or against him. It was all the difference between a man drunk or sober, sane or mad. It is the same when he once gets the pen in his hand. He has been trying to prove a contradiction in terms for the ten last years of his life, viz. that the Bourbons have the same right to the throne of France that the Brunswick family have to the throne of England. Many people think there is a want of honesty or a want of understanding in this. There is neither. But he will persist in an argument to the last pinch; he will yield, in absurdity, to no man!

This litigious humour is bad enough: but there is one character still worse, that of a person who goes into company, not to contradict, but to talk at you. This is the greatest nuisance in civilised society. Such a person does not come armed to defend himself at all points, but to unsettle, if he can, and throw a slur on all your favourite opinions. If he has a notion that any one in the room is fond of poetry, he immediately volunteers a contemptuous tirade against the idle jingle of verse. If he suspects you have a delight in pictures, he endeavours, not by fair argument, but by a side-wind, to put you out of conceit with so frivolous an art. If you have a taste for music, he does not think much good is to be done by this tickling of the ears. If you speak in praise of a comedy, he does not see the use of wit: if you say you have been to a tragedy, he shakes his head at this mockery of human misery, and thinks it ought to be prohibited. He tries to find out beforehand whatever it is that you take a particular pride or pleasure in, that he may annoy your self-love in the tenderest point (as if he were probing a wound) and make you dissatisfied with yourself and your pursuits for several days afterwards. A person might as well make a practice of throwing out scandalous aspersions against your dearest friends or nearest relations, by way of ingratiating himself into your favour. Such ill-timed impertinence is ‘villainous, and shews a pitiful ambition in the fool that uses it.’

The soul of conversation is sympathy.—Authors should converse chiefly with authors, and their talk should be of books. ‘When Greek meets Greek, then comes the tug of war.’ There is nothing 35so pedantic as pretending not to be pedantic. No man can get above his pursuit in life: it is getting above himself, which is impossible. There is a Free-masonry in all things. You can only speak to be understood, but this you cannot be, except by those who are in the secret. Hence an argument has been drawn to supersede the necessity of conversation altogether; for it has been said, that there is no use in talking to people of sense, who know all that you can tell them, nor to fools, who will not be instructed. There is, however, the smallest encouragement to proceed, when you are conscious that the more you really enter into a subject, the farther you will be from the comprehension of your hearers—and that the more proofs you give of any position, the more odd and out-of-the-way they will think your notions. C—— is the only person who can talk to all sorts of people, on all sorts of subjects, without caring a farthing for their understanding one word he says—and he talks only for admiration and to be listened to, and accordingly the least interruption puts him out. I firmly believe he would make just the same impression on half his audiences, if he purposely repeated absolute nonsense with the same voice and manner and inexhaustible flow of undulating speech! In general, wit shines only by reflection. You must take your cue from your company—must rise as they rise, and sink as they fall. You must see that your good things, your knowing allusions, are not flung away, like the pearls in the adage. What a check it is to be asked a foolish question; to find that the first principles are not understood! You are thrown on your back immediately, the conversation is stopped like a country-dance by those who do not know the figure. But when a set of adepts, of illuminati, get about a question, it is worth while to hear them talk. They may snarl and quarrel over it, like dogs; but they pick it bare to the bone, they masticate it thoroughly.

