Chapter 17

Thus, then, it was--past experience of a very peculiar kind, the agitations of many lives crowded into the compass of a year or two, in combination with a peculiar structure of mind--offered one explanation of the very remarkable and unsocial habits which I adopted at college; but there was another not less powerful, and not less unusual. In stating this, I shall seem, to some persons, covertly designing an affront to Oxford. But that is far from my intention. It is noways peculiar to Oxford, but will, doubtless, be found in every university throughout the world, that the younger part of the members--the undergraduates, I mean, generally, whose chief business must have lain amongst the great writers of Greece and Rome--cannot have found leisure to cultivate extensively their own domestic literature. Not so much that time will have been wanting; but that the whole energy of the mind, and the main course of the subsidiary studies and researches, will naturally have been directed to those difficult languages amongst which lie their daily tasks. I make it no subject of complaint or scorn, therefore, but simply state it as a fact, that few or none of the Oxford undergraduates, with whom parity of standing threw me into collision at my first outset, knew anything at all of English literature. The _Spectator_ seemed to me the only English book of a classical rank which they had read; and even this less for its inimitable delicacy, humor, and refined pleasantry in dealing with manners and characters, than for its insipid and meagre essays, ethical or critical. This was no fault of theirs: they had been sent to the book chiefly as a subject for Latin translations, or of other exercises; and, in such a view, the vague generalities of superficial morality were more useful and more manageable than sketches of manner or character, steeped in national peculiarities. To translate the terms of whig politics into classical Latin, would be as difficult as it might be for a whig himself to give a consistent account of those politics from the year 1688. Natural, however, and excusable, as this ignorance might be, to myself it was intolerable and incomprehensible. Already, at fifteen, I had made myself familiar with the great English poets. About sixteen, or not long after, my interest in the story of Chatterton had carried me over the whole ground of the Rowley controversy; and that controversy, by a necessary consequence, had so familiarized me with the "Black Letter," that I had begun to find an unaffected pleasure in the ancient English metrical romances; and in Chaucer, though acquainted as yet only with part of his works, I had perceived and had felt profoundly those divine qualities, which, even at this day, are so languidly acknowledged by his unjust countrymen. With this knowledge, and this enthusiastic knowledge of the elder poets--of those most remote from easy access--I could not well be a stranger in other walks of our literature, more on a level with the general taste, and nearer to modern diction, and, therefore, more extensively multiplied by the press.

Yet, after all--as one proof how much more commanding is that part of a literature which speaks to the elementary affections of men, than that which is founded on the mutable aspects of manners--it is a fact that, even in our elaborate system of society, where an undue value is unavoidably given to the whole science of social intercourse, and a continual irritation applied to the sensibilities which point in that direction; still, under all these advantages, Pope himself is less read, less quoted, less thought of, than the elder and graver section of our literature. It is a great calamity for an author such as Pope, that, generally speaking, it requires so much experience of life to enjoy his peculiar felicities as must argue an age likely to have impaired the general capacity for enjoyment. For my part, I had myself a very slender acquaintance with this chapter of our literature; and what little I had was generally, at that period of my life, as, with most men, it continues to be to the end of life, a reflex knowledge, acquired through those pleasant miscellanies, half gossip, half criticism--such as Warton's Essay on Pope, Boswell's Johnson, Mathias' Pursuits of Literature, and many scores beside of the same indeterminate class; a class, however, which do a real service to literature, by diffusing an indirect knowledge of fine writers in their most effective passages, where else, in a direct shape, it would often never extend.

In some parts, then, having even a profound knowledge of our literature, in all parts having some, I felt it to be impossible that I should familiarly associate with those who had none at all; not so much as a mere historical knowledge of the literature in its capital names and their chronological succession. Do I mention this in disparagement of Oxford? By no means. Among the undergraduates of higher standing, and occasionally, perhaps, of my own, I have since learned that many might have been found eminently accomplished in this particular. But seniors do not seek after juniors; they must be sought; and, with my previous bias to solitude, a bias equally composed of impulses and motives, I had no disposition to take trouble in seeking any man for any purpose.