ESSAY IV THE SAME SUBJECT CONTINUED

This was the case formerly at L——’s—where we used to have many lively skirmishes at their Thursday evening parties. I doubt whether the Small-coal man’s musical parties could exceed them. Oh! for the pen of John Buncle to consecrate a petit souvenir to their memory!—There was L—— himself, the most delightful, the most provoking, the most witty and sensible of men. He always 36made the best pun, and the best remark in the course of the evening. His serious conversation, like his serious writing, is his best. No one ever stammered out such fine, piquant, deep, eloquent things in half a dozen half sentences as he does. His jests scald like tears: and he probes a question with a play upon words. What a keen, laughing, hair-brained vein of home-felt truth! What choice venom! How often did we cut into the haunch of letters, while we discussed the haunch of mutton on the table! How we skimmed the cream of criticism! How we got into the heart of controversy! How we picked out the marrow of authors! ‘And, in our flowing cups, many a good name and true was freshly remembered.’ Recollect (most sage and critical reader) that in all this I was but a guest! Need I go over the names? They were but the old everlasting set—Milton and Shakspeare, Pope and Dryden, Steele and Addison, Swift and Gay, Fielding, Smollet, Sterne, Richardson, Hogarth’s prints, Claude’s landscapes, the Cartoons at Hampton-court, and all those things, that, having once been, must ever be. The Scotch Novels had not then been heard of: so we said nothing about them. In general, we were hard upon the moderns. The author of the Rambler was only tolerated in Boswell’s Life of him; and it was as much as any one could do to edge in a word for Junius. L—— could not bear Gil Blas. This was a fault. I remember the greatest triumph I ever had was in persuading him, after some years’ difficulty, that Fielding was better than Smollet. On one occasion, he was for making out a list of persons famous in history that one would wish to see again—at the head of whom were Pontius Pilate, Sir Thomas Browne, and Dr. Faustus—but we black-balled most of his list! But with what a gusto would he describe his favourite authors, Donne, or Sir Philip Sidney, and call their most crabbed passages delicious! He tried them on his palate as epicures taste olives, and his observations had a smack in them, like a roughness on the tongue. With what discrimination he hinted a defect in what he admired most—as in saying that the display of the sumptuous banquet in Paradise Regained was not in true keeping, as the simplest fare was all that was necessary to tempt the extremity of hunger—and stating that Adam and Eve in Paradise Lost were too much like married people. He has furnished many a text for C—— to preach upon. There was no fuss or cant about him: nor were his sweets or his sours ever diluted with one particle of affectation. I cannot say that the party at L——’s were all of one description. There were honorary members, lay-brothers. Wit and good fellowship was the motto inscribed over the door. When a stranger came in, it was not asked, ‘Has he written any thing?’—we were above that pedantry; but 37we waited to see what he could do. If he could take a hand at piquet, he was welcome to sit down. If a person liked any thing, if he took snuff heartily, it was sufficient. He would understand, by analogy, the pungency of other things, besides Irish blackguard, or Scotch rappee. A character was good any where, in a room or on paper. But we abhorred insipidity, affectation, and fine gentlemen. There was one of our party who never failed to mark ‘two for his Nob’ at cribbage, and he was thought no mean person. This was Ned P——, and a better fellow in his way breathes not. There was ——, who asserted some incredible matter of fact as a likely paradox, and settled all controversies by an ipse dixit, a fiat of his will, hammering out many a hard theory on the anvil of his brain—the Baron Munchausen of politics and practical philosophy:—there was Captain ——, who had you at an advantage by never understanding you:—there was Jem White, the author of Falstaff’s Letters, who the other day left this dull world to go in search of more kindred spirits, ‘turning like the latter end of a lover’s lute:’—there was A——, who sometimes dropped in, the Will Honeycomb of our set—and Mrs. R——, who being of a quiet turn, loved to hear a noisy debate. An utterly uninformed person might have supposed this a scene of vulgar confusion and uproar. While the most critical question was pending, while the most difficult problem in philosophy was solving, P—— cried out, ‘That’s game,’ and M. B. muttered a quotation over the last remains of a veal-pie at a side-table. Once, and once only, the literary interest overcame the general. For C—— was riding the high German horse, and demonstrating the Categories of the Transcendental philosophy to the author of the Road to Ruin; who insisted on his knowledge of German, and German metaphysics, having read the Critique of Pure Reason in the original. ‘My dear Mr. Holcroft,’ said C——, in a tone of infinitely provoking conciliation, ‘you really put me in mind of a sweet pretty German girl, about fifteen, that I met with in the Hartz forest in Germany—and who one day, as I was reading the Limits of the Knowable and the Unknowable, the profoundest of all his works, with great attention, came behind my chair, and leaning over, said, What, you read Kant? Why, I that am German born, don’t understand him!’ This was too much to bear, and Holcroft, starting up, called out in no measured tone, ‘Mr. C——, you are the most eloquent man I ever met with, and the most troublesome with your eloquence!’ P—— held the cribbage-peg that was to mark him game, suspended in his hand; and the whist table was silent for a moment. I saw Holcroft down stairs, and, on coming to the landing-place in Mitre-court, he stopped me to observe, that ‘he 38thought Mr. C—— a very clever man, with a great command of language, but that he feared he did not always affix very precise ideas to the words he used.’ After he was gone, we had our laugh out, and went on with the argument on the nature of Reason, the Imagination, and the Will. I wish I could find a publisher for it: it would make a supplement to the Biographia Literaria in a volume and a half octavo.