But, on this subject, a fact still remains to be told, of which I am justly proud; and it will serve, beyond anything else that I can say, to measure the degree of my intellectual development. On coming to Oxford, I had taken up one position in advance of my age by full thirty years: that appreciation of Wordsworth, which it has taken full thirty years to establish amongst the public, I had already made, and had made operative to my own intellectual culture in the same year when I clandestinely quitted school. Already, in 1802, I had addressed a letter of fervent admiration to Mr. Wordsworth. I did not send it until the spring of 1803; and, from misdirection, it did not come into his hands for some months. But I had an answer from Mr. Wordsworth before I was eighteen; and that my letter was thought to express the homage of an enlightened admirer, may be inferred from the fact that his answer was long and full. On this anecdote I do not mean to dwell; but I cannot allow the reader to overlook the circumstances of the case. At this day, it is true, no journal can be taken up which does not habitually speak of Mr. Wordsworth as of a great if not _the_ great poet of the age. Mr. Bulwer, living in the intensest pressure of the world, and, though recoiling continually from the judgments of the world, yet never in any violent degree, ascribes to Mr. Wordsworth (in his _England and the English_, p. 308) "an influence of a more noble and purely intellectual character, than _any_ writer of our age or nation has exercised." Such is the opinion held of this great poet in 1835; but what were those of 1805-15,--nay, of 1825? For twenty years after the date of that letter to Mr. Wordsworth above referred to, language was exhausted, ingenuity was put on the rack, in the search after images and expressions vile enough--insolent enough--to convey the unutterable contempt avowed for all that he had written, by the fashionable critics. One critic--who still, I believe, edits a rather popular journal, and who belongs to that class, feeble, fluttering, ingenious, who make it their highest ambition not to lead, but, with a slave's adulation, to obey and to follow all the caprices of the public mind--described Mr. Wordsworth as resembling, in the quality of his mind, an old nurse babbling in her paralytic dotage to sucking babies. If this insult was peculiarly felt by Mr. Wordsworth, it was on a consideration of the unusual imbecility of him who offered it, and not because in itself it was baser or more insolent than the language held by the majority of journalists who then echoed the public voice. _Blackwood's Magazine_ (1817) first accustomed the public ear to the language of admiration coupled with the name of Wordsworth. This began with Professor Wilson; and well I remember--nay, the proofs are still easy to hunt up--that, for eight or ten years, this singularity of opinion, having no countenance from other journals, was treated as a whim, a paradox, a bold extravagance, of the _Blackwood_ critics. Mr. Wordsworth's neighbors in Westmoreland, who had (generally speaking) a profound contempt for him, used to rebut the testimony of _Blackwood_ by one constant reply--"Ay, _Blackwood_ praises Wordsworth, but who else praises him?" In short, up to 1820, the name of Wordsworth was trampled under foot; from 1820 to 1830, it was militant; from 1830 to 1835, it has been triumphant. In 1803, when I entered at Oxford, that name was absolutely unknown; and the finger of scorn, pointed at it in 1802 by the first or second number of the _Edinburgh Review_, failed to reach its mark from absolute defect of knowledge in the public mind. Some fifty beside myself knew who was meant by "that poet who had cautioned his friend against growing double," etc.; to all others it was a profound secret.

These things must be known and understood properly to value the prophetic eye and the intrepidity of two persons, like Professor Wilson and myself, who, in 1802-3, attached themselves to a banner not yet raised and planted; who outran, in fact, their contemporaries by one entire generation; and did _that_ about 1802 which the rest of the world are doing in chorus about 1832.

Professor Wilson's period at Oxford exactly coincided with my own; yet, in that large world, we never met. I know, therefore, but little of his policy in regard to such opinions or feelings as tended to dissociate him from the mass of his coevals. This only I know, that he lived as it were in public; and must, therefore, I presume, have practised a studied reserve as to his deepest admirations; and, perhaps, at that day (1803-8) the occasions would be rare in which much dissimulation would be needed. Until Lord Byron had begun to pilfer from Wordsworth and to abuse him, allusions to Wordsworth were not frequent in conversation; and it was chiefly on occasion of some question arising about poetry in general, or about the poets of the day, that it became difficult to dissemble. For my part, hating the necessity for dissimulation as much as the dissimulation itself, I drew from this peculiarity also of my own mind a fresh reinforcement of my other motives for sequestering myself; and, for the first two years of my residence in Oxford, I compute that I did not utter one hundred words.

I remember distinctly the first (which happened also to be the last) conversation that I ever held with my tutor. It consisted of three sentences, two of which fell to his share, one to mine. On a fine morning, he met me in the Quadrangle, and, having then no guess of the nature of my pretensions, he determined (I suppose) to probe them. Accordingly, he asked me, "What I had been lately reading?" Now, the fact was, that I, at that time immersed in metaphysics, had really been reading and studying very closely the _Parmenides_, of which obscure work some Oxford men, early in the last century, published a separate edition. Yet, so profound was the benignity of my nature, that, in those days, I could not bear to witness, far less to cause, the least pain or mortification to any human being. I recoiled, indeed, from the society of most men, but not with any feelings of dislike. On the contrary, in order that I _might_ like all men, I wished to associate with none. Now, then, to have mentioned the _Parmenides_ to one who, fifty thousand to one, was a perfect stranger to its whole drift and purpose, looked too _méchant_, too like a trick of malice, in an age when such reading was so very unusual. I felt that it would be taken for an express stratagem for stopping my tutor's mouth. All this passing rapidly through my mind, I replied, without hesitation, that I had been reading Paley. My tutor's rejoinder I have never forgotten: "Ah! an excellent author; excellent for his matter; only you must be on your guard as to his style; he is very vicious _there_." Such was the colloquy; we bowed, parted, and never more (I apprehend) exchanged one word. Now, trivial and trite as this comment on Paley may appear to the reader, it struck me forcibly that more falsehood, or more absolute falsehood, or more direct inversion of the truth, could not, by any artifice of ingenuity, have been crowded into one short sentence. Paley, as a philosopher, is a jest, the disgrace of the age; and, as regards the two universities, and the enormous responsibility they undertake for the books which they sanction by their official examinations for degrees, the name of Paley is their great opprobrium. But, on the other hand, for style, Paley is a master. Homely, racy, vernacular English, the rustic vigor of a style which intentionally foregoes the graces of polish on the one hand, and of scholastic precision on the other--that quality of merit has never been attained in a degree so eminent. This first interchange of thought upon a topic of literature did not tend to slacken my previous disposition to retreat into solitude; a solitude, however, which at no time was tainted with either the moroseness or the pride of a cynic.

Neither must the reader suppose that, even in that day, I belonged to the party who disparage the classical writers, or the classical training of the great English schools. The Greek drama I loved and revered. But, to deal frankly, because it is a subject which I shall hereafter bring before the public, I made great distinctions. I was not that indiscriminate admirer of Greek and Roman literature, which those too generally are who admire it at all. This protesting spirit, against a false and blind idolatry, was with me, at that time, a matter of enthusiasm--almost of bigotry. I was a bigot against bigots. Let us take the Greek oratory, for example:--What section of the Greek literature is more fanatically exalted, and studiously in depreciation of our own? Let us judge of the sincerity at the base of these hollow affectations, by the downright facts and the producible records. To admire, in any sense which can give weight and value to your admiration, presupposes, I presume, some acquaintance with its object. As the earliest title to an opinion, one way or other, of the Greek eloquence, we ought to have studied some of its most distinguished artists; or, say _one_, at least; and this one, we may be sure, will be, as it ought to be, Demosthenes. Now, it is a fact, that all the copies of Demosthenes sold within the last hundred years would not meet the demand of one considerable town, were that orator a subject of study amongst even classical scholars. I doubt whether, at this day, there exist twenty men in Europe who can be said to have even once read Demosthenes; and, therefore, it was that, when Mr. Mitford, in his "History of Greece," took a new view of this orator's political administration--a view which lowered his character for integrity--he found an unresisting acceder to his doctrines in a public having no previous opinion upon the subject, and, therefore, open to any casual impression of malice or rash judgment. Had there been any acquaintance with the large remains which we still possess of this famous orator, no such wrong could have been done. I, from my childhood, had been a reader, nay, a student of Demosthenes; and, simply, for this reason, that, having meditated profoundly on the true laws and philosophy of diction, and of what is vaguely denominated style, and finding nothing of any value in modern writers upon this subject, and not much as regards the grounds and ultimate principles even in the ancient rhetoricians, I have been reduced to collect my opinions from the great artists and practitioners, rather than from the theorists; and, among those artists, in the most plastic of languages, I hold Demosthenes to have been the greatest.

The Greek is, beyond comparison, the most plastic of languages. It was a material which bent to the purposes of him who used it beyond the material of other languages; it was an instrument for a larger compass of modulations; and it happens that the peculiar theme of an orator imposes the very largest which is consistent with a prose diction. One step further in passion, and the orator would become a poet. An orator can exhaust the capacities of a language--an historian, never. Moreover, the age of Demosthenes was, in my judgment, the age of highest development for arts dependent upon social refinement. That generation had fixed and ascertained the use of words; whereas, the previous generation of Thucydides, Xenophon, Plato, &c., was a transitional period: the language was still moving, and tending to a meridian not yet attained; and the public eye had been directed consciously upon language, as in and for itself an organ of intellectual delight, for too short a time, to have mastered the whole art of managing its resources. All these were reasons for studying Demosthenes, as the one great model and standard of Attic prose; and, studied him I _had_, more than any other prose writer whatever. _Paripassu_, I had become sensible that others had _not_ studied him. One monotonous song of applause I found raised on every side; something about being "like a torrent, that carries everything before it." This original image is all we get in the shape of criticism; and never any attempt even at illustrating what is greatest in him, or characterizing what is most peculiar. The same persons who discovered that Lord Brougham was the modern Bacon have also complimented him with the title of the English Demosthenes. Upon this hint, Lord Brougham, in his address to the Glasgow students, has deluged the great Athenian with wordy admiration. There is an obvious prudence in lodging your praise upon an object from which you count upon a rebound to yourself. But here, as everywhere else, you look in vain for any marks or indications of a personal and _direct_ acquaintance with the original orations. The praise is built rather upon the popular idea of Demosthenes, than upon the real Demosthenes. And not only so, but even upon style itself, and upon the art of composition _in abstracto_, Lord Brougham does not seem to have formed any clear conceptions--principles he has none. Now, it is useless to judge of an artist until you have some principles on the art. The two capital secrets in the art of prose composition are these: 1st, The philosophy of transition and connection, or the art by which one step in an evolution of thought is made to arise out of another: all fluent and effective composition depends on the _connections_; --2dly, The way in which sentences are made to modify each other; for, the most powerful effects in written eloquence arise out of this reverberation, as it were, from each other in a rapid succession of sentences; and, because some limitation is necessary to the length and complexity of sentences, in order to make this interdependency felt, hence it is that the Germans have no eloquence. The construction of German prose tends to such immoderate length of sentences, that no effect of intermodification can ever be apparent. Each sentence, stuffed with innumerable clauses of restriction, and other parenthetical circumstances, becomes a separate section--an independent whole. But, without insisting on Lord Brougham's oversights, or errors of defect, I will digress a moment to one positive caution of his, which will measure the value of his philosophy on this subject. He lays it down for a rule of indefinite application, that the Saxon part of our English idiom is to be favored at the expense of that part which has so happily coalesced with the language from the Latin or Greek. This fancy, often patronized by other writers, and even acted upon, resembles that restraint which some metrical writers have imposed upon themselves--of writing a long copy of verses, from which some particular letter, or from each line of which some different letter, should be carefully excluded. What followed? Was the reader sensible, in the practical effect upon his ear, of any beauty attained? By no means; all the difference, sensibly perceived, lay in the occasional constraints and affectations to which the writer had been driven by his self-imposed necessities. The same chimera exists in Germany; and so much further is it carried, that one great puritan in this heresy (Wolf) has published a vast dictionary, the rival of Adelung's, for the purpose of expelling every word of foreign origin and composition out of the language, by assigning some equivalent term spun out from pure native Teutonic materials. _Bayonet_, for example, is patriotically rejected, because a word may be readily compounded tantamount to _musket-dirk_; and this sort of composition thrives showily in the German, as a language running into composition with a fusibility only surpassed by the Greek.